Podcasts about Irving Penn

La Fundación MOP acerca la fotografía a los estudiantes a través de Irving Penn

Crescenzo Notarile and Paris Chong discuss his work shooting nudes, with Paris acknowledging the potential for perversity and intrigue associated with the genre. Crescenzo emphasizes that all great artists start with nudes to study form, beauty, lines, and geometry, citing Picasso, Rembrandt, and Caravaggio as examples. He shares his own influences in nude photography, including Bill Brandt, Joel Peter Witkin, Helmut Newton, Robert Mapplethorpe, and Irving Penn. Crescenzo highlights the challenge of evoking emotion and avoiding cliché or vulgarity in nude photography, and mentions his own nude book and his use of infrared film to create a unique aesthetic. He also acknowledges the common observation that male photographers often shoot more female nudes than male nudes, offering reasons such as the perceived difference in beauty between the male and female form, as well as the difficulty in finding male models willing to pose nude.Show Clip from The Paris Chong Show with Crescenzo Notarilehttps://youtu.be/_vFzSFYdQLohttps://www.theparischongshow.com

The Stories: Famously took the ‘Farrah' out of Farrah Fawcett by giving her a bob. Took Madonna's hair from club kid to everyone wanting to look like her. Responsible for Karlie Kloss' short hair transformation. Glory days at Studio 54. Making news in the 1990's with celebrity clients. The Backstory: Started doing hair at age 13, and declaring it at school. His time at Bergdorf Goodman left a lasting impression, where Suga was his mentor. Wisdom Rains: Don't get too chummy or personal with clients. You are there to serve them and make them feel taken care of. Hot Heads: Farah Fawcett, Madonna, Karlie Kloss, Victoria Beckham, Lady Gaga On Inspo: “I've learned how to collaborate; it's one of the biggest things I've learned, and one of the biggest things I've always been inspired by.” On R + Co:  “I reflected on my first couture show in Paris with Polly Mellen, Irving Penn, and his wife. We were at YSL, I saw the girls come out in all these colors. I was knocked away and it never left me. That color storyboard was so in my head that when we were able to do the R + Co Bleu line and we didn't know what to call it, I said, ‘Bleu'.” What Else: Taking leaps and getting to the next level. Living well and in style. Obsixed: a collection of Garren's lifestyle obsessions. Discover more + Shop The Podcast: R+Co Bleu Reparative Shampoo R+Co Bleu Essential Shampoo⁠  R+Co Badlands Dry Shampoo R+Co Bleu Essentials Hair Tonic R+Co Bleu Root Booster Volume Spray Sisley Paris Supremya At Night Anti Aging Skin Care Sisley Paris Supremya At Night Anti Aging Eye Cream  Sisley Paris Sisleÿa L'integral Anti-Age Hand Care Concentrate⁠ Dustin Pittman New York After Dark Helmet Newton LegacyTod's Loafers in Blue Suede AYR The Normie Straight Leg in Oyster 

EVERYONE IS A SALESMAN—In 1995, New York magazine declared Martha Stewart the “Definitive American Woman of Our Time.” And, as the saying goes (sort of), behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that's today's guest, designer Gael Towey.But let's back up. It's 1982, and Martha Stewart, then known as the “domestic goddess”—or some other dismissive moniker—published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers.In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine.Towey's modest assignment? Define and create the Martha Stewart brand. Put a face to the name. From scratch. And then, distill it across a rapidly-expanding media and retail empire.In the process, Stewart, Motley, and Towey redefined everything about not only women's magazines, but the media industry itself—and spawned imitators from Oprah, Rachael, and even Rosie.By the turn of the millennium, Martha Stewart Living Omnimedia, as it was rebranded in 1997, included seven magazines, multiple TV projects, a paint collection with Sherwin-Williams, a mail-order catalog, Martha by Mail, massive deals with retailers Kmart, Home Depot, and Macy's, a line of crafts for Michael's, a custom furniture brand with Bernhardt, and even more bestselling books. And the responsibility for the visual identity of all of it fell to Towey and her incredibly talented team. It was a massive job.We talk to Towey about her early years in New Jersey, about being torn between two men (“Pierre” and Stephen), eating frog legs with Condé Nast's notorious editorial director, Alexander Liberman, and, about how, when all is said and done, life is about making beautiful things with extraordinary people.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

Obras de Paula Rego, Helena Almeida ou Julião Sarmento fazem parte da coleção de Mário Teixeira da Silva, que pode visitar na nova exposição em Serralves. Neste Ensaio Geral, em que vamos até à Corunha ver a exposição de um dos ícones da fotografia de moda, o norte-americano Irving Penn, abrimos também o mais recente livro do premiado escritor Frederico Pedreira e escutamos as sugestões literárias de Guilherme d'Oliveira Martins. A não perder uma conversa com o fadista Camané sobre o novo disco ao vivo de homenagem ao “mestre” José Mário Branco.

Nos acompañan Alicia y Mar Álvarez, Pauline en la playa, para hablar de su último disco, 'Los días largos'. También de la radio, la tele y de crecer en una librería y después escribir canciones y libros. Y de tener una editorial, una escuela de música y una legión que les sigue acompañando 25 años después.Hoy abriremos de nuevo la librería de Stars Hollow con Inés Martín Rodrigo y La Pequeteca de Leticia Audibert. Con sus lecturas haremos de este lunes un día largo de esos que cantan Pauline en la playa. También con las de Piedad Bonett, Premio Reina Sofía de Poesía Iberoamericana, que ha charlado con Ángela Núñez de su antología poética: 'La oscura disonancia'.Entre la tiniebla y la luz nos moveremos con nuestro compañero Víctor Alvariño y con las fotografías de Irving Penn, un pionero de este arte, de los retratos de moda cuya obra se expone estos días en A Coruña.Escuchar audio

Llega la exposición de Irving Penn a la Fundación MOP

Ya podemos decir que 'La sociedad de la nieve' es la película de 2024 y esta noche hablamos con uno de sus protagonistas, Matías Recalt, que ganó el Premio Goya a Mejor Actor Revelación en la última edición en Valladolid. Además, nos ha contado que volverá pronto a España para nuevos proyectos. Daniel García, director de ICON, nos habla del último número de la revista que dedica un espacio a la exposición sobre el fotógrafo de moda Irving Penn en A Coruña. Como cada miércoles, Eva Cosculluela nos abre su librería con las mejores recomendaciones literarias.

Puntata 161 - Esiste un workflow universale in post-produzione?Oggi rispondo a una domanda che in molti sono fatti (io per primo, all'inizio del mio percorso), ovvero all'ooportunità di identificare un flusso di lavoro sempre e comunque valido in fase di post-produzione. Ne esiste uno? Ci sono delle regole o delle buone nomre universali da seguire? A cosa è importante fare più attenzione quando impostiamo e pianifichiamo la nostra post?Prosegue la rubrica Quei Bravi Fotografi, oggi vi parlo dell'immenso Irving Penn, considerato a ragione uno dei più importanti fotografi del XX secolo. Capirete perché... Come sempre, trovare i suoi riferimenti in coda alla descrizione.Aspetto le vostre domande e i vostri feedback. Buona luce a tutti!*******************************************I MIEI LINK:Cliccate qui per sostenere con un piccolo contributo economico alle spese del podcast e ottenere dei benefici esclusivi: PatreonEmail: andreageymet@gmail.com (da usare anche per un contributo con PayPal)Portfolio:https://andreageymet.myportfolio.compeopleofindia.myportfolio.comInstagram del podcastLe mie foto dei viaggi: viaggiI miei ritrattiIl mio profilo Thread: @andreageymet Il gruppo Telegram*******************************************Se volete farmi un regalo, cliccate sulla mia lista amazon*******************************************IL SITO DOVE LEGGERE LE RECENSIONI DELL'ATTREZZATURA: Juza Photo******************************************* Il mio fornitore di fiducia: Solo Digitali(chiedere di Paolo a nome mio) *******************************************Quei Bravi FotografiIrving Pennhttps://it.wikipedia.org/wiki/Irving_PennThe Irving Penn Foundationhttps://www.instagram.com/the.irving.penn.foundation/

Episode 137– Bay Area Yarn Crawl! March 28, 2024 On the Nightstand 1:53 We are now a Bookshop.org affiliate!  You can visit our shop to find books we've talked about or click on the links below.  The books are supplied by local independent bookstores and a percentage goes to us at no cost to you!   Wild and Distant Seas by Tara Karr Roberts Mislaid in Parts Half-Known by Seanan McGuire W is for Wasted by Sue Grafton (audio) Anita de Monte Laughs Last by Xóchitl González   Book Lovers by Emily Henry On the Table 11:50 Seriously, all the repeats.  Banana butterscotch pie, corned beef (salt and vinegar cabbage), pizza beans, peanut broccoli & protein   Baked Lemon Pudding   Matcha and Strawberry Creme Twunkie OMG the strawberry creme!!!   Chez Panisse!   On the Easel 23:59   Irving Penn (thru july 21) and Fashioning San Francisco (thru Aug 11) at the DeYoung Museum   On the Needles 27:00 ALL KNITTING LINKS GO TO RAVELRY UNLESS OTHERWISE NOTED.  Please visit our Instagram page @craftcookreadrepeat for non-Rav photos and info   AVFKW indigo dyeing class   Bay Area Yarn Crawl!

Paulina Porizkova joins the boys to offer her unique perspective on the art and business of fashion photography. How'd she get into it? What's the most important thing a photographer should know about working with models? Why does Paulina call Irving Penn “Mr. Penn”? Does the fact that Jeff has a spreadsheet of when he last changed the batteries in his cameras render him more attractive? All this and much, much more in our sexy Episode № 69 — nice!how Paulina got into modeling at age 15, how she learned the crafther growing awareness of lighting and camerasthe dance between photographer and model, and how it's altered by different types of camerahow a photographer's behavior influences a model's confidencehow real is the Veruschka scene from Blow-Up?do you know if the shot is good?how aware are you of camera equipment?can what you know about modeling be taught?pay attention to lighting! take a selfie when you look great!were you ever interested in photography yourself?her late husband Ric Ocasek's interest in photographystudio vs. location shootingthe business of modeling is not what you think!does the fact that Jeff has a spreadsheet of when he last changed the batteries in his cameras render him more attractive?what is the most important thing a photographer should know about working with models?is it different working with a female photographer?working with Irving Penn and why P always calls him “Mister”Bill Kingthe one photographer she wishes she'd had a chance to work with: Helmut Newtonthe resurgence of 35mm point-and-shoots in fashion photography, e.g. Marie Tomanova's shoot for Czech Voguecan you get a good shot of a model by being mean to her?what's it like shooting with your boyfriend, former photographer of plants and buildings?the portrait by Jeff that P lovesher Top 5 photographers she enjoyed working with:Mr. PennArthur Elgort (author of Camera Ready and Camera Crazy)Patrick DemarchelierMarcus BardMarco Glavianowhat's it like being constantly confronted with images of your younger self? do you have a favorite?

