How to Keyword Your Images in Lightroom.
Meeting Maury Edelstein
I struck up a conversation with him to discover that he had been photographing in this area for quite a long time and as people passed by, it seemed like he was familiar with a lot of them and they him. Visiting his website afterwards, I realized that he had accumulated a large body of work.
But what really impressed me was the wonderful energy he brought to the street. A lot of street photographers can be very earnest about their work, but he seemed to be having a lot of fun. He was really having a ball being out there in the street getting his shots. And the fact that he was doing it with such a stylus ensemble of hat, tie and shoes really impressed me.As I told Emilio later, I could only hope that I had that much energy and enthusiasm thirty years from now.
I meet a lot of photographers on the street, but Maury definitely left me inspired.
You can check out his impressive work by visiting his website.
Accepted Photog Truths: Never Give Your Work Away
Here’s an accepted truth that litters the internet, “You should never give your work away or work for free. If you do you’re just taking the livelihood away from hard working photographers.” (1, 2, 3)
Let’s get one thing straight, we prosumer and enthusiast photographers are not killing the market for professionals with our amateur work. The market is changing with or without us. Yes, there’s more competition in all fields. Yes, the barrier to entry has been lowered. Yes, amateurs can now shoot like professionals. No longer does owning a professional rig guarantee you professional rates.
We can easily make comparisons with changes in the music industry. Digital has changed the music industry. Obviously Napster and the MP3 had a huge effect but the cheap tools available to enthusiast musicians meant that they didn’t have to wait to be signed to a label, to get expensive studio time, to be able to make a record. Affordable digital audio interfaces (fancy soundcards to you and me), cheap and easy to use DAW (Digital Audio Workstation) software, and a plethora of information and support from their internet peers meant that anyone with a sound, an idea, a little talent and a laptop could make a record to rival releases put out by the biggest label. That bedroom, laptop jockey doesn’t have the budget of the large label to promote their work but the internet does provide a way of finding an audience for even the most niche artist. The appeal of this homemade approach reaches to a lot of established artists too which is why you hear of big artists leaving big labels to make and release their own work directly to their audience. Of course the industry is threatened. They were the gatekeepers of what got made and released and that’s no longer true. They controlled the radio stations and they no longer have as much hit-making power.
The photography industry won’t collapse because you allow your work to be used for free. The person who asks to use your work for free is not going to see the error of their ways because you point out how unfair it is that you don’t get paid for your work; they will just move on to the next person until they find someone who says ‘yes’. Is it shameful that for-profit publications and organizations are taking advantage of enthusiasts and are asking for work for free? Of course it is but your insistence that they treat you like Annie Leibovitz is not going to change anything. Like the music industry, the publishing industry has changed. Magazines and newspapers are folding left and right as they struggle to compete in a digital environment. Why would they commission a professional to go on assignment to illustrate something when they can search Flickr and find a dozen people with appropriate shots? One of those photographers will be flattered enough to let them use their work for free.
As a photographer you have to decide if you need financial compensation for your work to be used. But don’t think for a moment that because you give your work away some pro out there won’t eat tonight. Don’t take that on. The market has changed. If you want to let someone publish your work without payment that’s between you and your accountant or god (take your pick). You don’t want to be taken advantage of but nor should you be bullied into how you allow your work to be used.
Photo Quote of the Week
If you only photograph when you feel like it... you'll never be totally successful as a photographer. - Freeman Patterson (from PhotoQuote.com)
Smugs in San Francisco Tomorrow Night
The description of the presentation is as follows: Vision, Light and Refinement - three things that are key if you are interested from creating individual photographs to developing a body of work. Master Photographer, teacher, author and podcast host Ibarionex Perello will share his own journey as a photographer and how developing a deep understanding and appreciation of light helped him refine his approach to photography and create his vision. Additionally, Ibarionex will discuss how the editing process is crucial to fulfilling on that vision and truly developing a creative voice. If you are in the Bay Area tomorrow, please sign up and join us.
For more information and to register for the event click here.
The Candid Frame #153 - Robert Rodriguez Jr.
Robert Rodriguez Jr. was trained as a musician and graduated from the Berklee College of Music in 1990 and was a music producer for 12 years before transitioning to landscape photography and the desire to spend as much time in nature.
With visual story telling, he discovered the potential to express a more creative and personal vision. Focusing on the Hudson Valley allowed Robert to discover not only beautiful landscapes often taken for granted, but the changing mood and character of the region. Seeking to capture the beauty, or convey the emotional qualities of a place or moment in nature, his images have elicited responses ranging from evocative, to spiritual and breathtaking. He frequently travels beyond in search of other dramatic and unique locations, including New England, the southwest, and Canada.
