JAN/FEB 2010 $4.99

AMERICANPHOTOMAG.COM

IMAGES OF THE YEAR PHOTOJOURNALISM | NATURE | STUDENT WORK | PORTRAITURE PERSONAL WORK | COMMERCIAL | EXTREME

SHOOTOUT:NIKON 300S

VS CANON EOS 7D

Tim Street-PorterSHOOTS L.A.

ARCHITECTURE

Dustin Humphrey SURFS AUSTRALIA

EDITORS CHOICE:

BEST CAMERA BAGS AND BACKPACKS

Nothing stimulates great photography like an inspiring subjectand New Orleans does so with its rich history, natural beauty and recovery from Hurricane Katrina, displaying the true essence of this once-French colony. Let the Mentor Series take you and your camera deep into the heart of the Big Easy as we explore Americas liveliest city. Photograph Metairie Cemetery, with shadows cascading across the elaborate tombs of the elite and famous. Well experience the Mississippi river aboard the Steamboat Natchez, where we will photograph a jazz band, breathtaking views of the city and the graceful lines of riverboat architecture. Take a trip to a working plantation, where well capture candid shots of models dressed in period costume, preserved Doric columns and wrought iron details. Photograph Oak Alley as the sunlight streams through a dense canopy of branches to form a perfect balance of light and shadow in this immaculate preserve. The quiet waterways of the bayou swamp tour allow us to photograph rare birds, snakes, turtles, and, of course, alligators. And we wont miss out on New Orleanss famous French Quarter and Jackson Square. Flanked by historic buildings, well wander among neon-lit, jazz-filled streetsfrom Bourbon to Canalthat have made the French Quarter legendary.

REGISTER ONLINE AT WWW.MENTORSERIES.COM

For more information, call toll-free 888-676-6468.

NEW ORLEANS Feb. 26 28, 2010

SOUTHERN CALIFORNIA March 19 21, 2010

Scott Burns

Jason Major

The photo trek begins with a safari at the San Diego Wild Animal Park. From the vantage point of open-top vehicles, we will get within close reach of giraffes, elephants, zebras and rhinos. Head next to Balboa Park, where our mentors will share techniques for attaining that perfect close-up at the Moorish gardens of Casa del Rey Moro and Alcazar Garden. Span one of the worlds most distinctive bridges to reach Coronado Island where you can capture sweeping views of the San Diego skyline. For a fresh perspective on flash photography, we will visit the Point Loma Lighthouse during the evening light. Drop by what is perhaps the most photographed spot in La Jolla: Ellen Browning Scripps Park. With practical tips on landscape composition the mentors will help you capture amazing images of the sandstone cliffs, pounding waves, and Torrey pine trees at this awesome coastal location. To pick up the pace and perfect the action shot, capture para gliders in flight at the Torrey Pines glider port. Learn techniques for panning, reducing lag time and latency, and get the most from burst mode at this world-famous flight destination. If you find gorgeous weather, abundant wildlife, rich culture, and the rugged beauty of Californias coast inspiring, let the Mentor Series take you on a journey thats sure to be picture perfect.

FOR THE PAST 12 YEARS, the Mentor Series has taken photo enthusi-asts to destinations across the country and around the world. With top Nikon professional photographers accompanying participants every day and teaching them how and what to shoot, theres nothing like a Mentor Series trek. You and your photography will never be the same!

Special thanks to our premier sponsor:

With additional support from:

BRYCE & ZIONApril 28 May 3, 2010

Jaap Hart

Join the Mentor Series as we navigate the dizzying altitudes and vast expanses of Bryce Canyon and Zion National Park.

Head to the overlook that provides a glorious perspective of lower Zion Canyon where steep sandstone cliffs tower in the distance. Discover the Emerald Pools, where sunlight streams through cottonwood and box elder trees, illuminating these hidden tarns, some of which are fed from waterfalls running off looming cliffs. Photograph the multicolored natural amphitheater in Bryce Canyon as the sun rises. Along Queens Garden trail witness the majestic hoodoos - massive haunting spires of sedimentary rock carved away by eons of erosion and rising from the desert floor. The late afternoon sun will penetrate the narrow gorges and provide a backdrop to capture a sunset like no other. Spend time at Zion Mountain Ranch and photograph a herd of buffalo roaming on several hundred acres, or a horseback rider with the sandstone cliffs of Zion Canyon as the backdrop. Photograph mountain bikers maneuvering the rocks along traversing trails and courageous rock climbers rappelling down the majestic cliffs. Join the Mentor Series on this National Park adventure and come away with an individual artistic record of the unyielding impact of time and nature and its effect on the American landscape.

Morocco undoubtedly teems with rich history, fascinating culture, and spectacular natural attractions. Join the Mentor Series as we take you on a photographic adventure of a lifetime and teach you how to create timeless images unlike anywhere else on earth. The trek begins in Marrakech where photographic treasures are around every corner. Capture endless color and bustling locals at Djemaa el Fna Square - Moroccos busiest marketplace. As evening falls, enjoy a special vantage point overlooking this crowded main square. Well make our way to the enchanting fortified hillside village of Ait Benhaddou along the Ouarzazate river. Be a guest in a traditional adobe home and see firsthand how these beautiful manmade earthen structures complement the striking diverse landscape. As the sun descends, we will board camels and ride into the Sahara to witness the dramatic evening light transform the dunes into infinite shades of gold. Venture out to explore the majestic mosques, historic architecture, and lively medina of Fes and learn how to best capture the kaleidoscope of this imperial treasure. From sunrise to sunset, landscape to locals, Kasbahs to camel caravans travel to Morocco with the Mentor Series to experience the expansive beauty, ancient traditions and exotic mysticism of one of the most interesting places in the world..

