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Category: Photography

What They Look Like: Harley Weir

Harley Weir

From a 2012 interview with Bullet:

Starting so young, how do you feel the Internet affected the trajectory of your career?
Without it, there would be no career. The internet was completely my portal into photography. I think that is the case with pretty much everyone these days. I started off posting my pictures on the internet. Someone liked them, some other people started liking them, and it sort of bubbled away like that. The internet has been very good for me.

Leica '100'

Good ad, but a bit hyperbolical of them to say, towards the end: "The most iconic images in history, even if the ones that weren't taken by a Leica, were taken because of a Leica. We didnt invent photography, but we invented photography".


A new Leica "100" advertisement, relating to the Leica 100 year centennial and celebrating the opening of the Leica Gallery in Sao Paulo, Brazil. It recreates 35 historical Leica photos.

Steven Klein’s Hamptons Home

Steven Klein’s Hamptons Home

Architectural Digest

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In Fellowship


By Chadwick Tyler

iOS 8 Camera Controls

Joshua Ho:

To be clear, iOS 8 will expose just about every manual camera control possible. This means that ISO, shutter speed, focus, white balance, and exposure bias can be manually set within a custom camera application. Outside of these manual controls, Apple has also added gray card functionality to bypass the auto white balance mechanism and both EV bracketing and shutter speed/ISO bracketing.

What They Look Like: David Bellemere

David Bellemere

What They Look Like: Jamie Hawkesworth

Jamie Hawkesworth (MAP)

Jamie Hawkesworth (MAP). Sample work.

RocketScience quick interview with Jamie:

Where is your studio exactly and how long have you been working there?
I have a small darkroom inside Rapid Eye, on Leonard Street, London. I have been here about a year… Prior to that I was taking trips down to Brixton to print. When I first moved to London, I was assisting a photographer who used to pay me by letting me use his darkroom in East Acton; he would teach me to colour print there. It a was a brilliant place to learn, and it feels great to now have my own place.

Nikon Df

Nikon Df

-Nikon's thinnest, lightest FX-format D-SLR
-16.2MP image sensor paired with EXPEED 3 image processing
-Dedicated mechanical dials for shutter speed, ISO sensitivity, exposure compensation, exposure mode and release mode
-39-point autofocus system with 9 highly accurate cross-type sensors
-Compatible with all current AF-S, AF-D and AF NIKKOR lenses


Nikon Rumors:

The Nikon Df and 50mm f/1.8 kit will cost $2,996.95. The body only is $2,746.96. Both versions are available in silver and black. The release date is Thursday, November 28, 2013.

Additional information:

Reignite your passion for photography with this thrilling blend of classic and modern. On the outside, it's classic Nikon—our thinnest, lightest FX-format body with an elegant mechanical operation system inspired by the legendary F, F3 and FM/FE series film cameras. On the inside, it's flagship Nikon D-SLR—the advanced 16.2-MP FX-format image sensor and EXPEED 3 processing engine from the D4, our ultra-fast 39-point AF system, an ultra-high resolution LCD display and even Wi-Fi® photo sharing (with optional adapter). Embrace a more personal shooting style that results in some of your most inspiring photos yet.

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NYT On Deborah Turbeville

Note: while Vogue Italia stated Turbeville was 76, The New York Times states shes was 81. 81 it is.

NYT: Deborah Turbeville, Fashion Photographer, Dies at 81

20131026TURBEVILLE-slide-U9NP-articleLargeDeborah Turbeville, who almost single-handedly turned fashion photography from a clean, well-lighted thing into something dark, brooding and suffused with sensual strangeness, died on Thursday in Manhattan. She was 81.

Her death, at St. Luke’s-Roosevelt Hospital Center, was from lung cancer, her agent, Marek Milewicz, said.


Ms. Turbeville’s photos, by contrast, were unsettling, and they were meant to be. In her fashion work, clothes are almost beside the point. In some images the outfits are barely visible; the same is often true of the models, resulting in an elegiac landscape defined more by absence than by presence.

In a de facto commentary on fashion’s manipulation of women, Ms. Turbeville literally manipulated her negatives — scratching them, tearing them, scattering dust on them and otherwise distressing them — to make the finished images redolent of decay. She employed faded color, black-and-white and sepia tones; prints were often deliberately overexposed, rendering her subjects spectral.

★ The New Photographer

Interesting thoughts on the change taking place in photography. Film SLR > DSLR > Digital-Video-photography.

Rex Sorgatz writes:

The role of the filmmaker is changing, from one who records images through a lens to one who curates images from an existing database of footage.

Clayton Cubitt expands:

This state of tranquility and presence has been the essence of the modern photographic act, best characterized in the popular mind by Cartier-Bresson's concept of the "Decisive Moment."

Cartier-Bresson believed that the photographer is like a hunter, going forth into the wild, armed with quick reflexes and a finely-honed eye, in search of that one moment that most distills the time before him. In this instant the photographer reacts, snatching truth from the timestream in the snare of his shutter.


So the Decisive Moment itself was merely a form of performance art that the limits of technology forced photographers to engage in. One photographer. One lens. One camera. One angle. One moment. Once you miss it, it is gone forever.  Future generations will lament all the decisive moments we lost to these limitations, just as we lament the absence of photographs from pre-photographic eras. But these limitations (the missed moments) were never central to what makes photography an art (the curation of time,) and as the evolution of technology created them, so too is it on the verge of liberating us from them.

The Decisive Moment is dead. Long live the Constant Moment.

So the argument as Cubitt puts it in his article is this: the photographer ... is then truly a curator of reality after the fact.

The concept of photographers taking more images than eventually used has been taking place since the beginning of photography (albeit at higher cost); but more so now with the cheep cost of digital photography. Also, the idea of photographers choosing which images to use has also been present since the beginning; hence they have always been a [form of a] curator. Yet, and here is the gist of, and difference in, this discussion: their curation was dependent on the number of images they were able to physically capture in the Decisive Moment. It was a limited number.

Now, with the idea of what Cubitt is calling the Constant Moment, the photographers can [360 degree] video capture a scene, and choose a slice-photo of their liking, afterward; making them full-on curators. You no longer worry about snapping a picture; you just click tape, site back, then go to the editing room to choose your photo.

To me anyway, the most important part and what defines a photographer is their taste; in two parts. 1) What to capture when (the feel). & 2) which images to use (the curation).


Chadwick Tyler Tumblr

Chadwick's new tumblr. Some never before images, updated daily.

W's Photographer Contest

Zoe GhertnerIn the November issue marking its 40th anniversary, W is introducing an annual feature called “The Shot,” which seeks to identify and support the next generation of stars in fashion photography. The issue includes a portfolio of six emerging photographers whom its editors, in a partnership with the International Center of Photography, have identified as “exhilarating new talents.” One of them will ultimately be named a winner. The grand prize is the opportunity to shoot a feature for the magazine’s September 2013 issue.


“We looked for photographers with original ideas,” said Stefano Tonchi, the editor of W. “We selected the ones who are not like anyone else.”


The finalists — Erik Madigan Heck, Boo George, Kacper Kasprzyk, Karim Sadli, Zoe Ghertner and Benjamin Lennox — include some who are already known for their work for independent magazines but have yet to break through to the big leagues.

NY Times: Credit Behind the Lens