Robert takes pride in a hands on approach to creating his expressive prints, working on every stage, from the initial exposure and processing, to printing and framing. His prints have been purchased by private collectors and commercial clients throughout North America. You can discover more about his work by visiting his website and his blog.
Robert Rodriguez recommends the work of Art Wolfe.
You can also subscribe to the show via iTunes by clicking here.
Or you can directly download the MP3 files by clicking here.
5 Reasons Why Not to Become a Professional Photographer
A lof of people consider becoming a professional photographer. So, there are are no shortage of tips and suggestions for making such a leap. However, here is a list of 5 reasons you shouldn't use as impetus for going pro.
1. You hate your job.
Being in a job that is not fulfilling and challenging is its own unique level of misery. If Dante had ever worked in a cubicle, he would have likely added another circle of Hell to his epic poem. But being in a state of misery and loathing it is not often the best state of mind for making a life change. Making a living from something you love involves making thoughtful and informed choices that will change the rest of your life. Making an impulsive choice based on such strong feelings might not result in the best decision-making, particularly when all that thinking is negative. Though your unhappiness can serve as the inspiration to make a change, it's your well-considered plan which will eventually lead you to successfully improve your professional situation.
2. You Think You'll Have More Time to Shoot
If you are struggling finding time to shoot with your current 9 to 5, you're going to find it even more difficult when you are working 24/7 to build and sustain your fledgeling photo business. With your current role, you are responsible only for one job (regardless of how frustrating or onerous you feel about it), but there are other people at the business that handle the rest of it including accounting, sales, inventory, receptionist. All those hats end up piled on your head, meaning that you have less time to do more work. If you find time with the job you currently have to go out and shoot, especially personal projects, you'll likely not only be able to continue this practice when you go pro, but it will likely make your free time that much more enjoyable and gratifying.
3. You Think You're Going to Become Rich
There are easier ways to become wealthy than becoming a professional photographer. Some of these even involve choices where you don't break any laws and don't risk sharing a jail cell with a guy named, "Meat". Though making a living from doing something you love can be vey gratifying, the work involved from procuring the job, creating the images, delivering the work and getting the client to pay you makes you feel like you earned every penny. The only way to achieve long-lasting success is to think of yourself as a business. And though it seems antithetical to a creative life, it's the kind of thinking that allows you rise above the tens of thousands of camera slingers who hang a sign outside of their home office and call themselves a "pro" but who only succeed in working twice as hard, but making half as much.
4. You Want to be Your Own Boss
There are definite advantages to this including someone not calling you on extending your 15 minute bathroom break. But the reality of being your own boss is that you are likely going to be the worst boss you have ever had. Now, you can't hide your oversights or omissions or your mistakes. You are ultimately accountable for everything that happens or doesn't happen. Though doing the laundry might make your signficiant other happy, it could simply be used as a distraction from the work that you really need to be doing to grow your business. Yes, your clothes may be clean and well ironed, but that will mean very little if you don't have any clients to get dressed for. If you need the fire underneath your butt to makes things happen, remember you are going to be responsible for gathering the kindling and lighting the match.
5. You're More in Love with the Idea of Being a Pro than Actually Being One
Sometimes, an unfulfilled fantasy is more gratifying than a fantasy made real. A dream manifested can be a wonderful thing, especially when it is the fulfillment of a lot of hard work. But it's the hard work that will take up the bulk of your waking hours and unless you can find that work satisfying and gratifying, you are going to have a hard time sustaining yourself between the time when you get to do what you love, making images. It's easy to get fooled by the glamour especially today in the era of the celebrity photographer, but photography is still a job, which will demand the best of you most days. That's both good and bad news.
Making the choice to go pro is giant leap of faith but the best things of life happen when you take a risk. The greater the risk of failure, the more satisfying the feeling when you succeed.
Just know where you are starting from. It really helps to figure out where you're going.
How to Make Select Color Adjustments in LR
Look for Pictures That Other People Don't Make
"Look for pictures that other people don't make."
It's a simple statement, but one that is full of insight.
I was thinking just along these lines when during this past weekend I had some students in my Digital SLR Bootcamp make pictures of a bandshell in the park where I teach the workshop. I encouraged them to not only make photographs from eye level, but to really play around and try different perspectives, focal lengths and compositions. I asked them not to settle for just one or two photographs, but to fully exhaust all the possibilities.