Recording from The Lemon Tree Café & Market in Las Vegas. We start with learning about how Alan got into the film business, living in London, getting a job at Wide World of Sports, and becoming an on-air host for 25 years. Getting into his book: “Uncle Charlie Killed Dutch Schultz” starting with his father Lou and if he was connected to the mob? When did he know members of his family were mob related and learning who Waxey Gordon was?Dutch Schultz was into numbers rackets, how they would use apartments as offices, and the greed for money was the demise for Dutch. Uncle Charlie killed Dutch Schultz at the Palace Chophouse and received a life sentence but who was involved with him being caught. We talked about Murder Inc. with names such as Louis Lepke and Sammy Kass. Why was the murder of Irving Penn significant? The real-life story of Eliot Ness and how he was fictionalized in “The Untouchables”. Uncle George life in the mob and being connected to names such as Moe Dalitz, Meyer Lansky and The Cleveland Four Organization. Uncle George's role in the LV Skim and was part of the criminal interest in the Desert Inn & Stardust. A great mob story involving Tony Cornero which is a must listen, Alan being on the phone buying marijuana when the President of Israel interrupted with an emergency call, and the story of him having a pastrami sandwich with Meyer Lansky! Alan Geik Links:About Alan: https://www.amazon.com/stores/author/B06Y1QNRF9/about?ingress=0&visitId=fca038f5-626a-4b5e-acfb-09fe87857effBuy “Uncle Charlie Killed Dutch Schultz”: https://www.amazon.com/Uncle-Charlie-Killed-Dutch-Schultz/dp/057887735X/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= Lemon Tree Café & Market:Website: https://www.lemontreecafelv.com/Follow on IG: https://www.instagram.com/lemontreecafeandmarket/ Before the Lights Link:Become a BTL Member: https://www.beforethelightspod.com/supportBefore the Lights Website: https://www.beforethelightspod.com/Get Tommy a Glass of Vino: https://www.buymeacoffee.com/beforethelightsPlease Rate & Review the show!Support the showFollow the show on Instagram: https://www.instagram.com/beforethelightspodcast/Follow the show on Face Book: https://www.facebook.com/beforethelightspodcast/Follow the show on Tik Tok: https://www.tiktok.com/@beforethelightspodcast?lang=enFollow Tommy on Face Book: https://www.facebook.com/tcanale3Rate & Review: https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Email the host: beforethelightspod@gmail.com

Hairstylist Garren transformed models into supermodels (Linda Evangelista, Karlie Kloss), helped celebrities like Victoria Beckham and Madonna create their looks, and co-founded the hair line R+Co during his long and legendary career. In this interview, he tells us everything: the guidance counselor who told him he wasn't allowed to do hair; the photographers he collaborated with (Irving Penn! Richard Avedon!); and all the things he's learned about people—and their hair—along the way. This interview originally aired in 2019, but we're presenting it with a new intro. We'll be back to our regular schedule next week!Products mentioned in this episode: shopmy.us/collections/230913Episode recap with links: fatmascara.com/blog/hairstylist-garrenSponsor links & discount codes: fatmascara.com/sponsorsPrivate Facebook Group: Fat Mascara Raising a WandSocial media: @fatmascara, @jessicamatlin, @jenn_editSubmit a "Raise A Wand" product recommendation and be featured on the show: email info@fatmascara.com or leave a voicemail at 646-481-8182 Become a member at https://plus.acast.com/s/fatmascara. Hosted on Acast. See acast.com/privacy for more information.

Victoria Granof found her way to food styling over 15 years ago after being a pastry chef.  She has been a Cordon Bleu crew, a James Beard Award Finalist, and having the privilege to work side by side with Irving Penn for several years.  At the height of her career, she was given the opportunity to learn to become a director which is now her absolute passion. She is creative, funny, talented, and a true inspiration for all working women. Remember to stay safe and keep your creative juices flowing!---Tech/Project Management Tools (*these are affiliate links)Buzzsprout*Airtable*17hats*ZoomPodcast Mic*

What if every frame of a television show could be a beautifully composed photograph? Join us as we converse with the master of visual storytelling, Crescenzo Notaralie ASC AIC, the lens behind the latest season of Star Trek: Picard. Crescencio's work is not just a series of moving images but a complex dance of light, texture and emotion that pulls you right into the narrative. We delve into his approach, from his influences and the art of photography, to the technicalities of lighting design and visual effects, especially during a global pandemic, and the importance of collaboration in bringing a script to life. Crescencio's insights span the industry from the recent evolution of television content, with mentions of popular shows like Euphoria, Succession, and Your Honor, to the often overlooked but crucial roles of below-the-line members in the industry. He emphasizes the importance of composition, the fundamental difference between pictures and photographs, and how renowned photographers like Irving Penn and Rembrandt inspire his work. Crescencio also shares captivating details of how his team used over a thousand lights to breathe life into the visuals for the third season of Star Trek: Picard while adhering to pandemic restrictions. Lastly, we discuss his experiences working with the likes of Jonathan Frakes on Star Trek: Picard, where he beautifully managed to respect the show's canon while adding his own creative touch. Our conversation extends into the realm of cinematography and lighting in film production, and the importance of fewer, high-quality shots in television production. Join us for this enlightening episode, filled with practical insights and untold stories from the world of television cinematography. And remember - it's not just about capturing a scene, but about painting a narrative with light. (0:00:15) - The Importance of Photography in Cinematography (0:08:08) - Photographic Influences (0:23:46) - Creativity, History, and the Cinematic Process (0:37:21) - Season 3 Visual Effects and Lighting (0:43:36) - Film Set Lighting Design Collaboration (0:50:49) - Cinematography and Lighting in Film Production (0:59:56) - Frakes as Director and Team Captain (1:12:51) - Quality Shots in Television Production (1:18:28) - Cinematography Discussion and Appreciation ⁠⁠Follow F&R on all your favorite social platforms!⁠⁠⁠ You can directly support Frame & Reference by ⁠⁠⁠Buying Me a Coffee⁠⁠⁠ Frame & Reference is supported by Filmtools and ProVideo Coalition. Filmtools is the West Coast's leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs. Check out ⁠⁠Filmtools.com⁠⁠ for more. ProVideo Coalition is a top news and reviews site focusing on all things production and post. Check out ⁠⁠ProVideoCoalition.com⁠⁠ for the latest news coming out of the industry.

Today we revisit Angela Featherstone - model, actress, philanthropist: Founder of the organization Fosteringcare.org, a nonprofit trauma-healing and trade school for youth aging out of foster care in Los Angeles.The school is contributing to halting the negative outcomes that so many youth who age out of foster care experience, including homelessness, incarceration, and human trafficking. Moreover, the school is also very importantly training young people in healing modalities, so that they leave school with a trade/occupation that will enable them to achieve self-sufficiency. They are now working with Jae Canas from UCLA Behavioral Sciences who is now creating a trauma-healing template from our paradigm for the Dept of Mental Health.Who is Angela? Within a year of emancipating herself from foster care at 17, Angela Featherstone became Canada's top model when her September, Flare magazine cover broke all previous records for sales. She quickly expanded upon her success and left for New York where she signed with the illustrious Click agency. She would travel the world as a top fashion model, working with such great photographers as Oliviero Toscani, Piero Gemelli, Irving Penn, Albert Watson, David Bailey, and Bruce Weber. But for her life's work of acting, she downplayed her striking features to play unlikely roles, emerging as an actress with exceptional versatility. She is best known for playing Chloe in Friends and the fiancé (Linda) who left Adam Sandler's character (Robbie) at the altar in The Wedding Singer. Most recently she played the role of Maggie on Showtime's Ray Donovan and Jame on Girls for HBO. She has created sitcoms for Sony, DreamWorks, and NBC television, and written nonfiction for Time, Jane, Flare, The Huffington Post, Dame, and Zoomer. Her essay about childhood trauma, God Said No, was published in the 2014 edition of Gargoyle Magazine and nominated for the Pushcart Prize. In 2011, she curated Fuck Pretty, a show at the Robert Berman Gallery featuring important and emerging female photographers, and recorded “Coattail Glide” with Raymond Pettibon and the band The Niche Makers. Recently, Angela served as a consultant on the important documentary about the effects and healing of trauma, Cracked Up.Story Key Notes:

Our individual and collective histories are composed of fragments—bits of information we piece together in different ways. According to former professional athlete, multidisciplinary artist, and NOT REAL ART 2022 grant winner Kiley Ames, these fragments can be rearranged and reinterpreted to create personalized perceptions of reality.Using small, distinct brushstrokes to illustrate her philosophy on fragments, Kiley paints in an Impressionistic style that prioritizes light, color, and texture. “[Painting] is a very tactile experience, and I want people to get up close to it and see it [from] far away and look at it from the side,” says Kiley, who often invites patrons to her studio at the Beacon Arts Building in Inglewood, California. “I love for people to see my work in person […] the way I paint is incredibly difficult to see online, regardless of how great the photos are.”On today's podcast episode, host and NOT REAL ART founder Scott “Sourdough” Power sits down with Kiley to discuss the importance of authenticity, how she developed her unique style, and why she ultimately embraces duality in both work and life. Kiley also shares her thoughts on freelancing at the Annie Leibovitz Studio for the better part of a decade: “When you see someone like Annie [Leibowitz] or Irving Penn or Van Gogh, you only see the final piece or the final photograph,” she says. “You don't see all the ones that weren't chosen.” In short? Even great artists don't get it right the first time.A self-professed latecomer to the art world, Kiley embraced an expressive style after realizing that “good art” isn't necessarily photorealistic. “[Photorealistic art] is beautiful, but I also realized that it wasn't representative of who I am,” she says. “ It took me a really long time to break out of that because you get rewarded for creating something that looks like something else.” Subjective, evocative, and dreamy, Kiley's style evolved from exploration and experimentation, traits she encourages in other emerging artists. Tune into our conversation with Kiley Ames on the player below, then head over to our 2022 grant winner's exhibition to see her winning work.Key Points From This Episode:The welcoming community and support system that Kiley found at Beacon Arts Building.Challenges with networking in the art world and how Kiley has built relationships.Why it's difficult to properly appreciate her paintings in pictures or online.How Kiley found her artistic voice and developed her unique visual style.Some insight into who Kiley is and how she embraces duality.What being a professional athlete taught her about discipline and redefining success.A look at Kiley's creative process (which doesn't involve sketchbooks!)Her most recent body of work and what it represents, and what she's working on now.Kiley's take on why lawmakers are focused on drag shows and not gun control.Ways that art can facilitate less combative discussions about very serious issues.Advice for navigating the art world, staying on budget, and applying for artist grants.The impact COVID had on Kiley as an artist, and how the ocean helped her personally.Lessons and personal reflections from Kiley's experience of working with Annie Leibowitz.Words of wisdom for young artists: learn to fall in love with the process!Why artists shouldn't restrict themselves to just one...

