You know you’ve made it when even your haircuts are getting filmed, meaning you acquired enough credibility to be seen caught in the middle of something. That’s the reason I love this video with master photographer Philip-Lorca diCorcia. Besides having some great insights about his well-known project Hustlers, it’s also made mid-haircut. Much respect. If you want to see diCorcia smocked up, arms crossed, and talking about age and how to get better as a photographer, then this is for you.
At three o’clock every day, I go to the bathroom. Well, sorry, actually that’s a lie. At three o’clock every day, I either go to the bathroom or think about going to the bathroom. Why? Yes, there’s routine, but there’s also something else. I enjoy a special coincidence there. At that time, every day, a single ray of light — bounced from the 50th or 60th floor of a neighboring skyscraper — falls in from the left to hit the right-side stall wall. It only lasts a couple minutes, but it’s always pretty to see.
I’ve even Snapchatted this bathroom shot to friends. They didn’t care. But in the act of doing this I’ve forced my mind to remember this spot and this time of day. Noting light. Writing about it. Forcing myself to remember. I’m sure you’ve done the same. But if you need further proof that loving photography means you should take notes of places around, here’s one of the best, Joe McNally, confirming it for you. He’ll explain how he picks up light around him, then pass along a few pro tips you should always take with you.
If I had enchanting, bright, and amazingly colorful eyes, I’d take more selfies than all the world combined. I’d also be a movie star. I can already see myself with those eyes that take no prisoners and leave everyone wanting more. But, unfortunately, I’ve got the average and totally normal ones: dark brown with no hint of hazel or tan. All just mud brown. So you can imagine how grateful I was to have found that I could change all that with a simple Photoshop trick!
Of course, I’m mostly joking. I love my eyes, but I do appreciate knowing I could always enhance them by learning a simple technique from Phlearn. In this less-than-15 minute tutorial, you’ll be able to add color, sharpness, and brightness to anyone’s eyes. But beware though. Because as the grandfather from Spiderman said, with much power comes much responsibility. Nobody wants that dead Barbie look. Use discretion with your amazing Photoshop magic.
Brigitte Pavich Interview: Using Instagram and an iPhone to Capture the Bittersweet Beauty of Being Alive
Epiphanies never come quietly. Like a thunderclap, they emerge only after breaking some barrier. Always hidden and at all times awake, these moments arise from some automatic recalibration of your inner ordering. You could even say that it’s only during an epiphany that you can actually feel your brain creating a new pathway — feel your synapses igniting. Of course, poetic language has an equivalent to the rousing epiphany. It’s the oxymoron.
One of the oldest oxymorons in Western literature is bittersweet. You can find it Sappho’s 130th fragment — all the way from 620 BC. In this simple poem about what love feels and tastes like, Sappho uses the oxymoron to bring all the multiple perspectives about love together. It becomes her fulcrum, acts like her epiphany written out. Just imagine what a listener would have felt once hearing this newly created word to describe love:
Once again that loosener of limbs, Love,/ bittersweet and inescapable, crawling thing,/ seizes me.
Bruce Gilden is my favorite street photographer. I love that he cusses a whole bunch, doesn’t give a damn, and makes amazing work. Of course thinking about it for a bit, you get to wondering why he is the way he is. Why does he go on the streets the way he does? What drives him to go into full confrontation mode, though he says he doesn’t like confrontation? What does he look for?
I think this short video gets to answering some of those questions, especially the last one. From watching it, you may easily say that he’s looking for story, for a look that means this person hasn’t lived looking mostly at themselves, or what’s immediately apparent, but has full-heartedly lived knowing that we’re all carrying some important truth, some hidden light, some note that needs to be heard. Put in a less trumpeted way, he’s drawn to sincerity. But I’m sure you’ll find your own inspiration in this video.
With a name like Eric Ray Davidson, it’s easy to imagine big-time fame, high-stakes confidence, and fast-living would follow you since birth. It reads like one of those 1950s Hollywood stage names that just resonates with a mnemonic stick-in-your-head traction. Being a celebrity photographer, photojournalist, and all-around cool guy, Eric Ray Davidson has certainly lived up to that neon-painted bet his parents hedged with this excellently crafted name.
I mean, you don’t get to jump onto a porn set with someone like James Deen unless you exude cool. You don’t become an associate photo editor at Details unless you, again, you have that French je ne sais quoi hyper-mystique. Stylish to the point of a crisp Simon Spurr suit, pristine as an idyllic midsummer nap on the wings of a rosy-cheeked cherub, all of Davidson’s photographs have that cool – like a cold-kiss-from-a-sexy-stranger cool. They’re close-up, intimate, observant, yet seemingly far away. They revel in that undefinable it.
In this interview, Eric Ray Davidson talks about making a dark room in high school, explains his approach to lighting, reveals what it was like shooting in a porn set.
How do you introduce yourself to strangers? Do you, like celebrity photographer Maarten de Boer, admit that you enjoy eating popcorn with chopsticks? Or that you love bacon and black pudding? And if you have a beard, do you say you love it? I’ve learned a thing or two from interviewing many great photographers, and one of them is that their aesthetic reaches out to everything they do, even determines their little bios on their sites. Some go formal, others go silent, and still others, like de Boer, go personal.
The personal ones are my favorites. From de Boer’s, I can gather that the ellipses, the under-cased i, and brilliant selfie all indicate that he’s a photographer who truly enjoys and understands himself. Perhaps that’s why his images all feel consistent and personal. They are photographs that proudly scream that they were taken by him. And though I haven’t met de Boer, I imagine that he’s as approachable, confident, and graciously funny as many of his images are.
In this interview, de Boer talks about his long journey in photography, explains how he achieves his wonderful lighting, and reveals why a photographer’s style is a deeply personal thing.
I was watching the local news and eating a bowl of Muesli when I saw this video. Okay, so that’s not a special intro, I know, but what happened after this video aired is what caught my attention and made me laugh. And although it’s probably whatever to you, I thought it was hilarious that the lead anchor — just after watching the video — says to others, “You know what? I really appreciate the HD quality of this video. It really puts you there.” And to that I say, INDEED. So play this at HD and shake your head in condemnation.
Although it’s obvious after several thousand photographs, when you first start shooting it’s difficult to see where your deep-rooted fascinations, those irreducible attractions you’ve had since you were young, are taking you. Yet soon, as every shot builds on another, some recurring themes start to form. If you’re lucky, you’ll recognize these patterns as your own voice clearing its throat. If you’re smart, you’ll follow where they lead you.
For fine art photographer Christine Carr, photography simply continues what she had already been doing. It allows her to stay exploring the literal and figurative outskirts of cities. Though many of her images don’t take place at the edges, they still all feel caught in-between. Made away from city congestion but city-life still visible, about structure yet also about boundless nature, her work investigates the middle ground, searching for a balance between natural and artificial form.
In this interview, Carr talks about her start in photography, explains her attraction to geometry and timelapses, and reveals why she sticks to medium format cameras.
I’m prone to exaggeration, so I’ll warn you that I’m about to exaggerate. So here it goes: this video is one of the few things in the world that has successfully taken my breath away. It’s up there with my first remembered birthday, my first great kiss, my road trip to see New York, and when I finally watched Grease beginning to end. Yes, it’s only a GoPro video found on youtube, but it’s also a visual marvel.
Because at the twenty second mark, you’ll sense where the future of filmmaking may go — if it hasn’t already. Consider that it was made using a drone, consider also that its budget wasn’t as big as anything Hollywood has, and you’ll realize that you have an almost never-before-felt way of imagining how it feels like to fly. Just ignore the rough-around-the-edges acting and you should have your breath taken away, too.