Some of the resulting photographs really surprised me. I saw in their pictures perspectives and points of view that I had never seen myself, even though it's a location that I have visited countless numbers of times. In their photographs, these students were really revealing to me the limits of my own vision.
I know what makes a good photograph or at least I think I know most of the time. So, when I photograph a scene or a subject, it's easy to compose a shot thinking that this is the definitive interpretation of it. But is that really the only possibility?
I saw photographers taking risks, making choices that they were not sure would work or not, but still committing to making the photograph. Yes, there was a risk that the image might not work, but that didn't deter them from trying it out and seeing what could happen. They weren't editing themselves and judging the picture before they made it. Instead, they practiced photography and played and discovered what worked and what didn't and in several cases, revealed exciting and beautiful surprises.
Ask 10 photographers to photograph a car and likely 9 out of 10 of them will deliver just that. They will make a picture of a car. It results in a photograph that is nothing more than a document. Then there is the one photographer who makes a photograph not of the car, but the qualities of the car that resonate with him or her. It could be the color, the shapes, the play off light off its surface. These photographers use the camera to create from not only what they see, but what they feel.
It's so easy to compose a photograph by following all the rules. Yes, it can produce a well-composed, well-exposed photograph, but it may not surprise me or anyone else. It may not make me feel anything. It won't reveal the world to me in a different way that's both exciting and liberating.
The best photographers do that and it begins when they make photographs that other people aren't making.
It's about photographing the world that expresses not only how I uniquely see it, but also which reveals my exploration of that world when I make non-traditional choices with the camera. When I am willing to take the risk and do something different, even though there is a possibility that it may not work, is whenI am really living in the spirit of what it means to be a photographer.
Photo Quote of the Week
The Danger of Knowing Too Much
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| Once you learn to deconstruct music you'll never listen to it the same way again. |
Here on the Candid Frame we often bemoan the fact that so much content out there is purely technical and about cameras and technique and not about photography. Photography disproportionately attracts a certain demographic; middle-aged, middle-class guys - my peeps. We have a tendency to pull the conversation towards the technical. In our defense, it has a lot to do with the way we were brought up and educated: we were pushed more towards the sciences, engineering and mathematics. We were encouraged to pull things apart and build things, to look at how things work, to be deconstructionists. Who can blame us when we apply the same philosophy to everything in the world: to people, relationships, to our art.
I noticed this early on in my own artistic endeavors. As a teenager and early twenty-something my passion in addition to partying and photography, was music. I loved listening to music and seeing bands play live so, naturally, I wanted to play in bands myself. To be in a band back then you had to be a deconstructionist. When you joined a band you'd be given a cassette tape of the band's material and you'd go away and spend a few weeks learning your part. This meant sitting with your instrument and a tape deck in your bedroom and tuning in to your part in each song, learning it by heart and playing along. It changes the way you listen to music forever. As a consumer of music you listen to music as a whole thing - you let the music wash over you and transport you. This is listening to music the way the musicians intended. As a wannabe musician you learn to pull the music apart in your head; to listen to the bass, the drums, vocal, keys and guitars all separately. You learn to tear it apart into measures of verse, chorus, intro, outro, bridge and solo and even more granular elements. You learn to find the key changes and the appropriate scales to use to build your solo from. You sit for hours listening to recordings of your heroes learning something note for note. When you have had enough of emulating others you try to build your own songs but you can never hear them like your audience can. You listen to your part and your band-mate's parts and any mistake or imperfection that you hear pulls your ear away from the whole.
When I got into video and filmmaking it was the same process. You take this thing that you love and you learn how to pull it apart into its components so that you can build it yourself. You learn too much to really enjoy your own work or the work of others anymore. There's a musicians joke that sums this up: How many guitarists does it take to screw in a light-bulb? Four. One to change the bulb and three to stand around mumbling to each other, 'I can do that better.'
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| There is still mystery and magic to be found in holy places. |
And yet I'd never go back; we can't go back. I love digital because it has made me a better photographer. I look back at my wet prints and all I see is dust and scratches and bad exposures and poor materials and mistakes. That is the price we pay for knowledge. So how can you experience the magic again? In music I can get it from forms I never learned to deconstruct: jazz, electronica and hip-hop. In film I find it in foreign movies that don't have to follow the Hollywood formula or short films or movies made for no money that don't have backers they have to answer to. In photography I find it by removing myself from the digital experience: by really spending time looking at monographs and by visiting my holy places, museums and galleries, where pictures transport you beyond the technical into the imagination and experience of the photographer.