This episode of the Foto Podcast is from a podcast I recorded with Rodney in 2012. I've re-edited this conversation to improve the sound quality from its original recording and reworked the audio presentation. I feel very fortunate that Rodney took the time to chat with me over ten years ago. When he unexpectedly passed in 2016, I realized how lucky I was to be able to spend a brief amount of time with him.Rodney was incredibly kind to me through our email exchanges, this recording, and a short 2-hour personal visit to his house in New York in the Spring of 2013. I probably spent 4 hours conversing with him in some form or another, but he left an unforgettable impression on me. I respect his work and artistic vision, but I will never forget him for his grace, openness, and thoughtfulness. We live in a boisterous and fast-moving world, but this conversation with Rodney always reminds me to slow down and turn down the noise in my life. He lived at his own pace, and what you see in his images reflects Rodney's personality. I hope this audio recording will give you a glimpse into his motivations, creative process, and the deep critical thinking he put into everything. Learn more about Rodney Smith at rodneysmith.comThe Rodney Smith Estate has released a new book entitled Rodney Smith: A Leap of Faith.“The first retrospective on the work of Rodney Smith weaves together a bio-critical essay by Getty Museum curator Paul Martineau and an assessment of Smith's technique by the Center for Creative Photography's chief curator, Rebecca A. Senf. Introduction by Graydon Carter. It maps Smith's creative trajectory—including his introduction to photography, early personal projects, teaching, commissioned pieces, and career in fashion—and provides insight into his personal life and character, contextualizing his work and creative tendencies within his complex emotional and psychological makeup. Rodney Smith is the definitive record of the life's work and worldview of a truly original artist.”I recently received a copy of A Leap of Faith, and it's an incredible book that is printed beautifully. This is not a paid sponsorship of any kind. I'm genuinely grateful for Rodney Smith taking the time to chat with me 11 years ago, and I think you'll appreciate his work and his approach to life and art. Rodney Smith Podcast Transcription:I'm 65 years old, so I've been a photographer for 45 years. I guess there's a fair amount of experience with that. And, um, and I've gone through quite a bit, um, as far as the changes in photography. but going all the way back, probably the very first, I don't know, maybe a slightly unconscious inclination that I wanted to be a photographer started when I was 16 years old and my father gave me a camera.I took a teen tour. That's what kind of popular when I was a young boy. with oth with other students my age, and we went around the United States and then we went into Mexico my father gave me a camera for that trip. on the, the, the Mexican part of the trip, we took a train from New Villa Laredo, Texas to Mexico City.I remember this actually quite well. And [00:05:00] the train, there was a landslide across the tracks on the train. And the train stopped and it was sort of took about four days for them to clear the rocks from the tracks. And during those four days, we would get out off the train or there were many young children from Mayville Villages who would come by the train trying to sell everybody something.And And it was their faces that really, um, appealed to me.And I remember when I got back after the tours all over, my father looked at these pictures and, uh, there were no pictures of my contemporaries on the trip who were my, you know, people from all over the country were my age. But there were all these pictures of Mexican children. And, um, I remember my father being kind of discouraged and saying, why aren't there any pictures of you're contemporaries, that was probably the very first, and I guess somewhat unconsciously, I said inclination. The main kind of epiphany when I actually knew I said this, I want to be a photographer, was much later [00:06:00] when I was in college, probably my senior junior, I can't remember exactly whether it was my junior or senior year in college.And I was home for the holidays, just around this time, actually, probably a little later in, in December. But, I remember I went to the Museum of Modern Art, um, which had a permanent collection of photography. Um, I'm a New Yorker and so I was home in Manhattan. and I'd been there many times before and I don't know exactly what initiated me to go to this collection of pictures I had seen before, but I did.And I think the important part of this was that Edward Steon was still the curator of photography at that point, and I think his sensibilities were much closer to Toine, than maybe more contemporary curators. the permanent collection was composed of pictures of Gene Smith, Arthur Lang, Margaret Burke, white Stieglitz, and Steon.And I remember walking through this, gallery and thinking, having an epiphany. And I remember basically having it in front of Eugene Smith picture, and thinking, oh my [00:07:00] God, I can do this. , and this is what I want to do. And I think it's a, that's a fairly simplistic response to a very complicated question.But from that moment on, I knew that this is what I was going to do with my life. Now, I don't think it meant to me that I was gonna copy the work of these people. I think what I realized at that moment was I, I could take my feelings and put them on a piece of paper.And I think that's what the revelation was to me. That I had all these anxieties and these fears and all these feelings, tremendously powerful feelings inside me without an outlet to express them. And I realized that photography was the perfect medium for me to do this. And from that moment on, and it was a number of years.Afterwards that I actually became a photographer. But from that moment on, I knew I wanted to be a photographer.[00:08:00] in college I was an English major and then I became a religious studies major and I, um, was sort of both. I graduated with both and then I went on to graduate school to study theology actually, and, but also with the intention of taking half my credits in the photography program.I wanted my degree to be in [00:09:00] theology, not photography. but I did, while I was in graduate school, singularly learn my craft, I spent a great deal of time and the program at that time was really quite wonderful. Learning, the craft of photography. We learned the Z Zone system photography.One you had to use a large format camera. And it was a really great discipline. So I learned the craft, but I also learned what I, I, I developed a vision, or I nurtured a vision of what I wanted to say is about studying theology. unfortunately, and I probably, somewhat uncomfortable for a lot of people.I think, and I, I don't wanna say this unequivocally, that I think this is the case in most time, but it's very hard to nurture a vision studying the craft of photography. I think that the, one of the last places one would really learn to be a photographer is in an art school, just studying photography.Now I know that's probably not a popular thing, but that's sort of how, what I believe, I think one has to have a vision and how [00:10:00] one nurtures and develops that vision, I think is by, doing something quite contradictory to the physical craft of making a picture.I didn't study theology with any intention for looking for any answers to questions. I, I studied theology to, to sort of initiate the questions. Um, from 40 years later, I still don't have any answers. And, and I'm not sure I actually believe I could have them, but, but what I really did love was learning how to ask the right questions.And that's, that's what studying theology did, did for me. Now, what, what do I mean by that? Asking the right questions. Well, I think theology or some of the issues that really were important to me were questions about human [00:11:00] existence. Who are we? What do we stand for? How do we fit into this world around us?What is the nature of evil? What is the nature of good? What is the nature of man? And so it's all these questions about how the human being fits into the world and the surroundings around him. And those are still some of the prevalent themes I think, that are really important in my work. So, While I was studying the craft of photography, I was sort of, I was hope anyway.And I, I think it, I think correctly I was nurturing this vision about, or learning for how to perform to my feelings intellectually so that I could sort of integrate the two when I actually began to make pictures. And I think it worked out during the time of me doing this. I mean, I had tremendous disapproval and, um, I don't know, people were kind of a guess, why are you doing this?Why are you wasting your time studying theology? You know, I was in my [00:12:00] family, I was expected to do something more business-like, or do something. They're quite different. and nobody, except for my wife or the done, no one who gave me any support, they all thought I was totally crazy. But I actually. And I probably couldn't articulate it exactly why I thought it was really important to do it.I just intuitively knew in my heart that this is what I wanted to do and um, I'm actually very happy I did it. I don't have any regretsI'm definitely of the school of thought that you sort of, your present is definitely formed from your past. Um, and so I I I, I would definitely think that probably a, a great deal of it is not, I don't know all of it, but a great deal of it derived from my upbringing. Um, my, my mother and father who are now both dead close to 40 years.Um, my mother 30 and my father 40 would be kind of shocking that they're still still such a prevalent and powerful force in my life. But they [00:13:00] are. And um, you know, I was, my parents were very, my father was very affluent. He was a CEO in, uh, some fashion companies and I grew up sort of in a 19th century.lifestyle and existence. Um, when I look what it, what seemed quite normal and natural to me as a young boy. Now when I look back on it seems, you know, really from the 19th century. there was this kind of real love of refined things.Things were always beautifully done. Everything was perfectly in its place. There was an order to everything. There were many people who taken care of, you know, servants who made things perfect and beautiful. And even though part of me was rebellious against that, I always loved it. I mean, quite honestly, I did, I, not that I loved some of the accoutrements of it, but the, if you looked at it physically, I loved it.And it definitely had an effect on me. And I think my pictures represent the [00:14:00] more positive aspects. Of my life. I don't think they, my upbringing, I mean they, um, I'm not saying that at all. They are. That's the way it was. Cause there was a lot of negative things to it. Many negative things. Perhaps even more negative things than positive things.But, the pictures are represent that world at its very finest. It's sort of like an affirmation of what can be, what a gentleman really, what the word gentleman, if you define it and you just dissect it, you know, to a gentle man or a nobleman. It, it's sort of those things, if they really existed in the world, if there really were gentlemen and if they really were nobleman, it's not that it's impossible, but it's slightly out of reach.that's sort of what I think my pictures are about. Sort of how does one sort of aspire to greatness? What you have this potential inside you and how do you realize this? I think that's sort of what the pictures are. one last thing about that, now [00:15:00] I'm, as I said, 65. So one in the sixties, the very early sixties when Kennedy was president.I was in high school. I was I think a junior in high school. And, um, that era was, you know, there was like the last feig of sort of, uh, what I would refer to as elegance and grace and beauty in, in a lot of things. Not just fashion, which my father was very much a part of, but many things was still, there was a world was holding onto it.And then the hippie movement, the anti-war movement in the sixties, it all sort of tore all that apart. But the early sixties, maybe up to 65 or something like that, 64, 65 were the last remnants. Of an error, like was when Carrie Grant and, um, and Audrey Hepburn and Leslie Caron and all were still really popular.It was, it was a slightly different era and then everything changed in the, by the, by the 1970s and the world became a different place.[00:16:00] I hear that comment, something like that quite often. Um, that, that you could tell a story from the pictures that you were sort of caught in the middle of the story and you're curious about what happened prior and afterwards. I have to tell you consciously anyway, when I'm taking the pictures, I'm not aware of that at all.but I am kind of a literary soul. I've al in every book I've ever done, there's always been writing. I've done four books and that every book has writing and photographs in it in one form or another. I always been around writers. I, when I was very young in college, before I decided I wanted to be a photographer, I thought I was gonna be a novel.But I, I, I had the sentiment but not the skill, and I quickly realized that. So, but I guess [00:17:00] writing has always, um, been a part of me. So when you say that about the pictures, that's actually quite a compliment to me because I'm not aware of it. But if they do tell a story, uh, or there's like a fragment of the story, that would be kind of a wonderful thing and I would really like that.Although when I'm taking it, I'm not aware of that.the pictures are taken completely spontaneously. I know this is one of the ironies to me of, of a lot of, sort of sets off a whole discrepancy about photography in general and modern photography, but all the pictures was referred to as the lifestyle pictures of the last 10 years or 15 years are much more controlled and created.even though they look like they're spontaneous and of the moment, they're much more created pictures than mine, which look very serene, controlled. My pictures five seconds before I took the picture, I didn't know I was gonna take that picture. And not in a hundred percent of the instances, but at least 60, [00:18:00] 70 or 80% of the time, the picture is completely spontaneous and I may have set something up and so, but I don't know what the, what the end product's gonna look like.And then all of a sudden something, somebody does something or something happens, or the light changes, or it can be many things. And all of a sudden I say, take the picture and I take the picture. And I didn't know I was gonna take that exact picture five seconds before I took it. so I think that's kind of always been kind of interesting to me that although my pictures look quite serene and controlled and um, like they were art, art directed, um, or created under sort of very sort of, um, Rigid requirements.Totally the opposite.I'm definitely always first looking for the location, which would be the landscape or the environment. Once, once I've found the environment, I can always make the pictures. you know, I was, when I was very young, I was a landscape photographer, um, as well as shooting portraits. And [00:19:00] then I think one of the great things that happened to me was, , I began to integrate the two together.I began to put people into the landscape, which is a very different thing than placing somebody in front of something. I think most people take pictures in an environment and they stick a figure or a person or a thing in front of something and they refer to that. You know, as, I don't know that term.I can't stand environmental portraits or whatever that is. I the term I really do not like. But that, that's not the way I would operate. The person has to be sort of placed in an environment as part of it. And actually it goes back to the previous question about the spontaneity of the, of the pictures.The reason why I can shoot these pictures so quickly is because I can very quickly get to this place where I think everything is right. I mean, almost instantaneously I will know this is the place I need to make this picture. Now, there may be a few other places too, but I'll start at this place that feels absolutely right to me.but for me, the pictures are, are totally [00:20:00] controlled or by the environment. That's why the location work for me is by far the hardest part of making pictures is finding a location I like. and then once I've found, , which is a really rigorous and very exhausting process. but once I found this, this location, I don't want to know what the picture's gonna look like.I, you know, when I'm scouting it, it may be gray or rainy, or it may be it's sunny and then the day of the shoot it's raining. Or I may look at it in the morning and I may be there in the afternoon and the light's totally different. So I never know what the picture is I'm gonna make there, nor do I want to.I've never shot Polaroids in my life. I don't want to do any of that things. I just want to trust my instincts. And once I've found a place that seems appropriate or great, I'll say I can make pictures here and that's all I want to know. And then I'll go away until the, until the time I physically shoot the.there are sometimes requirements about what I, I need to find, but the, probably it's the same thing no matter what I'm looking for. And that [00:21:00] is a place that has a sense of history to it, which is hard for me in America. , I, it's gotta have a certain Betina to it and character to it.Um, sometimes it's the question of the light in the place, but it's, it's, it's a whole thing, a landscape. It's just gotta feel ex eccentric or original or special. To me. It's definitely my vision. but I think like if I'm looking for an interior place, There's kind of a characteristic that's involved that's in all the pictures, and that is, it's got a certain history to it and depth has been sort of aged nicely.I rarely would shoot in a brand new location that, that hasn't aged or settled into its environment. I sort of like how things fit into a place and if, unless the location does that on some level, there isn't a history there, I probably wouldn't be interested in it. you know, I was once doing a shoot in Phoenix, Arizona, you know, and I remember scouting the city of Phoenix and I [00:22:00] couldn't find anything that I really felt worked.I mean, it was to do it more hotel and a few other things I thought were great. But what I found really great was the landscape around Phoenix. I mean the part that was untouched. and that's where I ended up shooting the picture. Sometimes, often if I'm in Paris or in London, I can find hundreds of locations that appeal to me.because they have this history to them. The man or somebody has interacted with this location for, for quite a while, and it, and that you can feel the patina of the interaction of the two. and that's what, that's what really I like.And also, you know, American cities, um, they build these skyscrapers and they tint the glass to keep the light out. in Europe, luckily still, the older buildings are all oriented and, and the windows are such to let the light in. that's a, that's a huge distinction. You know, they act in European buildings, least, you know, the ones that are, I'm attracted to.The light is like a portico. [00:23:00] It's like this entryway. um, and really wonderful things happen with the light. Well, in most new American cities, it's, again, it's to keep all the light out and to keep the temperature and the humidity and the light all controlled from the inside.I teach a workshop, infrequently, but every once in a while and all these photographers come to the workshop and they do not have a voice at all. well, some of them do, but it's pretty minor. Um, and, you know, there's this discussion about whether it's a question of talent, or do you have a question that everyone has their own voice, they just can't express it.And I'm definitely of the school that everyone does have a voice. They just don't know how to express it or expose it. This pops a better word. because this enormous fear is preventing them [00:24:00] from doing it, I mean, you have to tap into the part of yourself that goes really deep.And most people don't know how to do that. Sometimes by a gift of God, somebody has that intuitively or naturally, but that's a very rare gift and I've actually never seen it. most often, people foil themselves, you know, they, they have all these fears and anxieties and frustrations, whether it be dealing with other people or their own fears, their anxieties, and they never get to the level that's required to.Really have a singular voice. I mean, that's the difference between the hundreds of thousands, if not millions of people who take pictures and the few who, who actually are photographers. And it's not so much that I, from my point of view, that one has an innately more talent than the others. Now, a lot of people would argue with that, but I don't think they do.I just think they're able to tap into the deepest, part of their emotional being. And let that part out. And then you never have to worry about being a second rate somebody else. You can much more be a frustrate yourself because no one has your life experiences.No one has your feelings, no one has your thoughts. All those things are unique and special to you. So if you can reach this level they can begin to express the things that reside deep within them, and then all of a sudden their pictures take on a special characteristic that is unique to them and they begin to develop a voice.I think people are, are sort of copying everybody and mimicking everybody and running around buying the right equipment and doing everything that's completely unnecessary to develop a voice. They think that's what they need to do, but it's the last thing that they need to do. If anything, they need to step back and let something begin to emerge from deep within them.That's what will create this special voice. And it's a very hard thing to do. And I think Chuck Close's comment is right. I think photography is particularly through the digital age, much more than even prior when there was a real craft to printing. that there is the most sort of facile of mediums that one can learn even through by taking with a, telephone.You can take a pretty competent picture, but what I mean, but, but what distinguishes one picture from another is the kind of the emotional content of that picture.I've been doing this for 45 years and I still use the same camera that I did when I started 40 years ago. I'm very, very rigorous with my craft. I mean, I'm extremely rigorous. Um, you know, I expose the film very properly and, and so when the day, and I went through a many years of really learning how to expose my film and make prints that represented [00:27:00] my emotional psyche.I mean, I really like dark sh shadow detail and differentiation between that. And my prince used to represent that. And if I was much more interested in highlights, I would've done things quite differently anyway. Anyway, I really loved and grew to really know film. And then when the digital world came along, um, I, there's, there's a great aphorism, but changes, not necessarily an improvement.And I've been watching the digital world very closely and we know I'm kind of a consultant to Epson and we produce digital prints as well as prints that are done in the dark room. You know, we scan the film and then, Make really beautiful, large mural prints, so I, I definitely in it and everybody works for me, is very digitally competent.For myself personally, I haven't seen any reason to change. Personally, I don't really like the digital cameras. Um, I don't like seeing the picture immediately. As I said, I never shot Polaroids. I like the experience. I like to focus on the [00:28:00] experience of making the picture not on what the pic. Every single time everyone stops and looks at the picture, you've interrupted the whole process of making the picture.That would be a terrible thing for me. I like to just to go through the whole process, focus on the thing I am doing, and I like the mystery of not knowing exactly what's on the film. Um, I, I, I don't really like the digital process that much. Now, it may get to a point where I can't get film, which is sort of beginning to happen already, or I can't do the thing and I may have to make that change.But at this point, I would hope actually I have so many people, young people coming to me who say that they really love film much better than digital and they, they shoot on film. So there seems to be a kind of a minor resurgence in film. And it's not that I'm just, you know, such a recluse that I don't engage in the world.I mean, I live in New York, so I'm pretty much so on some level, you know, engaged with what's going on. And if I ever felt that the digital thing was so [00:29:00] much better than what I'm doing, I would change. But so far, most people seem to really love the pictures I make on film. And when we blow them up really big, there's a certain quality to them that people really love.Like I've had many shows at very, you know, at Brooks or um, all the technical schools and all the students who are really technically minded, love the Prince. They keep saying, how did you do this print? No. So, um, for me it's just that there's really no reason to change and of anything, I was kind of in shock that just because something became new, that everyone immediately embraced it.I, I think they must have felt they had to, that, you know, art directors required it or, uh, the world required or, or whatever. And quite honestly, I've never, no art directors ever required me ever that I shoot digitally and they actually kind of like that I shoot on film. They all say, oh my God, this is great. I, I like the fact that, you know, I'm gonna get contact sheets. I really like this. [00:30:00] You know, so, um, I'm sure that there are constraints put on people that they want this, they want that, but I think it's more important for you to tell them what you like best.my previous father-in-law was a really wonderful playwright and, um, very well known American playwright. And over his desk, he used to have this little sign that said, no one asked you to, no one ever asked you to be a playwright. and I think that that's really true. I mean, you, I could wallpaper my walls with rejections.I mean, I've, over my life I've had 50 to one rejection, um, maybe a hundred to one rejection. Um, and since it's such a personal medium, um, for me, this is not a job. This is my exposing my life and my soul and my [00:31:00] pictures. There's no way one can take it personally. It is personal. and I've had many high points.I've had really good years and really, really terrible years, both from financial points of view, from creative points of view, from everything. , but I just, must have something in the way down deep inside me, this knowledge that this is what I chose to do. No one put a gun to my head and said, this is what you must do.And so I chose this, you know, freely and when I'm really down, I just say, you know, you've gotta stick with it. And there have been hundreds of times I thought, I don't want to do this anymore. Um, um, either I have nothing more to say or I don't want to do it, or financially it's been so difficult in my early years it was so difficult and it's still, there was terrible years.I mean, like after nine 11, it was really, I mean, there's been many, many years when things were really terrible from a financial point of view and a creative point of view, or the job, everything. And so [00:32:00] there's like, at times 45% of me that doesn't ever want to take a picture again, that I'm done. And, but there's, luckily there's 55% of me that wants to keep on doing it.that just sort of gets me through it. You know, Hemingway used to always talk about that he would always stop writing the day before and someplace that he wanted to continue because if he didn't have that place the next day to go to, he is not sure he'd ever pick up a pen again. But he looked, had this place where he looked forward to going forward.And, um, I'm not sure I have that. I mean, I definitely can get kind of burnt out and I think the environment or the location or the model sometimes, but, um, many times it's the sense of place around me is what motivates me to take, make pictures. And so that sometimes has to be in a new place and so I can get kind of stuck like everybody else and then I just, um, have to force myself to keep on on going., after 45 years, [00:33:00] I've kind of, um, got this regimen that I. It's not perfect by any means. There's definitely problems with it, but I kind of like, you know, I'm, I don't shoot, you know, I probably only shoot, you know, 30, 40, 50 days a year. which is plenty, which provides me with a lot of, and then, you know, I work on exhibitions or I do all kinds of other things as well.I'm always working around photography, I mean, all the time, but I don't have to be physically shooting to do that. when I was very young, I used to collect, like convince people to buy photography and when nobody wanted to, and this is in the seventies, and I once went to Andre Cortez's apartment and I was talking to him when I was buying a print for somebody.He told me that he would go six months or a year without ever taking a picture. I could understand that perfectly. I could go six months or a year without taking a picture yet. I'd still always be a photographer. for other people I know they have to shoot every day or all the time, or they feel that they're gonna lose it or they're not a [00:34:00] photographer, but that's not the way I work.I think most fashion photography today is pretty mediocre. I think it's all about celebrity and status and they all have the right lunch and the right, they know they date the right models and they all meet the, you know, the right art directors and it's just like in a group that just supports itself, but it's all very mediocre.I don't think that there's this great vision that drives the photographs. Okay. Now having said that, that's just one thing. And I think there have been, I think fashion photography's had its periods where it was the mo really distinguished in the world of photography. I think, you know, in the forties and fifties and perhaps in the sixties, I think Irving Penn.and Norman Parkinson and a few other people were incredible photographers, had a great vision and were quite extraordinary. I think today there's all this celebrity about around these photographers, but I think it's what you do about nothing. And I think the models are the same way. but I do think what is lacking in photo, in fashion photography is not something that, that's, it's actually that hard to find.Again, I find, I, I guess [00:35:00] I have to digress for a second and tell you a story. I probably wrote this once in a blog many years ago. This wasn't quite a fashion shoot. I did, but it was close to it in the sense of the, what, what I thought was wonderful about fashion. I did, I used to God, oh, 20 years ago, 25 years ago, coach Leather had a campaign called Descendants of Famous People, and they photographed all the grandchildren or the daughters or the aunts or whatever of well-known people.And I did about four or five of them. I, I remember the Nathan Daniel Boone's nephew, and I did, the one I'm talk, gonna talk about was Babe Ruth's niece. I photographed her at Yankee Stadium in, um, New York, which is kind of the appropriate place to do it.And I didn't have a chance. Usually I, sometimes I, sometimes I have a chance to meet the person I'm gonna photograph. Um, prior to, but in this case, she lived, I think in Maryland or Virginia, I'm not sure. And they had a flyer up for the shoot. [00:36:00] And I meet her the morning of the shoot in a, you know, in a location van, um, outside the stadium.And I meet her and, you know, I could tell that she feels really terrible about herself. She's looking down, she's kind of forlorned. She, I can just feel like she wants to just disappear. in, into the background, I understood that she was raised in a small trailer, um, in, in Virginia, wherever. And she had really no relation to Babe Ruth other than the fact that she was his niece.But she came from very humble means and was really kind of almost embarrassed about this whole. Thing of taking a picture and just pushed the whole thing would go away. I could feel all this in her presence. So I introduced myself. I tell her, I'm the photographer who's gonna take your picture and if we're gonna take you into this location van, and there's gonna be a woman who's gonna do your hair and another woman's gonna do your makeup and we're gonna style you and dress you and all that.And, and I said, while, while they're doing all that, I'm gonna go away for an hour and go look and find the right location to make the picture of you. [00:37:00] So I go away for an hour and I come back, and I go into the location van and there's this totally different person than the person I had first met before she went into the van.She was standing upright. She looked really beautiful. She became. I saw what a little bit of hair, makeup and new clothes and being pampered, what it could really do to, not just the physical look of this person, but the whole internal emotional sense of who she was. She was transformed and I thought, oh my God, this is an incredible experience.This is a wonderful look. Look, look what fashion can do. Instead of making people feel intimidated or that they're unattractive or something like that, it can make them feel empowered and beautiful and wonderful. This is like a Cinderella story, so I take her for a few hours, I make her portrait. She's looking really beautiful and you know, she, she just looked content and happy and I [00:38:00] think really enjoyed the experience.Goes back to the location. Van takes off all the clothes, you know, goes back to her original clothes and walks out of the van exactly who the person was when she first entered the van with her head down and she goes back to the person she was. Now, I think the important thing of this story for me, it's not really a fashion story, but it is what fashion can do.It is about style and grace and elegance and feeling beautiful and wonderful and special. And it's not about being intimidated because you don't have the money to buy these clothes or you have to have this closed, or you have to have the hottest, newest, ugliest thing imaginable in order to be valuable and worthwhile, that you can have a sense of style and grace intrinsic to yourself.That it comes from inside you, not from the outside. the outside stuff. The accoutrements can help you realize who you really are. So that's again, another place where a personal style is very [00:39:00] helpful I do, I do, I love shooting fashion. It's actually really fits me. and I like the big production of it.I like I'm the kind of photographer that can work with 20 people around me and it. It doesn't bother me in the slightest. I sort of like it. I like the collaboration of everybody, the stylists I've worked with for years. And she'll say, you know, look at this, or This person looks like great here. Or my assistant will say, oh, you should look over there.It looks really great. I love when people do that. I feel it's like this collaborative effort. I like the whole experience of it. I do think that women, this is, you know, I think the world is kind of, so particularly now our soul full of ironies.I think, you know, that most women would not agree with me about this at all, but I think it's been a real give and take before women in the last 25 years, and I'm not sure that they've been given more than, than they. Wanted, yes, they've achieved incredible power to be sort of equal to men. They, you know, they're now working on getting the same rewards as men.Financially [00:40:00] they've achieved great. And I think all that's wonderful. But I always thought, even though my father was a very powerful person, you, you know, as I mentioned, he was the CEO of many companies, and he was, people were really intimidating him. I always thought my mother was the real power in the family.He would never, she in her own private way, controlled everything and got exactly what she wanted. It was a, it wasn't as overt as it is today. It wa it was more subtle, but there was this kind of wonderful thing, quality about her. And she had this incredible life and my father worked very hard to support her.Um, and so she could do what she wanted to do. So, I am not sure what we've gained is better than what we lost. Uh, maybe it is. Probably it is. And anyway, it's not going backwards. That's the way it is. But there is something really wonderful about, um, a kind of more graceful or a delicate, maybe understated power, like that quote you gave of me, [00:41:00] rather than the more overt one.Like when I shot Elizabeth Hurley, who is all about give it, give it to me baby. I mean, she was, um, you know, um, and versus a woman who has a real sense of herself and walks more delicately and quietly,I think, you know, one of the things was, I sort of animated or discussed slightly before was when I was very young, I didn't have a penny. Um, and I was really struggling. One of the ways I was able, I taught a great deal, but one of the other ways I was able to at least make a living pay my mortgage was I convinced people that photography was a really good investment and I would make a small commission.I would buy photographs for people. And one of the things I learned was how little, the curators of photography and the art gallery directors and all these people who were sort of the professionals and experts in [00:42:00] photography knew about photography.They basically knew nothing. They knew how to sell it, , they knew how to talk about it, but they really had not a clue about really what it meant to be a photographer or what the struggles that somebody like Stieglitz or Strand or anybody who's really first grade would go through to really distinguish themselves photographically.Um, it's not so much the financial hardships or meeting the right people or getting the right equipment or all the things on the surface. Those things everybody has in whatever work they do. And there's really no difference. It's just a different set of rules.And what the struggle really comes down to is the emotional struggle. And that is knowing that, you know, the all Socratic oath of no thy self. And learning how to come to grips and deal with the emo your emotional [00:43:00] core, and being able to express and expose that onto a two-dimensional flat piece of paper, is a very, very difficult thing.And then asking people who have not had your experiences, who do not care about you, who do not even know, like people in Russia who don't even know anything about you or the place you live or your experiences, and say, look at this picture and think it's worthwhile. The only way you can really do that on a consistent basis.Yes, you can do something kind of titillating or interesting or on a few pictures, but over a whole body of work. The only way you can really do that is if you are touching something universal. If you are speaking from your heart in a language that everyone can understand because the human psyche and spirit goes way deeper than the culture.And so if you are able to transcend or translate your own personal feelings and put them onto a piece of paper that is a very rigorous [00:44:00] and difficult thing to do and, and requires enormous struggle and turmoil on your part, that's why living kind of the artistic life is not something to be denigrated.It is a very, very difficult and very rare process that very few people, not that they're not capable of doing it, but are willing to take the risks. That that involves 99% of people are not capable or able or knowledgeable enough to do it. It's not that they can't, it's just that they won.um, I have a got a good fortune to be an intern for. Ansel Adams for a week in Carmel when I was in my twenties. And I noticed, you know, he used to meet people and I, I noticed, first of all, I went there. My photographs when I was very young, looked absolutely nothing like his, but I learned all my [00:45:00] technique from him within his own system.So I was really very anxious to have a chance to meet him and work with him. And it was great. Um, and I learned every time when I would go in the dark room with him or when I was sitting around talking to him, I would, he, I would ask him every technical question I could think of that I wanted resolved.And he was very generous and would answer me. But, and what I learned after this week of sort of probing and listening and having him listening sometimes talk to other people and stuff, was that he would tell you exactly what was necessary in order to do something. And basically, just generally what he'd be saying was like, if you want to be a classic scholar, you gotta learn German, you have to learn Latin, you have to read, you have to study, you have to pay your dues, you have to do all these things.and that's how you really get to a place through experience, through testing, through knowledge, through all these different things that will get you to this place where you can be really competent and capable. And I found that nobody, although they all listened to him, [00:46:00] And they nodded their head in agreement.In the end, nobody wanted to pay any attention to 'em. They went off and go, they really, what they really wanted from Ansel Adams was tell me this pill, give me this pill I can take so I can make my pictures look like yours or tell me the quick answer so I can learn how to do something as well as you do it.I want this in five minutes or less, you know? But I really don't wanna spend all the time that's required and all the effort and work you've put into it to do this. And unfortunately, that's not the way the world is. You know, you, you, you sort of get what you pay for, kind of metaphorically speaking about your craft, your technique, your vision, everything.It's not something that you can just, you know, meet the right person, do all this, take a pill, wear the right clothes, be in the right place, whatever it is, have the right camera, have the right, you know, equipment, whatever that is also beside the point. The point is [00:47:00] nurturing and learning and developing a vision that is special and unique to you.Learning what equipment that best represents that vision. Developing it, nurturing it, working on it, reflecting on it, struggling with it. That's what's required to do it, and it's not easy. Takes years. I've never, and I've had the good opportunity to meet many, many well-known people that I really care about, whether mostly writers or playwrights or painters or people of, of great esteem, and not one of them, at least in my, my personal experience, I've never met anybody who was instantaneously successful in my experience.Every one, oh, I totally respect, has worked years to get to that place.I mean, it's, it's, it's, but it's fun to do this. That's, you see, the thing is nobody wants to do it, but when they get immersed in it, it's part of the adventure. the best part of being a photographer is going out, engaging the world, meeting people. And taking, and making the picture, [00:48:00] the actual product, the end result, the artifact is never as good as the experience of making the picture.To me, it's always a disappointment. Now, for other people, like if I mess my wife, she would say that the, the artifact is much better than the experience. And I think many people have said that I can make the world look perhaps slightly better than it was right in front of me. So for many people, the observer, the, the photograph is even better than the experience.But for me, person who's taking the picture or making the picture, the experience of making the picture is the reason why I'm a photographer. I love the interaction with the world, meeting people, engaging people, being a part of the world, having it being sunny, rainy, cloudy, overcast.and somehow having something wonderful immersed from it. That's what I love about being a photographer. that's why being in the studio, all of that has no appeal to me. It's, it's engaging the world we live in. Having an [00:49:00] excuse to participate in it, in a kind of really positive and wonderful way.Saying yes to life over and over again, despite how many hardships you may have. That's the part that I really love. Get full access to Foto at fotoapp.substack.com/subscribe

