Category Archive: magazines
“Despite many fantastic women working with photographic media, the industry continues to be dominated by male counterparts. Firecracker assists the promotion of women photographers by showcasing their work in a series of monthly online gallery features.” -Firecracker
Firecracker is an interesting project started by Fiona Rogers, who works in Magnum’s London offices, focused on supporting women photographers from Europe. A new photographer is featured each month, running the gamut from photojournalism and documentary to art photography, and photos are always interesting. Here are a few of the featured photographers that really caught my eye: Tessa Bunney, Dana Popa, Sophie Gerrard, Jane Hilton, and the current featured photographer Melinda Gibson.
Firecracker also runs a grant for a female photographer to complete a documentary photographic project. The 2012 application period has just ended, and a winner will be announced soon.
“…photographic representations of Asia, in the hands of European photographers and shaped by Western media, has contributed to producing a catalogue of stereotypes that simplifies and even suppresses the full diversity of visual sensibilities that Asian photography is capable of expressing.
As a consequence, Asian photographers lack a platform that not only profiles their work on their own terms, but also suggests its profound link with native visual idioms. This is preceisely the gap that Punctum hopes to fill.” -Punctum, Editorial Statement
Issue 2 of Punctum magazine, an Asia-focused photography magazine, has just been published, and it’s beautiful. There’s a real variety in both topics and photographic approaches. Based in India and Spain, the magazine publishes work produced by Asian photographers and writers about Asia. The magazine is produced by editor, and OjodePez founder, Frank Kalero, executive editor Lola Mac Dougall, literary editor Rajni George, and graphic designer Inca Roy. Issue 1 is also available via issuu, and according to the media kit, print editions can be found in “large international cities of Asia, Europe and America,” primarily in specialized bookshops, museums, galleries, photography schools, and the mailboxes of art critics.
(via Newsweek’s Picture Department)
- “Smudge-proof makeup tips for long days behind the camera”
- “Seasonal Flats: these flats will keep your feet covered, comfortable and cute while you’re on photo shoots”
- “Step-by-Step: create these beautiful lanterns for your studio”
- “Beauty Dish: New Jersey-based wedding photographer dishes about her camera-ready style”
- “Luminous Lenses: Shoot in style with these designer lens protection wraps”
- “Hanging Tough: These camera straps are stylish yet tough just like you”
-Headlines from PDN’s new women’s magazine, Pix
Photo District News have launched a new photography-focused digital magazine for women called Pix, a few screenshots from which are presented above. It’s a doozy. Jezebel is on the case: Finally, Lady Photojournalists Get Their Own Photo Ladymag Full of Lady Stereotypes. You can read through the whole first issue here, and the next issue will be available via iTunes in December 2012.
In more serious women-in-photography news, two women have been nominated to Magnum (Zoe Strauss and Bieke Depoorter, alongside Jerome Sessini), Isadora Kosofsky has won the 2012 Inge Morath Award, and as Matt wrote previously, the Alexia Foundation has started a $25,000 Women’s Initiative grant.
I couldn’t be more ecstatic and proud to congratulate Matt, the other half of dvafoto, on winning the Burn Magazine 2012 Emerging Photographer Fund award for his long-term project Only Unity: Serbia in the Aftermath of Yugoslavia. Announced in a video presentation at Look3 and online at Burn, Matt’s piece was chosen out of over 1,000 entries by an all-star jury: photojournalist Stephen Dupont, National Geographic Senior Photo Editor Sarah Leen, National Geographic Creative Director Bill Marr, photographer Rebecca Norris Webb, LaFabrica Madrid editor Arianna Rinaldo, and Magnum photographer Alex Webb. The video isn’t embeddable, so click here or on the modified screenshot above to watch the whole presentation.
I’ve had the pleasure of watching this essay grow from the beginning and helped with a few edits over the years. The early fits and starts (some of which you might have seen when this blog was nothing more than a cooperative photoblog) gave way to a century-spanning examination of Serbian identity. As the years went by, disconnected images found place in this narrative and Matt found his voice. It’s a powerful piece, and I know he’s got bigger plans for the work. In the meantime, we’ll have a discussion here on this blog about what went into this project and what it tells us. For now, we’ll have this public congratulations and a hearty “Huzzah!” for Matt. If you see him in Belgrade (or in the US this summer) be sure to give him a knowing nod and buy him a drink. And stay tuned for more.