There is no way to unknow what you know, or to turn it off. That boat has sailed. But in acknowledging your knowledge you can still find ways to experience the magic of photography. It is that magic I try to draw upon for inspiration not a newly learned technique or newly acquired piece of gear. It is so much easier for many of us to fall back on technique but, in my opinion, it is worth the effort to work harder to try to rekindle the magic that inspired you in the first place.
I'd love to hear any opinions you might have on this subject in the comments below.
The Candid Frame #152 - Brian Matiash
He has specialized in developing and refining his use of HDR (High-Dynamic Range) to use it not merely as a gimmicky visual effect, but rather as a tool to help him realize his own personal vision of a subject and a scene. You can find our more about Brian and his photography by visiting his website and his blog.
To read his guest blog entry on Scott Kelby's blog click here.
Brian Matiash recommends the work of Nicole Young.
For streaming audio click here or subscribe to the podcast for free via
How to Edit Your Travel Photos
This is a technique which I use not only for winnowing down images from my travels, but also large bodies of work including personal projects.
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10 Photographers You Shouldn't Ignore
If you're only casually into photography the only names on the list you'll really know are HCB, St Ansel and Arbus. I do sympathize with what the author is trying to say. If I ask a photog about their favorite artists and they don't mention anyone outside of the holy Tri-X trifectorate or the Flickr all-stars I assume the rest of the conversation will be about gear and technique rather than photography itself. That may be just me being an art photography snob but I believe that all photographers from the enthusiast to the highest paid professional must know some basic art photography history.
The truism that if you don't know your history you're doomed to repeat it applies to photographers just as much as it is true for anyone else. In the modern world we are surrounded by photographs: billboards, advertising, the interwebs is full of photography. Some of it is good, some is bad, but, if you're a visual person, you can't help but be influenced by it. It will also leak out in your photography. The trouble with that influence is that it is second or third-hand so it is weak and diluted. You have to go back to the original source. That's the only way to know what you're really trying to emulate or the cliche's you should try to avoid. If you're a young musician and you love Green Day, and you want to start your own punk band you will just be a hollow imitation of punk if you don't go back to Green Day's own influences. You'd have to go back to The Sex Pistols and The Clash and understand why punk came about to be relevant today.
At the risk of putting words into Mr Formals' mouth it seems to me he was saying you have to know these influential photographers so that you can avoid their influence in your own work: "don’t ignore [their] work. Absorb it, absorb it all, marvel in [their] genius and grace." In most cases the authors didn't seem to be deriding the source but those that mindlessly emulate them. Whatever the intention, after I'd read the piece and stopped sniggering it did feel a little elitist and negative. In in effort to address this with a more positive list here are 10 photographers (in no particular order) who I think you ignore at your peril:
Martin Parr
It is hard to overstate Martin Parr's influence on the modern art photography scene. He literally wrote the book (actually 2) on art photography books. His best known work is luridly saturated and has been accused of looking down on his blue-color or tasteless, nouveau riche subjects but he has, over recent decades, fearlessly described a change in society towards a bland, commercial globalization of our world. His work is full of truth and an uncomfortable humor.If you don't know where to start, start at The Last Resort and work forwards.
William Eggleston
William Eggleston was the punk in photography. He was the first color photographer exhibitted at MoMA and it's hard to appreciate the controversy it created in its day (Ansel Adams hated it so much he wrote to the museum's board) but this work not only legitimized color work but it heralded a new snapshot aesthetic that is still hugely influential today. I know Eggleston was in the list of photographers to ignore but you do so at your peril.If you don't know where to start, start with Eggleston's Guide and see how many album covers you spot in it's pages.
Helen Levitt
According to the negative list HCB 'narrowed the path of street photography'. If this is true Levitt walked that path and humanized it. Of course all street photography is a product of the time and place it was created and the appeal of Levitt's work is partly being transported back to another time. Contemporary street photography always seems to be fighting between the aesthetic laid out by HCB and modern subjects. Event though Levitt's work is decades old she shows that street work should be contemporary to the time you live in and doesn't need to prematurely nostalgic.If you don't know where to start, Crosstown is just about the most perfect monograph I have come across. As it's out of print hunt it down in secondhand books stores and treasure it when you find it.
Robert Frank
Another photographer from the ignore list but if Jack Kerouac writes the forward to your book you know it is something special. Frank was as much an influential part of the beat generation as Kerouac. His work is the equivalent of The Road and he was one of the first photographers that tried to describe who and what America was.If you don't know where to start, start with The Americans: it can be a little underwhelming to modern eyes but let is sit a while - it is not such an influential book without a reason.