Angela Featherstone - model, actress, philanthropist: Founder of the organization Fosteringcare.org, a nonprofit trauma-healing and trade school for youth aging out of foster care in Los Angeles.The school is contributing to halting the negative outcomes that so many youth who age out of foster care experience, including homelessness, incarceration, and human trafficking. Moreover, the school is also very importantly training young people in healing modalities, so that they leave school with a trade/occupation that will enable them to achieve self-sufficiency. They are now working with Jae Canas from UCLA Behavioral Sciences who is now creating a trauma-healing template from our paradigm for the Dept of Mental Health.Who is Angela? Within a year of emancipating herself from foster care at 17, Angela Featherstone became Canada's top model when her September, Flare magazine cover broke all previous records for sales. She quickly expanded upon her success and left for New York where she signed with the illustrious Click agency. She would travel the world as a top fashion model, working with such great photographers as Oliviero Toscani, Piero Gemelli, Irving Penn, Albert Watson, David Bailey, and Bruce Weber. But for her life's work of acting, she downplayed her striking features to play unlikely roles, emerging as an actress with exceptional versatility. She is best known for playing Chloe in Friends and the fiancé (Linda) who left Adam Sandler's character (Robbie) at the altar in The Wedding Singer. Most recently she played the role of Maggie on Showtime's Ray Donovan and Jame on Girls for HBO. She has created sitcoms for Sony, DreamWorks, and NBC television, and written nonfiction for Time, Jane, Flare, The Huffington Post, Dame, and Zoomer. Her essay about childhood trauma, God Said No, was published in the 2014 edition of Gargoyle Magazine and nominated for the Pushcart Prize. In 2011, she curated Fuck Pretty, a show at the Robert Berman Gallery featuring important and emerging female photographers, and recorded “Coattail Glide” with Raymond Pettibon and the band The Niche Makers. Angela, a committed advocate for children in foster care, volunteers with the Children's Action Network curating their Heart Gallery from 2011- 2019 and served on their Winter Wonderland committee 2014 & 2015. She has also mentored a child in foster care through Kidsave from 2011-2020. In 2014, she lectured at the ICAN Nexus Conference; Violence Within the Home and its Effects on Children and continues to lecture and write about healing PTSD, child abuse, human trafficking, and intimacy. Her 2015 essay on child sex trafficking for DAME was picked up by Salon.org and MSN and exposed to over 7 million viewers. That year she was also an adjunct lecturer at the UCLA Professional Producing Program. 2022 marked her 14th year studying Moral and Spiritual Psychology with Rabbi Mordecai Finley, Ph.D. Recently, Angela served as a consultant on the important documentary about the effects and healing of trauma, Cracked Up.You can find out more about Angela by visiting:Website: www.Fosteringcare.orgInstagram: @thefosteringcarehealingshoolTwittter: ​​@ppp_healingLearn more about how you can affect change to the lives of youth in foster care by visiting https://www.comfortcases.org/ Hosted on Acast. See acast.com/privacy for more information.