Congratulations also to the other finalists and runners-up in the contest this year. The 10 essays shown in the video at Burn are stellar, and each deserving of their recognition here. The finalists were: Ian Willms, Gustavo Jononovich, Ayman Oghanna, Laia Abril, Danny Wilcox Frazier, Bieke Depoorter, and Anastasia Taylor-Lind. The two runners-up were: Simona Ghizzoni and Giovanni Cocco.
Dismissing Paolo Pellegrin’s portrait of Mario Monti as a stock photo for a heart disease ad, Jon Stewart takes Time magazine to task for the lightweight cover stories on its American editions. The current issue, shown above, the American edition of the magazine has a cover about animal friendships, while the worldwide editions have a cover featuring Italian prime minister Mario Monti. This isn’t the first time there’s been such a disparity between the various editions, though it’s not always the Americans who get the lightweight cover.
This is pretty easy criticism that shows up every time this happens with Time, and it isn’t entirely fair. The different covers make Time look bad, but if anything, a closer look shows that the difference between the editions reflects more poorly on the American news consumer than on Time magazine. The contents of the US and various international editions is basically the same; both cover stories are in all editions. The covers are used primarily to attract readers at the newsstand, and this has got to be the reason behind different covers for different markets. In the US, the magazine is on stands in grocery stores and airports alongside fluffier magazines. Time needs to compete with the likes of O, People, and Cat Fancy. Outside of the US (in my experience, anyway) the magazine is most often sold in locations frequented by business and government travelers next to copies of the International Herald Tribune and the Economist. I don’t have Time’s per-issue circulation figures at hand, but I’d bet the lighter covers sell much better in the US than covers relating to hard news and international affairs. So, while I’m usually on board with Jon Stewart’s comedy, I think the Daily Show’s reading of Time magazine’s covers misses the mark with a simple reading of the magazine and its marketing.
Be sure to check out this short video of Pellegrin’s less-than-15 minute portrait shoot with Monti.
And also on the subject of newsweekly covers, here’s a look at all the cover options Newsweek tried for its recent sex issue.
‘Explaining the diversity of this group is the easiest way to answer the question, “How do I become a National Geographic photographer?” I usually answer this question by saying: “It is not easy or glamorous (see Reality Check). And this is not where you begin your career. You are competing with world-class documentary photographers and within that genre there are men and women who are the absolute best at their specialty. There are a number of specialists — underwater photographers with different skills — one works in very deep water; a couple photograph at all depths and temperatures; one dives in caves, another holds his breath under whales; and then there is a guy who just works in puddles. One photographer travels all over the world to strap a big fan on his back to shoot aerials. There is a bug guy, an archeology specialist, and a number of folks that photograph critters. There are climbers, conflict photographers, portrait photographers and landscape specialists.” Then I usually end with how amazed I am that I can survive in this crowd as a generalist… in such esteemed company.’ -Randy Olson, About the Photo Society
The Photo Society site’s been live for a little while, and it’s got a wealth of information for those wanting to learn a little more about the people and processes behind National Geographic’s photography. Started at the behest of National Geographic’s Photographer’s Advisory Board, the site collects stories and snippets from a host of the magazine’s contributing photographers. Initial momentum, and what got me to peek at the site initially, started with a list of the various ailments and mishaps encountered by these photographers while on assignment. They’ve had 90 cases of severe diarrhea, 16 parasitic infections, 33 arrests, 21 paraglider crashes, and 1 viper in a camera bag, among other things. But there’s more to the site than that. The blog is frequently updated with links and original content. A few posts of note: Bill Allard Explains How He Became a National Geographic Photographer, I Went Blind in One Eye Shooting First NG Assignment, and How to respond to requests for free photography. That last one shouldn’t be surprising to me…there’s a certain comfort in knowing that even at the highest levels of photography, you’ll still get asked for free work.