Andreas Gursky
We know the headlines: Gursky's Rhein II sold for more than 4 million dollars to become the most expensive photography ever sold. So what do deap pocketed collectors know that you don't? In a world dominated by an instant snapshot aesthetic Gursky shows that there is room for something more slow and considered. His large format process and huge prints show the power and impact that photography can have but they also show big prints have to be big for a reason not just to cover square inches. His work can seem dispassionate and deadpan but it is unrepentantly modern and relevant.
If you don't know where to start Gursky's work should be seen in the flesh not reduced down for publication. Many modern art museums display his work (MoMA, SF MoMA, Centre Pompidou, Tate Modern, etc.)
Richard Avedon
If you attempt fashion or portrait photography it is impossible to avoid the influence of Richard Avedon. Any black and white picture shot against a plain white background is going to draw comparisons. There is so much of his own personality in his portraiture that he sometimes is criticized for it but he understood the relationship between art and (that dirty word) money better than any other photographer of his day and his influence is still felt today. His pictures look so contemporary because many photographers have followed in his deceptively simple style and his influence and popularity show no sign of waning.
If you don't know where to start, start with his Magnum Opus, In The American West. It is, however, a poor substitute for seeing this show for real. If it ever tours again you must make time to see it. It shows an understanding of the use of drama and stagecraft in a gallery setting.
Jeff Wall
When thinking of a photo-conceptualist to include here I was torn between Jeff Wall and the slightly more mainstream Gregory Crewdson. To me they represent the same idea of describing a fully formed narrative in a single image and an antidote to the misconception that modern photography is just about snapping pictures of what you encounter. Every inch of the frame is carefully considered and nothing you see there is an accident. Jeff Wall's images are carefully constructed and the results are often displayed back-lit which heightens the cinematic experience.
If you don't know where to start, Jeff Wall is another photographer who should be seen in person but he is a thinking person's photographer so his Selected Essays and Interviews are a rich source document.
Sebastiao Salgado
The sheer scope of Salgado's work is massive. His two largest projects are to be found in Migrations and Workers which contain hundreds of images describing the big picture issue in each. Salgado is concerned with world wide issues which can't easily be described in a single image. These two works can both be overwhelming which is appropriate in that the issues he depicts are overwhelmingly huge too. Yet Salgado, even at this point in his career, believes that his work can change the world. In a cynical world his images can sometimes be hard to stomach and yet his message is hopeful.
If you don't know where to start, you have to get hold of both Migrations and Workers and keep going back to them.
Bernd and Hilla Becher
The Bechers invented the form sometimes called typology. Their deceptively straightforward aesthetic and uniform approach to every subject lend a scientific air to their work. Subjects were generally industrial architecture with prints being arranged deliberately to demonstrate differences and similarities between subjects. Their influence is found on many documentary and conceptual photographers today and, although it can be argued that typology has been done to death, a view at the Bechers oeuvre shows the power in the form.
If you don't know where to start, any of their typologies are worth seeing: Typologies of Industrial Buildings is a good example.
Elliot Erwitt
In case we take ourselves too seriously and forget that photography should be fun, I include Elliot Erwitt here. If you think he just takes images of dogs you must revisit his work. He has a visual wit that is unmatched. His catalog is huge and he still continues to make images and exhibit his work today. In case there is a danger that we do take him too seriously he has created an alter ego, André S. Solido, in order to "satirise the kooky excesses of contemporary photography".
If you don't know where to start, start with Snaps.
Photography Books to Inspire
During an interview today with photographer, Brian Mattiash, we touched on the importance of photography books in developing one's eye for good photographs. We weren't talking about instructional books, but rather monographs, collections of images that represent bodies of work.
For myself, it was these books that provided me the most important part of my photo education. During college at Berkeley, I would make weekly journeys to Moe's Bookstore and others searching for deals on the photographers that truly inspired my imagination including Robert Frank, Mary Ellen Mark, Garry Winogrand, Gordon Parks, William Albert Allard, William Eggleston and many others.
I did and continue to spend time opening those books and just taking in those images, lingering on them in a way that rarely happens when viewing images on the computer screen. Today, we have conditioned ourselves to view images for just a few seconds with the only expenditure of energy being the clicking the mouse to indicate a "like" or a "+1" or some equivalent.