Clément Chéroux, directeur de la Fondation Henri Cartier-Bresson revient sur son parcours et ses apprentissages durant ses expériences de conservateur en chef de la photographie au Centre Pompidou, au Musée d'art moderne de San Francisco, au MoMA à New York. Il nous explique les différences qu'il observe dans les méthodes de travail et la relation à la photographie entre la France et les Etats-Unis. Il nous présente les différentes activités de la Fondation Henri Cartier-Bresson qui fête ses 20 ans en 2023 : des expositions dans les murs de son espace parisien, des expositions itinérantes, des publications, un prix HCB, des conférences et des recherches actives sur le fond HCB et Martine Franck. La fondation HCB a principalement trois sources de financement privés : la billetterie, les dividendes du placement du capital de départ de la fondation et la recherche de mécénat (entreprise ou individuel). Bonne écoute !2' – La découverte de Clément Chéroux avec la photo comme moyen d'expression.5' – Ses études en histoire de l'art à Paris VIII puis à l'école de la photographie d'Arles. Cette double formation en photographie : théorique et plus pratique est à l'origine de son intérêt pour les pratiques photographiques.9'20 – Son expérience de conservateur en chef de la photographie au Musée d'art moderne de San Francisco et au MoMA à New York et en particulier les différences dans les méthodes de travail.17‘ – Il a travaillé en tant que conservateur de la photographie aux États-Unis et en France et il nous explique les différences d'un point de vue professionnel en revenant sur le développement de la photographie aux États-Unis au siècle dernier.21' – La fondation HCB fut créée en 2003 et reconnue comme fondation d'utilité publique. Lieu de préservation des fonds Henri Cartier-Bresson et sa femme Martine Franck. Un de ses rôles est de faire en sorte que leurs œuvres soient réactivées en permanence en les mettant à l'épreuve des périodes contemporaines.26'30 – La fondation HCB est la seule fondation pour des photographes en France. Aux États-Unis, il est inspiré par les fondations : Irving Penn, Richard Avedon, Gordon Parks…29' - Les projets de la fondation HCB : des expositions dans les murs de ses espaces et qui voyagent dans le monde entier, prix HCB qui récompense tous les deux ans un photographe avec une exposition et un catalogue, des publications, une librairie, un site, des conférences et des recherches sur les collections de la fondation.35' – Un financement privé sans subvention composé principalement : de la billetterie, des dividendes du placement d'un capital de départ et de recherche de mécénat (entreprise ou individuel).37'30 – Deux constats dans le milieu de la photo :- La recherche de financement prend de plus en plus de place dans le travail des professionnels de la culture (c'était plus d'habituel aux EU, mais il observe le même phénomène en France.)- Au milieu des années 80, les historiens, curateurs, journalistes s'intéressaient à la façon dont on est produite des images et depuis les années 90, on parle de la diffusion et il pense que le prochain focus sera sur le regardeur.43'30 – Importance du processus d'apprentissage par l'erreur. Aussi, il veut mettre en garde contre l'apparente simplicité de la photographie. La photographie est un objet qui semble évident alors qu'au contraire la photographie demande du temps long de recherche.Site de la Fondation Henri Cartier-Bresson : https://www.henricartierbresson.org/Pour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans le FLASH ACTU présenté par PHOX.FR, nous parlons des nouvelles optiques Sigma, des mises à jour de firmware Canon pour les EOS R3 et R5 et de l'exposition Irving Penn à Deauville. Ce FLASH ACTU est issu de l'épisode " S604 - MASTERCLASS Photo de sport avec David Reygondeau " diffusé le 6 avril 2023. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, David Reygondeau et Corinne Dubreuil, Jacky Carré, Francis Bompard, Alexis Berg.