“It started with a simple realization: photographs look great on the iPad. And the problem? We couldn’t find any to look at.” -about Once magazine
The first issue of Once magazine has just launched and it looks great. Once is an iPad periodical focused on photojournalism. You can pick it up at iTunes. This issue, which costs $2.99, features the work of Bruno Masi, Matt Eich, and Munem Wasif. The pilot issue, which is free, featured Ivor Prickett, Kendrick Brinson, and Andrea Gjestvang. The team behind Once, who’ve recently been going through some of the motions of a technology startup, see the magazine as a way to change the method of funding and distribution of photojournalism. And while we’ve heard that before, Once has been the subject of considerable optimism of late. With the first two issues out of the gate and more on the way, the magazine joins the ranks of other photography-focused iPad publications.
It’s doubtful that this new strategy for publishing photography will be the savior of the industry, but it’s an exciting development. In an interview with Wired’s Raw File blog, Once‘s executive editor John Knight says that paying photographers for their work was a starting point for the magazine, rather than an afterthought. “When we realized we could know exactly how many subscribers we had on a given issue,” Knight told Wired, “it made it possible to calculate exactly how much each issue was making. The whole idea started as a way to pay photographers what they deserve for their work, and so splitting that revenue seemed obvious. Right now we only share that revenue with the photographers and we pay a fee to our writers. In the future we’d like to expand that model to include writers as well.”
By the way, if you click through our link to buy the app, we get a (very) small cut of the sale. It’s a way for us to keep the lights on here at dvafoto. Thanks to those of you who have clicked through us in the past!
Longshot Magazine has just published issue #2 (the third issue of the magazine…) after a frenzy of work this weekend. The theme for the issue was “debt.” As in the past, the magazine’s theme was announced and 48 hours later, a magazine was published with photos, graphics, and a trove of writing created, fact-checked and designed, over that two day period. I’m happy to announce that I’ve got a page in the print issue, featuring the above portraits of people in Boston alongside descriptions of how much they owe.
A small army of editors and designers worked behind the scenes to make the magazine, its web presence, and a radio and podcast component. And all of the magazine’s content was created by another army of writers, graphic artists and photographers. Many of the contributions are available online, but some (including mine) are reserved for the print issue alone. It was an open submissions process during the 24 hours after the theme was announced at noon on Friday, and there are plans to publish online all 672 submissions made to the magazine over the weekend.
As before, the magazine has been getting some good press mentions. There’s a huge list of sponsors for this issue, which includes money from a a kickstarter campaign that raised more than double the desired amount of money. Best of all, through these sponsorships, contributors to this issue will be paid.
One of the founders of the project, Alexis Madrigal of The Atlantic, has published a behind-the-scenes look at how the magazine came about, and Heather Jay Billings has some info about the technology behind the effort.
My submission was a humble effort that almost didn’t come to pass. When the theme was announced on Friday, I was flummoxed. Maybe portraits of payday lenders? maybe a study of bank advertising? None of it struck me. Weather was bad in Boston, though, so it wouldn’t have been fun to take pictures on Friday anyway. Waking up on Saturday, I was struck with an idea to ask people about how much money they owe. With a few hours before the deadline, I was striking out. No one was willing to be photographed and tell me how much money they owed. Then I decided rather than asking for a number, I would ask people to describe how much debt they have and that the portraits should be anonymous. Over about 45 minutes, ten or twelve people let me take their picture and told me about their debt. I squeaked in right under the wire, and thankfully, the editors like the project.
Cause for celebration: Time magazine has revamped the photo section of its website. It’s now called Lightbox and it’s a welcome change. Gone are the static HTML galleries that require scrolling to see the full image and caption; gone is the fake last image that was really a tease to the article; gone is the weird celebrity photoshoppery. Now there’s a full screen option, interviews, behind the scenes videos, clean design, and strong photojournalism brought to the forefront of Time’s visual coverage.
I’m honored to be among the contributors to the latest issue of Andy Levin‘s 100eyes Magazine, China: The Past is a Foreign Country. I’m especially excited about the issue for a couple of reasons: my essay China Everbright was included and used on the cover (above), there are a few Chinese photographers included in the mix, and the issue moves beyond the usual surface look at the country’s development and foreignness. I feel out of place among the talented group of photographers that comprise this issue: James Whitlow Delano, Markel Redondo, Katharina Hesse, Ryan Pyle, Xiqi Yuang, Wayne Liu, Carolyn Drake, Rian Dundon, Tim Franco, Eric Guo, Christian Als and Holly Wilmeth. You can see the whole issue here.