In my opinion, this robs a photographer of the best and greatest opportunity to learn and understand what makes a good image. Looking at a print or a monograph allows you to view great photographs at a more leisurely and relaxed pace. For myself, it allowed me to absorb and recognize a great photograph. It helped inform how I saw the world when I ventured out with my own camera.
It's with that in mind that I thought I would recommend some books and photographers that I feel are worth the investment in one of their titles. Though some of my favorite books are no longer in-print (thankfully I have my copies already), there are some close equivalents that I think are worth of a look.
Mary Ellen Mark
I own several of her early monographs including her early documentary work including Streetwise, Ward 81 and Falkland Road. Though she is likely better known for her portraiture, all of her work is influenced by an abiding respect and affection for her subjects. Her simple, straight-forward approach, primarily in black and white provides me a clear example of how beautiful and poignant a portrait can be. You look at her subjects and you immediately want to learn more about them. That's is a powerful thing that few photographers are capable of achieving.
William Albert Allard
If any photographer influenced me most, especially with respect to how I see and use color and light, it's Bill Allard. A National Geographic photographer who used Kodachrome in ways that many other photographers would think impossible, he was able to produce images that were stunning and engaging. The fact that his image could be beautiful but still meet the demands of the story is something that still amazes me. I had the pleasure to interview him several years ago and it was easily one of the highlights of my podcast career. His recent retrospective book, Five Decades provides a wonderful way to discover or discover his work and includes his personal writings on his work and career.
Gordon Parks
This man was a photographer, a writer, a composer, a director, a poet and so much more. It seemed like there was nothing that he couldn't and or didn't do. From humble and challenging beginnings in Kansas, he became one of the legendary photographers of the Farm Security Administration and Life Magazine. He also went on to direct the classic, Shaft and produce several memoirs of his amazing life. It was a life that he fictionalized in the nove, The Learning Tree, which he would eventually translate to the screen as the movie's director. He was prolific even til the end of his life and this book provide a glimpse into the endless talent that was Gordon Parks. Another title of his that I would heartily recommend is A Choice of Weapons, his classic first biography, which provide a glimpse into the man who redefined what is possible in a single life.
Sam Abell
Sam Abell is the second National Geographic photographer in this list. And though he worked along with Allard at National Geographic, the look of his images are uniquely his own. Inspired by his father's love for photography, he developed an approach that allows him to see and build photographs in a way that encourages truly seeing a subject and a scene. There is no "spray and pray" approach to be found here, but a practice of careful observation. This book is one that I re-read regularly and from which I derive a new bit of wisdom. He other title A Photographic Life is more autobiographical but provides just as much food for the eyes as this does. You can't go wrong
Bruce Davidson
A member of the Magnum Collective, Bruce Davidson is a photographer who combines the social consicous of the great documentary tradition with the instincts of a street photographer. From his work with streets gang in Brooklyn to the subway of Gotham, his work has consistently delivered. His book Subway was a marvel to me when I first picked up a copies over twenty five years ago. He revealed the underground world with an eye of beauty that most people, especially the subway's daily commuters would not have recognized. Recently re-released with additional images, Subway is a shining example of the personal project and the commitment one has to make to creating a body of work. A retrospective of his work Outside - Inside is also available, and though a bit pricey, is well worth it.
There are many other titles that I could recommend, but I'll save that for another post. If you do consider purchasing one of these books, please note that if you purchase them through by Amazon affiliate links, the show will receive a small percentage of your purchase. It provides you a great way to support the show.
But even if you choose to support your local bookstore, I hope that you find these or more of these titles helpful to your photography education.
Bruce Davidson
A member of the Magnum Collective, Bruce Davidson is a photographer who combines the social consicous of the great documentary tradition with the instincts of a street photographer. From his work with streets gang in Brooklyn to the subway of Gotham, his work has consistently delivered. His book Subway was a marvel to me when I first picked up a copies over twenty five years ago. He revealed the underground world with an eye of beauty that most people, especially the subway's daily commuters would not have recognized. Recently re-released with additional images, Subway is a shining example of the personal project and the commitment one has to make to creating a body of work. A retrospective of his work Outside - Inside is also available, and though a bit pricey, is well worth it.
There are many other titles that I could recommend, but I'll save that for another post. If you do consider purchasing one of these books, please note that if you purchase them through by Amazon affiliate links, the show will receive a small percentage of your purchase. It provides you a great way to support the show.
But even if you choose to support your local bookstore, I hope that you find these or more of these titles helpful to your photography education.
Photo Quote of the Week