Dans l'épisode S604 du podcast Faut Pas Pousser les ISO, nous recevons le photographe David Reygondeau, spécialisé dans les compétitions sportives de motos pour une émission MASTERCLASS dédiée à la photo de sport. Pour enrichir la discussion, nous avons également le plaisir d'écouter les témoignages de la photographe Corinne Dubreuil, spécialisée dans la photo de tennis ; Jacky Carré de Canon France et du photographe Francis Bompard, spécialisé dans la photo animalière et sportive. Cette émission est présentée par CANON et sa gamme EOS R, des hybrides aux performances inédites pour une créativité sans limites. Dans le FLASH ACTU présenté par PHOX.FR, nous parlons des nouvelles optiques Sigma, des mises à jour de firmware Canon pour les EOS R3 et R5 et de l'exposition Irving Penn à Deauville. Dans la STORY présentée par Photographes du Monde, l'agence spécialiste du voyage photo, Benjamin nous parle du projet de beau-livre sur le trail du photographe Alexis Berg que nous avons déjà reçu dans le podcast dans une émission AU COIN DU FEU. Découvrez également le DÉBRIEF, présenté par IPLN.FR : le spécialiste photo & vidéo et le QUIZ qui fait la part belle aux questions des auditeurs. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, David Reygondeau et Corinne Dubreuil, Jacky Carré, Francis Bompard, Alexis Berg.

Go as a River by Shelly Read  This begins in the late 1940's, set in Colorado in a town called Iola, in Colorado, where young Torie lives with three very difficult men (her father, brother and uncle who was disabled in WW2) after her mother was killed in a car accident when she was 12. It was immediately assumed that she'd take over all the household duties and she spends the next several years cooking and cleaning and helping out on the family's peach farm. One day, when taking a load of peaches into the town she has a chance encounter with a Native American man which changes her life irrevocably - with bigotry being alive and well in that era, her options are few and far between. It's the first novel by this author and is being compared a lot to Where the Crawdads Sing.     Wanderlust by Reid Mitenbuler  Extraordinary nonfiction about a larger than life great bear of a man named Peter Freuchen who was a Dane who spent 20 years living in Greenland and embarked on a series of Polar explorations – getting into some sticky situations from which you can scarcely believe he managed to extricate himself. With an extraordinary appetite for life and an eclectic CV to go with it, he explored the Canadian wilderness, spent time in Hollywood as a screenwriter and producer, won a major game show, met the President and married several times. I've attached the front cover image of the book as it's so remarkable - the photo was taken by the legendary photographer Irving Penn of Freuchen and his third wife and sums him up quite well I think! See omnystudio.com/listener for privacy information.

Susan Sontag est l'auteure de l'un des essais photographiques les plus importants de tous les temps. Elle est aussi la protagoniste, avec son fils, d'un portrait photographique éloquent et splendide. Ici commence le troisième et dernier récit de Chronorama, qui raconte les années ‘60 et ‘70, à travers les portraits du couple Federico Fellini et Giulietta Masina, d'un jeune Arnold Schwarzenegger et d'un acteur moins connu âgé de quinze ans: Björn Andrésen. La dernière photo de Chronorama est signée Irving Penn et est consacrée à un sujet en apparence peux intéressant: deux vieux mégots de cigarettes usés.

Susan Sontag is not only the author of one of the most important essays about photography, but also the protagonist, together with her son, of an eloquent and wonderful portrait. The third and final tale of Chronorama starts from here, and then recounts the 1960s and 70s through the portraits of Federico Fellini and his wife Giulietta Masina, of a young Arnold Schwarzenegger, and of lesser known figures such as the fifteen-year-old actor Björn Andrésen. The last photo mentioned in Chronorama is by Irving Penn, dedicated to an apparently dull subject: two old and worn cigarette butts.

Oltre a essere autrice di uno dei saggi sulla fotografia più importanti di sempre, Susan Sontag è protagonista insieme al figlio di un eloquente e splendido ritratto fotografico. Da qui parte il terzo e ultimo racconto di Chronorama per immergerci nello spirito degli anni Sessanta e Settanta del Novecento, attraverso i ritratti della coppia Federico Fellini e Giulietta Masina, di un giovane Arnold Schwarzenegger e di una figura meno nota come l'attore quindicenne Björn Andrésen. L'ultima foto di Chronorama è di Irving Penn ed è dedicata a un soggetto apparentemente poco interessante: due vecchi e consunti mozziconi di sigaretta.

This week, Joseph Bullmore tells us why some Brits have their knickers in a twist due to rich Americans' horning in on their slice of paradise. Then Nancy Jo Sales shares her provocative theory on what might explain the allegedly murderous behavior of Bryan Kohberger, who stands accused of killing four Idaho college students. And finally, Reid Mitenbuler has the fascinating story of the larger-than-life Danish explorer who conquered the Arctic, was photographed by Irving Penn, was wooed by MGM and Hollywood, and worked to defeat Hitler. All this and more make this week's show one you won't want to miss. Listen by clicking Play below. But be sure to subscribe at Apple Podcasts or Spotify so you don't miss an episode.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In 1995, New York magazine declared Martha Stewart “the Definitive American Woman of Our Time.” And, as the saying goes (sort of), behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that's today's guest, designer Gael Towey. _____ But let's back up. It's 1982, and Martha Stewart, then known as the “domestic goddess” — or some other dismissive moniker — published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers. _____ In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine. _____ Towey's modest assignment? Define and create the Martha Stewart brand. Put a face to the name. From scratch. And then, distill it across a rapidly-expanding media and retail empire. _____ In the process, Stewart, Motley, and Towey redefined everything about not only women's magazines, but the media industry itself — and spawned imitators from Oprah, Rachael, and even Rosie. _____ By the turn of the millennium, Martha Stewart Living Omnimedia, as it was rebranded in 1997, included seven magazines, multiple TV projects, a paint collection with Sherwin-Williams, a mail-order catalog, Martha by Mail, massive deals with retailers Kmart, Home Depot, and Macy's, a line of crafts for Michael's, a custom furniture brand with Bernhardt, and even more bestselling books. And the responsibility for the visual identity of all of it fell to Towey and her incredibly talented team. It was a massive job. _____ We talk to Towey about her early years in New Jersey, about being torn between two men (“Pierre” and Stephen), eating frog legs with Condé Nast's notorious editorial director, Alexander Liberman, and, about how, when all is said and done, life is about making beautiful things with extraordinary people.

«Se devo parlare di me devo anche dire come stanno le cose. A 15 anni ho mollato qualcosa che non era una famiglia, che era un buco nero. Ed è iniziato un mio difficilissimo tentativo di esistere. Non ho finito le scuole, non ho nessun diploma. Niente».Ha esordito così Benedetta Barzini, ospite del nostro secondo Nudismo Finanziario. Modella, musa, giornalista, docente. È suo il volto che compare sul primo numero di Vogue Italia, nel 1965. Ed è lei a incarnare il mito fotografico degli anni '60, ispirando Irving Penn e Richard Avedon, incantando Dalí e tutti i fratelli Kennedy, passando dalla factory di Warhol ai light shows per i concerti dei Velvet Underground. Già allora puntava il dito contro “il regno dell'immagine” e “la schiavitù dei corpi”, cominciando a scardinare il sistema dall'interno, come in un gioco di prestigio. Pasionaria e anarchica, libera per davvero, nel 2023 compirà 80 anni.«Non ho la faccia che vende ai wasp americani. Io non ero bionda con gli occhi blu, vedevo tipicamente mediterranea, mettiamola così. E mi ha salvata perché ho lavorato solo per l'editoriale di Vogue. Pagavano 100 dollari al giorno. Mentre se facevi una pubblicità guadagnavi migliaia di dollari. Per cui io sono sempre stata in quella nicchia. E molto felice riflettendo di non avere perso il senso della proporzione, perché se tu schiocchi le dita e guadagni 50.000 dollari, dopo fai fatica a lavorare normalmente o no? Dopo pensi che devi sposare un produttore ricco, un industriale». --- Send in a voice message: https://podcasters.spotify.com/pod/show/rame-platform/message

Our Creators with Influence Podcast turned one on International Podcast Day, celebrated annually on September 30. Hosts Qianna Smith Bruneteau and Karston 'Skinny' Tannis welcome Supermodel, Author, and CEO Beverly Johnson to kick off season 2. Known as the Face that changed it all in fashion, Beverly has graced over 500 magazine covers and was named one of the “20th Century's 100 Most Influential People in the Fashion Industry” by The New York Times and listed as Oprah Winfrey's “25 top legends.” She has been photographed by the most iconic names behind a lens, such as Francesco Scavullo, Arthur Elgort, Richard Avedon, Irving Penn, and Patrick Demarchelier. A New York native, she secured a place in fashion history for being the first Black model to appear on the cover of American Vogue in 1974 and the first Black model to land on the cover of French Elle in 1975. But you don't need to be a fashion enthusiast to be captivated by Beverly's storied career. It's her entrepreneurial and abundance mindset that is equally noteworthy. "You need this kind of connectedness to propel yourself further, faster...That's what mentorship does. Of course, you're going to fall down. We learn our biggest lessons from failure more than from our successes."— Beverly Johnson Often, people associate career longevity with time. At the American Influencer Council, we believe a successful career is choosing the projects and people you want to work with—staying relevant means getting to a place where you are in control of how you share your talents and expertise. With a career spanning five decades, Beverly returned to the runways of New York Fashion Week in February 2022, on her terms, for Sergio Hudson and Bibhu Mohapatra. She closed the shows for both designers, who paid tribute to her incredible legacy. And she has done over 20 covers in the last two years. For the startup businesses listening, get inspired as Beverly shares how she continuously turns up her purpose, the impact of the supermodels on personal branding and why mentorship results in more remarkable career outcomes. --- Send in a voice message: https://podcasters.spotify.com/pod/show/creators-with-influence/message Support this podcast: https://podcasters.spotify.com/pod/show/creators-with-influence/support

Desde un lugar que solo sale en las noticias cuando el termómetro supera los cuarenta grados y cuando el monte es pasto de las llamas ha llegado a las páginas y las portadas de los periódicos más importantes del mundo. Él sigue a lo suyo, contando historias pequeñas y a la vez universales. Porque alguien tiene que hacerlo, porque si no esas luchas no se conocerían. Con nuestra charla entendí que la valentía va mucho más de estar en primera línea de un incendio o de una crisis sanitaria, y recordé lo importante que es que haya gente que, como él, nos cuente lo que sucede, y que lo haga, como él, teniendo muy claro de dónde viene. Hoy, en Calle Oscura, Brais Lorenzo. En este episodio hablamos de: - Cómo la Fotografía influye en nuestros recuerdos. - El valor de los álbumes familiares. - Cómo las imágenes ganan con el paso del tiempo. - Ganarse la confianza de la gente a la que fotografías. - Que vamos dentro de nuestras fotos. - Subjetividad y fotografía. - Trabajar con tiempo, a largo. - Sentirse impostor. - Construir una mirada reconocible. - Hacerse las preguntas que se haría un niño. Y, como siempre, de muchas otras cosas que salieron al paso. Quién nos acompaña Brais nace en 1986 en Ourense, no barrio da Ponte, concretamente. En esa ciudad se gradúa en Geografía e Historia y como Técnico Superior de Fotografía, lleva 12 años trabajando como colaborador de la Agencia EFE y del periódico Faro de Vigo. Ha publicado en medios como El País, Eldiario.es, La Marea, Nós Diario, la Revista Luzes y The Guardian y para agencias como AFP o AP, actualmente colabora con Cruz Roja a través de su departamento de comunicación. Hasta ahora, su trabajo ha sido reconocidos, entre otros, con el premio Ortega y Gasset de Periodismo, en los News Photo Awards y Sony World Photography Awards, el Casares de Fotografía y el Luis Ksado. Insisto, por ahora. A Brais le mueven los temas conectados con el medio ambiente y los derechos humanos. Cierra la breve biografía que le pedí con cuatro palabras que lo dicen todo: amo lo que hago. Referencias y enlaces Autores y colectivos - Alfred Hitchcock. - Annie Leibovitz. - Dorothea Lange. - Emilio Morenatti. - Eugene W. Smith. - Henri Cartier-Bresson. - Irving Penn. - Judith Prat. (https://jotabarros.com/ver-comprender-judith-prat-calle-oscura/) - Kevin Carter. - Martin Parr. - Miguel Riopa. - Robert Capa. - Robert Frank. - Sebastião Salgado. Trabajos - Archivo Covid. (https://archivocovid.com/) - Ourense Terra Queimada, de Brais Lorenzo. (https://braislorenzo.com/ourense-terra-queimada/) - ROMA, de Alfonso Cuarón. - Tempos de Pandemia, de Brais. (https://braislorenzo.com/tempos-de-pandemia/) Brais y lo demás Podéis encontrar a Brais como en twittter (https://twitter.com/brais_lorenzo) y en Instagram (https://www.instagram.com/braislorenzo/), pero lo mejor es explorar su web (https://braislorenzo.com/), en la que recoge sus trabajos fotográficos y audiovisuales. Gracias por tu escucha Hasta aquí el vigésimo noveno episodio de Calle Oscura, ojalá hayáis disfrutado de esta charla con Brais tanto como yo. Si ha sido así no olvidéis dejar 5 estrellas, compartir este capítulo en vuestras redes y recomendarlo a vuestra gente. Algo tan tan sencillo supone, en realidad, una gran diferencia. Antes de la despedida, gracias a Ricoh y a su modelo GR3 por apoyar la emisión de Calle Oscura. (https://www.tiendapentaxeros.com/camaras/compactas/ricoh-gr/) Así arranca la tercera temporada de Calle Oscura. Desde aquí, todo mi agradecimiento por acompañarme, por acompañarnos, desde ese otro lado que – cada vez más – se siente muy cercano. Volvemos a escucharnos pronto. Hasta entonces… Nos vemos en la calle! Jota.

