He brought out hundreds of his photographs, some in copies, others in books and still others in originals. He placed the pictures on the table, one at a time, and ordered me to make an instant decision whether I would take it or not. A Message from Cartier-Bresson By Yoshitomo Kajikawa It was autumn, […]
“I wanted to be visible in the biggest way possible. My aesthetics was the New York Daily News. I saw the book I wanted to do as a tabloid gone berserk, gross, grainy, over-inked, with a brutal layout, bull-horn headlines. This is what New York deserved and would get.” By Jane Livingston, excerpt from […]
New Mexico, 1957 (Figure 13) Part I By Carl Chiarenza Originally Published in IMAGE Magazine: Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House, Volume 34, Number 3–4, Fall–Winter, 1991 Sometimes an idea gets the better of us as individuals, as professionals, as artists, as essayers of a […]
“One thing I always try to do, if possible, is never to speak mildly or softly. I don’t think any photographer should. You should speak loud and clear. And that’s the way I try to take my pictures.” Jem Cohen: In the mid-1980s, when I first came to New York and lived with my […]
From ‘Son’ by Christopher Anderson “I’ve spent the last fifteen years with the title of ‘War photographer’, going to the other ends of the earth, to photographs stories of other people, looking for photographic intimacy from people that I didn’t know.” Why show it ? Interview with Christopher Anderson By Baptiste Lignel, December […]
“Basically, I mean, ah—well, let’s say that for me anyway when a photograph is interesting, it’s interesting because of the kind of photographic problem it states—which has to do with the . . . contest between content and form.” Originally Published in Image Magazine by George Eastman House – Vol. 15, No. 2, […]
William Klein is an American photographer. One is tempted to say that he is the American photographer By Anthony Lane, Excerpt from Nobody’s Perfect: Writings from the New Yorker William Klein is an American photographer. One is tempted to say that he is the American photographer; among his coevals, only Richard Avedon can match […]
By O.C. Garza The years were 1974, 1975 and 1976. Step back to those years in what was the active, peaceful city of Austin, Texas. The city is nestled hard against the banks of the Colorado River that knives through central Texas. This state governmental seat was changing as it always has and always […]
Photography is a generous, abundant medium and Parke is a voracious photographer. By Geoff Dyer I was introduced to the work of Trent Parke (born in Australia in 1971, a member of Magnum since 2007) by a mutual friend, the photographer, Matt Stuart. He showed me two books by Parke, both self-published. The first […]
Winogrand’s pictures are usually packed with astounding quantities of incident and “information,” a catchword popular among practitioners and students of street photography during the early ’70’s. By Pepe Karmel Photography critics raised on the classical elegances of Stieglitz and Cartier-Bresson still consider Garry Winogrand’s photographs haphazard snapshots, mach as 19th century academic critics saw the […]
Stray Dog, Misawa, Aomori (1971) Moriyama is conspicuous for the brutality with which he distorts photographic description: his pictures are sooty with grain, blotchy with glare, often out of focus or blurred by movement, often defaced by scratches in their negatives. By Leo Rubinfien, October, 1999 The photographer Daido Moriyama, whose first U.S. […]
Hunting for characters on the Streets of New York City with Magnum Photographer Bruce Gilden.