5 sierpnia 2022 roku zmarł Issey Miyake. Nie sposób zwięźle opowiedzieć o dorobku życia postaci, która w modzie osiągnęła wszystko i stała się jedną z jaśniejszych gwiazd ubraniowego panteonu. Miyake, zwany japońskim architektem mody, za cel swojego artystycznego życia postawił sobie wieczną innowację. W rozkroku pomiędzy japońską tradycją, a szaleńczą wolnością Zachodu, zatracał się w nowych materiałach i eksperymentalnych formach. Słynący z plisów, twórca Pleats Please, surrealistycznego konceptu A-POC, trójwymiarowej Bao Bao wciąż chciał więcej. L'eau d'Issey miało pachnieć jak woda. Za kampaniami miał stać Irving Penn. Grace Jones miała zostać jego muzą. A moda – miała zmieniać się tak, by jak najdłużej służyć. Jeśli chcecie dowiedzieć się co wspólnego z Miyake miała Hiroshima, Steve Jobs i samuraje – o tym już za chwilę.

In episode 221 UNP founder and curator Grant Scott has lost his way, been set adrift upon the open seas and found himself on a desert island with only eight photo books for company, the complete works of William Shakespeare, the Bible and just one luxury item. In this episode he reveals four of those photo books. The First Four Desert Island Books Grant Chooses this week: On the Other Side of the Camera by Arnold Crane. Published 1995 by Konemann UK Ltd, 320 pages. Passage: A Work Record by Irving Penn. Published 1991 Random House USA Inc, 300 pages. Man Ray: Portraits. Paris, Hollywood, Paris by Clément Chéroux. Published 2011 Schirmer Mosel, 316 pages. The Unseen Eye: Photographs from the Unconscious by W.M Hunt and William Ewing. Published 2011 Thames & Hudson, 320 pages. www.wmhunt.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

La puntata di oggi: che cos'è il diritto d'immagine?Sapevate che i sensori delle fotocamere a obiettivi intercambiabili si sporcano? Vi siete mai chiesti come pulirlo e se è un'operazione che potete gestire voi stessi?Per la rubrica Quei Bravi Fotografi oggi parliamo di Irving Penn, uno dei più grandi fotografi del secolo scorso... uno di quei fotografi che dobbiamo conoscere. Aspetto le vostre domande e i vostri feedback. Buona luce a tutti!*******************************************I MIEI LINK:Cliccate qui per sostenere con un piccolo contributo volontario le spese del podcast:https://www.patreon.com/user?u=15429568Email: andreageymet@gmail.com (da usare anche per contributo PayPal)Adobe Portfolio: https://andreageymet.myportfolio.comInstagram del podcast: https://www.instagram.com/passione_fotografia_podcast/I miei ritratti: https://www.instagram.com/andreageymet_ph/Le mie foto dei viaggi: https://www.instagram.com/the_solo_nomad/*******************************************IL SITO DOVE LEGGERE LE RECENSIONI DELL'ATTREZZATURA:https://www.juzaphoto.com*******************************************Il kit per pulire il sensore:https://www.amazon.it/dp/B00THAGO72?_encoding=UTF8&psc=1&ref_=cm_sw_r_cp_ud_dp_Z8JJ1YNTK7W32GTMAZ80https://www.amazon.it/dp/B000QUYERE?_encoding=UTF8&psc=1&ref_=cm_sw_r_cp_ud_dp_66C06GC27C92B3M9RZP8Il tutorial per imparare a pulire il sensore:https://youtu.be/JgSGMvCu6MY*********************************************QUEI BRAVI FOTOGRAFIIrwing Pennhttps://irvingpenn.orghttps://it.wikipedia.org/wiki/Irving_Penninstahttps://www.instagram.com/the.irving.penn.foundation/

We love finding new products when we attend High Point Market so we were thrilled when we met our guest there, photographer Lannie Hall. His company name is Eikones Studio, which is the Latin word for “images”. In this episode, we ask Lannie about his photography background, artistic style, and much more. Tune in as we get all the details on the future of his business!   In this episode: [02:30] Lannie's start in photography, his classical training, and starting Eikones Studio [06:00] Using his 35-year business and marketing experience in his photography [10:00] Researching locations and subjects for his shoots [15:00] Using museum paper and glass to display photographs and framing styles [21:00] How Lannie pivoted his business during Covid and successfully ignited sales offers for loose prints   Key Takeaways: Being flexible as a business owner is always important- you can see this in dealing with the aftermath of Covid complications. Being able to pivot and transition can help sustain and even elevate your business You don't always have to start out in the business you end up in- sometimes other careers and life experiences can help you be able to build a business you love.    Quotes: "Kids Today: Finds out school is canceled via text. Me: Had to wake up at 6am and watch the bottom of the TV screen like an NBA draft." - Anonymous   “A good photographer is one that communicates a fact, touches the heart, and leaves the viewer a changed person for having seen it.  It is, in a word, effective” - Irving Penn   Links Mentioned: sherwin-williams.com https://eikonesstudio.com/   Sponsor: This episode is sponsored by our go to paint brand Sherwin Williams. If you are thinking about getting your interior painted like so many of our clients, we want to bring your attention to the Emerald Designer Edition paint by Sherwin Williams. The Emerald Designer Edition paint has a luxurious, smooth, and uniform finish that comes in 200 colors and is a paint and a primer in one. This line of paints boasts a collection of brighter, cleaner, whites that we refer to all the time. As quoted by Sue Wadden, Director of Color Marketing, “Achieve a showstopping, transformation with these brighter whites, just-right blues and greens, complex grays and beiges, and more muted tones of classic hues.”  Check out all the new colors at www.sherwin-williams.com or visit your neighborhood store.

La Maison Européenne de la Photographie vous propose une série de podcasts présentant les histoires de photographies issues de sa collection. En écho à l'exposition Samuel Fosso, découvrez des œuvres incontournables de photographes de studio. Cette semaine découvrez « Rochas Mermaid Dress » du photographe américain Irving Penn. Visuel : Irving Penn, Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris, 1950 - Acquis par la MEP en 1992 © Condé Nast

Siempre digo que con la invitada de este nuevo capítulo de Calle Oscura, mi podcast, aprendí a ver de verdad la luz en la cara de la gente a la que fotografío, al descubrir de su mano cómo moldea los rostros al posarse sobre ellos. Si antes de aquel taller en Moaña al que me acompañó mi amigo y gran fotógrafo Marcos (http://marcospereiropics.com/) me gustaba su trabajo, desde entonces mi aprecio y admiración no han dejado de crecer. Hoy sigo aprendiendo gracias a sus imágenes y a un compromiso a prueba de bombas, literalmente. En el decimocuarto capítulo de Calle Oscura charlo con la gran Estela De Castro. En este episodio hablamos de - Que la Fotografía es oficio, pero no solo eso. - Cuánto puedes aprender fotografiándote a ti mismo. - La importancia de hablar de lo que te interesa. - Y de fotografiar a la gente antes de que se vaya. - Que disciplinas alejadas de la que eliges también pueden equiparte para ella. - Lecciones que acompañan toda una vida. - Que todo lo que hay dentro del encuadre tiene una lectura. (https://jotabarros.com/espectador-fotografia-solo-ve-todo/) - Lo que implica hacer un buen retrato. - Cuánto cambia el proceso al retratar a quien conoces. - Cómo la cámara puede ayudarte a afrontar aquello que te duele. Y, como seguramente te imaginarás, hay mucho más. Quién me acompaña Estela de Castro nació en Madrid en 1978, es fotógrafa y docente especializada en retrato. Se ha formado con algunos de los fotógrafos y fotógrafas más relevantes del país como Eduardo Momeñe, el invitado del último capítulo de la primera temporada de este podcast. Sus imágenes aparecen habitualmente en las publicaciones más prestigiosas (ahí están, por mencionar solo algunas, El País Semanal, Esquire, Forbes o The Times) y en las paredes de exposiciones y certámenes como PhotoEspaña, el Festival Revela-t o La Casa Encendida. Usa la fotografía como una herramienta para luchar por aquello en lo que cree, ya sea convirtiendo las frías cifras en rostros que nos miran a los ojos o logrando que veamos a los animales como iguales. Algunos oyeron su nombre por primera vez por sus retratos para la Casa Real, a muchos ese encargo nos pareció el reconocimiento absolutamente lógico a la calidad de una carrera de fondo. Encuentra su trabajo y sus proyectos… - En la web de Estela de Castro (https://esteladecastro.com/). - Y en su perfil de Instagram (https://www.instagram.com/estela_de_castro/). Referencias y enlaces Autores - Colita. - Eduardo Momeñe. - Eugeni Forcano. - Helmut Newton. - Irving Penn. (https://jotabarros.com/grandes-fotografias-tribu-kirdi-camerun-irving-penn/) - Joan Colom. - Joana Biarnés. - Juan Cañamero. - Leopoldo Pomés. - Luis Baylón. - Miguel Martínez. - Óscar Molina. - Richard Avedon. - Ruth Toledano. - Valentín Valhonrat. Trabajos - Ida (Pawel Pawlikowski, 2014). Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Y ahí abajo tienes los comentarios, para seguir conversando sobre los temas abordados con Estela de Castro. Muchas gracias por estar ahí, al otro lado. Muy pronto, nuevos episodio del podcast. Mientras tanto… Nos vemos en las calles! Jota.

Listen to this fun-filled chat with the amazingly talented, Victoria Granof. Victoria found her way to food styling over 15 years ago after being a pastry chef.  She has been a Cordon Bleu crew, a James Beard Award Finalist, as well as having the privilege to work side by side with Irving Penn for a number of years. All of this has been adventure filled to say the least and then at the height of her career she was given the opportunity to learn to become a director which is now her absolute passion. She is creative, funny, talented and a true inspiration for all working women out there.  This show is sponsored by the American Photographic Artists (APA), established in 1981, is a not-for-profit trade association run by photographers for photographers working in the advertising and editorial sectors.  They understand the challenges of this industry and advocate on behalf of their members. APA offers inspiration, education, and advocacy. The APA membership structure gives every photographer an affordable way to belong to a community of like-minded professionals. APA members are connected by regional chapters providing both a national and local connection to networking, portfolio reviews, photo competitions, and activism.  APA supports women and minority photographers. Their Diversity Committee is charged with clearing a path to success for those who are traditionally underrepresented. The APA Scope webinar and podcast series includes discussions with photographers re-imagining the photo industry as one driven by diversity and inclusion.APA is providing those who are listening to this Focus on Women podcast, an opportunity to join APA using a $25 coupon code. APA memberships start at just $50 a year, so that's half off an annual Contributor membership.  Use the code:  FOW2021 (as in Focus on Women)  to take advantage of this offer.  The code will be valid until the end of 2021. Join at APA National.org. If you have any questions, reach out to Juliette  Wolf-Robin, she is the executive director of APA and on the board of Focus on women. 

rving Penn El fotografo que REVOLUCIONO la Fotografia de MODA en el Siglo XX, Biografia de esta gran fotografo Norteamericano. Para suscribirse al canal --- Send in a voice message: https://anchor.fm/john-vargas-foto/message

« Nature inanimée », écrivait Diderot. Mais quoi de plus étrange que de qualifier de « nature morte » la représentation d'objets du quotidien, de fleurs, de fruits et d'animaux, tout ce qui a à voir avec les sens, le plaisir, la vie même… Dans ce format Épisode enregistré à la Galerie Huit à Arles, nous accueillons comme toujours plusieurs invité(e)s. Pour cet épisode, nous avons plaisir de recevoir Cédric Porchez et Mathilde Hiley, tous deux photographes de nature morte. Cédric travaille depuis plus de 30 ans, Mathilde fait partie de cette génération de photographes expérimentant de nouvelles facettes de ce genre photographique. Deux approches et regards, qui parfois concordent.  Ce terme a été forgé au milieu du 18e siècle au moment où se déployait la peinture de Chardin. Autour de 1650, c'est aux Pays-Bas que les peintres hollandais, dans leurs ateliers, évoquent le still-leven, littéralement « nature immobile » ou « nature posant comme un modèle ». De là sont issus l'allemand Stilleben et l'anglais still-life, où s'ajoute à la notion d'absence de mouvement, celle d'une « vie silencieuse. »  Évidemment, vous écoutez un podcast sur la photographie, nous parlons donc de la nature morte par le biais de ce médium et de son évolution au cours des dernières années. Entre héritage des beaux-arts et statut d'image publicitaire et corporate, la nature morte est en réalité riche et englobe plusieurs démarches et visions. Aujourd'hui, beaucoup de jeunes photographes sortant d'école se prêtent au jeu. Ce sont des photographies qui nécessitent en tout cas une formation technique avancée, une connaissance et un attrait pour la composition, la lumière, le décor, les couleurs… Elles se réalisent également souvent sur un temps long, donc la nature fait appel logiquement à la patience et à une certaine forme de dévouement. Excellente écoute !  Nous soutenir  https://visionspodcast.fr/nous-soutenir/  Pour aller plus loin  Charles Negre, Irving Penn, Chema Madoz, René Magritte, Yves Trémorin, Edward Weston, AM+PM Studio, Pierre Vaillant (set designer), La photographie de nature morte contemporaine : vers une hyperréalité (mémoire de master de Margaux Jannin) Liens  https://www.instagram.com/cedricporchez/  https://www.instagram.com/mathildehiley/  https://www.instagram.com/daily_stilllife/  https://www.visionspodcast.fr/   https://www.instagram.com/podcastvisions/  

Albert Watson OBE (born 1942) is a Scottish fashion, celebrity, and art photographer. He has shot over 100 covers of Vogue and 40 covers of Rolling Stone magazine since the mid-1970s and has created major advertising campaigns for clients such as Prada, Chanel, and Levis.  Watson has also taken some well-known photographs, from the portrait of Steve Jobs that appeared on the cover of his biography, a photo of Alfred Hitchcock holding a plucked goose, and a portrait of a nude Kate Moss taken on her 19th birthday. Watson's prints of his photography are exhibited in galleries and museums worldwide. Photo District News named him one of the 20 most influential photographers of all time, along with Richard Avedon and Irving Penn, among others. Watson has won numerous honors, including a Lucie Award, a Grammy Award, the Hasselblad Masters Award, and three ANDY Awards.  He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2010. Queen Elizabeth II awarded Watson an Order of the British Empire (OBE) in June 2015 for 'services to photography'.   Websites Albert Watson   Masters of Photography - Albert Watson    Bill Brandt   Sponsors Charcoal Book Club Lensrentals.com   Education Resources: Maryland Photography Alliance Presentation   Momenta Photographic Workshops   Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame by contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

¿Tiene la Fotografía analógica, la de toda la vida, sentido en pleno siglo XXI? ¿Por qué complicarse la vida con carretes de solo unas decenas de exposiciones, laboratorio y largas esperas hasta poder ver lo que hemos conseguido? A pesar de sus aparentes limitaciones (que, por cierto, no me parecen necesariamente algo negativo) la Fotografía química tiene mucho que ofrecernos, y precisamente como consecuencia de sus particularidades y de todo aquello que la diferencia de lo digital, puede ayudarnos a mirar y a capturar el mundo que nos rodea de otra manera. En este episodio hablamos de - Todo lo que nos aporta fotografiar en película aunque nos movamos con soltura en el mundo digital. - La posibilidad de empezar por muy poco. - Cómo cambia nuestra forma de vivir el proceso. - Lo sencillo que es montar tu propio laboratorio en casa. - Que fotografiar en analógico no es más caro que lo digital (ni siquiera tanto). - Todas las decisiones que tomamos antes de fotografiar en película. - La enorme cantidad de posibilidades creativas de lo químico. - Cómo dar el paso de forma muy sencilla. - Por qué fotografiar en analógico es sinónimo de control, aunque pueda parecer todo lo contrario. - Y que nos puede hacer mucho mejores fotógraf@s. Y, claro, de muchas otras cosas que han surgido por el camino. Quién me acompaña Chechu, aka Herman Toothtrot es un apasionado de la Fotografía química que se ha montado su propio laboratorio en casa y que ha convertido la difusión de lo analógico en su gran proyecto profesional. Por encima de todo, Chechu defiende otra forma de fotografiar, más pausada y consciente, consecuencia de ralentizar y controlar el proceso en todos sus pasos. Y todo esto con un estilo muy personal y ameno que me enganchó desde la primera vez que me crucé con él en las redes, hasta el punto de tiene gran parte de la culpa de que cada vez me sienta más atraído por la Fotografía como se hacía antes… Y ya os adelanto que este episodio de Calle Oscura no ha hecho que se me pase, precisamente. Localiza y sigue a Chechu en las redes: hermantoothrot.com / www.instagram.com/hermantoothrotanalog/ y en su proyecto con Nico Llasera: Disparafilm.com. También te recomiendo que si eches un vistazo a su Patreon y valores apoyar económicamente su proyecto, como hago yo mismo, en www.patreon.com/hermantoothrotanalog Referencias y enlaces Autores y autoras: - Alex Webb. - Alec Soth (y su curso en Magnum Photo). - Bruce Davidson. - Bernard Plossu. - Carlos Cánovas. - Gabriel Cualladó. - Carlos Pérez Siquier. - Cristina de Middel. - Cristina García Rodero. - Juan Manuel Castro Prieto. - Julia Fullerton-Batten. - Alberto García-Alix. - Alex Prager. - Irving Penn. - Julian Ochoa. - Martin Parr. - Pau Buscató. - Rafa Badia. - Rodney Smith. - Sergio Larraín. - Todd Hido. Páginas web: - carmencitafilmlab.com (laboratorio fotográfico al que puedes enviar tus propios carretes). - kamerastore.com (venta de cámaras y resto de equipo analógico). Libros y trabajos: - Hojas de Contacto, el libro de Magmun: jotabarros.com/libro-fotografia-magnum-contact-sheets/ - The Last Restort, de Martin Parr. - Sleeping by the Mississippi, de Alex Soth. - El magnífico libro Subway de Bruce Davidson, uno de mis favoritos: https://jotabarros.com/libro-de-fotografia-subway-bruce-davidson/ Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Y ahí abajo tienes los comentarios, para seguir conversando sobre los temas abordados con Chechu. Muchas gracias por estar ahí, al otro lado. Hasta pronto. Jota.

In episode 144 UNP founder and curator Grant Scott is in his shed considering what makes a magazine cover photographer, Irving Penn the photojournalist, the importance those who came before us, and Covid lockdown independent initiatives. Plus this week photographer John Bulmer takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' John Bulmer was born in 1938 in Herefordshire, the grandson of the founder of the Bulmer cider company. While still a student of engineering at Cambridge he had photographs published in Varsity magazine as well as a magazine he co-founded, Image. He also completed photo-stories for the Daily Express, and Queen magazine, whilst working as an assistant to photographers Larry Burrows and Burt Glinn. Expelled from Cambridge six weeks before his finals Bulmer got a job with the Daily Express and stayed there for two years. Bulmer is most often associated with his documentation of the North of England which he began with his first assignment in 1960, for Town. In 1965, Bulmer first photographed the north of England in colour, for the Sunday Times magazine the magazine who he worked for until 1973. However, Bulmer continued working for other publications, including the British edition of Geo, as he combined photography with film commissions for the BBC and Discovery Channel. As Bulmer moved away from photography to film, his earlier photographic work until it was included in a 1983 exhibition at the Photographers' Gallery, British Photography 1955–65: The Master Craftsmen in Print. Bulmer's career in film continued to the mid-2000s, when he retired and turned to digitising and cataloguing his earlier photographs. The resulted in two books of his work being published by Bluecoat Press, The North and Wind of Change. www.johnbulmer.co.uk *In this episode Grant incorrectly suggests that John Bulmer is married to the film director Mai Zetterling, this is incorrect. Bulmer worked with Zetterling but is married to Angela Bulmer, a sculptor. A full apology for this error will be included in next week's episode. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His book What Does Photography Mean to You? including 89 photographers who have contributed to the A Photographic Life podcast is on sale now £9.99 https://bluecoatpress.co.uk/product/what-does-photography-mean-to-you/ © Grant Scott 2021

One of the first and true Supermodel greats, Pat began her career in the late 1960s persevering in the face of racist discrimination and forging an important path which would set a crucial precedent for other Black women coming into the fashion industry. In the 1970s she moved to Paris and became friends with Karl Lagerfeld, muse to Andy Warhol and Salvador Dali. She's starred on the runways of Valentino, Yves Saint Laurent and Chanel to name a very few. Pat has been shot by the all-time great fashion photographers from Richard Avedon to Irving Penn, Guy Bourdain and Steven Meisel. And now in her 70th year, continues to work, often appearing alongside her model daughter Anna. She was one of the 100 cover stars of this September's Italian Vogue cover and was cited by Tom Ford as a muse for his spring summer 2021 collection. High fashion veteran Andre Leon Talley has described her as “the all-time superstar model and the Josephine Baker of the international runways”. Find Victoria on Instagram @missvictoriamossPat @patclevelandDownload DREST at The App StoreFollow us on Instagram @drestTweet us @DrestStyle Email us at ideas@drest.com Hosted on Acast. See acast.com/privacy for more information.

Another stroll through Green-Wood with my camera, a Lensbaby, and my microphone. On this walk, I ruminate on some "deep dives" I've taken recently, studying some of the famous photographers such as W. Eugene Smith and Irving Penn. Also, some encounters with geese.

In episode 32 UNP founder and curator Grant Scott is in his shed considering the promise and marketing of 'instant' photography success and the importance of reading the terms and conditions when entering photo competitions. Plus this week Grant re-visits a recorded conversation with legendary photographer Michael Thompson in which he speaks about moving to New York from the West Coast, assisting Irving Penn and finding your own photographic voice. Michael Thompson is an American photographer who began his career as an assistant to Irving Penn after training at the Brooks Institute of Photography in California. Thompson's work has appeared in W, Details, Allure, Harper's Bazaar, Vogue, Vanity Fair, GQ and The New York Times Magazine. His commercial photography includes campaigns for Gap, Elizabeth Arden, Chanel, and he was the PDN magazine Award winner for his project I Am African. His commercials include those for the fragrance Lovely by Sarah Jessica Parker(winner of the 2006 FiFi Award for Best National Advertising Campaign -Television), the Frank Gehry Collection for Tiffany, and a PSA for his documentation of The American Ballet Theatre. Thompson was one of a small group of photographers who helped set a new agenda for editorial photography under the art direction of Fabian Baron in the early 90's in the re-launched Harpers Bazaar magazine. A collection of his work was published in 2005 by Harry N. Abrams titled Images. Thompson lives and works in Los Angeles. www.michaelthompsonphotographer.com Grant Scott is the founder/curator of www.unitednationsofphotography.com, a Senior Lecturer in Professional Photography at the University of Gloucestershire, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. He is currently work on his next documentary film project. His documentary film, www.donotbendfilm.com Do Not Bend: The Photographic Life of Bill Jay has been screened across the UK and the US in 2018 and will be screened in the US and Canada in 2019. © Grant Scott 2018

In this episode, Antonio talks about two great art exhibits he went to this past weekend: photographer Irving Penn at the Metropolitan Museum of Art and painter Georgia O'Keeffe at the Brooklyn Museum. Then, in the meaty part of the show, Antonio speaks about what he's really trying to depict when he photographs: reality or feelings? Showing a friend how he processed his photos made him wonder whether he was revealing too much about how he interprets what he sees and photographs. If he's not showing reality then maybe he's showing how he felt.

For more than thirty years Thomas Palmer has been making printing separations for books. His credits include work by Lee Friedlander, Nicholas Nixon, Walker Evans, Robert Adams, Paul Strand, Edward Weston and many others. In spring of 2015 I visited Palmer at his home in Newport, Rhode Island to talk with him about his start in photography, his earliest job in printing and making books with Irving Penn and Lee Friedlander. The Newport Art Museum is currently hosting a show of Palmer's photographs titled "This Newport," on display until September 5, 2016.