MOROCCO April 8 16, 2010

R

ob

ert

oG

en

naro

JAN | FEB 2010

FEATURES

32 IMAGES OF THE YEAR With their fresh, individualistic approaches, the

winners of our fourth-annual competition underscore what a good year 2009 was for photography. BY MIRANDA CROWELL

44 STREET SMARTS Architectural photographer Tim Street-Porter keeps

on rocking. After four decades of shooting, filling the pages of high-style magazines, producing sumptuous books and capturing iconic Los Angeles modernism, he shows no signs of stopping. BY PAUL LOVE

52 SURFING LOVERS LAND Dustin Humphreys photos of his motorcycle/

surfing/art expedition across Australia are at once ephemeral and timeless, much like the waves he and his buddies went there to ride. BY LAURENCE CHEN

DEPARTMENTS

9 FLASH News & Trends in Photography Q&A with Lynsey Addario + the Video/Still

Convergence + On the Wall + Sweet Spot: Vieques, Puerto Rico

17 FOCUS The People Behind the Pictures One to Watch: Jordan Manley + Personal Project:

Pam Spaulding

25 FLICKR CREATIVE SHOWCASEArt directors find photographic talent and some-times images for ad campaigns on Flickr.

63 GEARWhat Photographers Need

The new Leica M9 + Editors Choice: New camera bags and backpacks + Shootout: Nikon 300s vs. Canon EOS 7D

68 SKILLSKnow-How NowFrame Work: Jordan Manley shoots in snow + The Picture Biz: Using social-networking sites to boost your business

80 PARTING SHOT Irving Penns 1991 Miyake Fashion: Raining Hair re-

minds us that the master photographer never lost his focus on fashion. His genius will be missed.

ON THE COVERThis shot of a firefighter battling a blaze in western

Colorado won adventure photographer Tyler Stableford a place among American Photos Images

of the Year. See page 32 for the rest of the story. TO

P T

O B

OT

TO

M:

J

UL

IA F

UL

LE

RT

ON

-B

AT

TE

N;

T

IM S

TR

EE

T-P

OR

TE

R:

2

00

8 D

US

TIN

HU

MP

HR

EY

/R

EE

L S

ES

SIO

NS

;

JO

RD

AN

MA

NL

EY

;

JA

Y S

AU

CE

DA

/C

OU

RT

ES

Y T

HE

BO

XIN

G C

LU

B

32

44

52

17

25

AMERICANPHOTOMAG.COM | JAN/FEB 2010

100% Carbon Fiber Tubes / 100% High Performance / 100% Manfrotto Quality

Manfrotto presents a new generation of tripods to the

carbon fiber tripod world. Extremely light weight with

incredible performance, fast and easy to use.

welcome to the Family

on Carbon Fiber Tripodswhen purchased with a head.

For details, go to www.manfrotto.us

$50Rebate

TO

P T

O B

OT

TO

M:

STE

VE

N S

IEG

ELB

AU

M;

JON

WH

ITT

LE;

GLE

NN

FLE

ISH

MA

N;

BR

AD

SH

EA

RD

AMY BEDIK Amy Bedik, who interviewed risk-taking photojournalist Lynsey Addario for her story On the Front Line, is a photographer and writer who lives in New York City. She has worked in museums in London and Paris, and her photographs look at historical artifacts in contemporary settings.

PAUL LOVEPaul Love wrote this issues Street Smarts feature. The photo editor for Saveur and Florida Travel + Life magazines, he also writes for International Masters Publishers and MBK Productions.

LAURENCE CHENLaurence Chen is a Seattle-based freelance editorial photographer and writer who wrote Surng Lovers Land, about surf photog-rapher Dustin Humphrey, and this issues Flash story about digital convergence. His clients have included Saveur, Fortune, Sunset, Peachpit Press and America 24/7. He writes the Creative Thinking column for Popular Photography and is also an adjunct professor of photography at Seattle Pacic University.

THEANO NIKITAS A freelance journalist and photographer, Theano Nikitas contributed this issues Editors Choice, presenting the latest and greatest camera bags on the market. For more than 15 years she has written about all things photographic from analog to digital for numerous magazines and websites, and maintains a special interest in alternative processes.

CONTRIBUTORS

EDITOR SARAH KINBAR

EXECUTIVE EDITOR Russell HartART DIRECTOR Donna Reiss

SENIOR EDITOR Jenny AndrewsMANAGING EDITOR Leigh Ann Ledford

PHOTO EDITOR Chelsea StickelCOPY EDITOR Cindy Elavsky

FACT CHECKERS Rebecca Geiger, Judith Myers ONLINE EDITOR Stan Horaczek

ONLINE ASSOCIATE EDITOR Patrick ParkerCONTRIBUTING EDITORS Jonathan Barkey, Greg Ceo,

Jack Crager, Vicki Goldberg, Dirck Halstead, Michel Leroy, Lindsay Sakraida

EDITORIAL DIRECTOR MARK JANNOT PHOTO DIRECTOR Larry Nighswander

BONNIER TECHNOLOGY GROUP GROUP PUBLISHER GREGG R. HANO

ASSOCIATE PUBLISHERS Wendi S. Berger, Anthony Ruotolo EXECUTIVE ASSISTANT Christopher Graves MARKETING DIRECTOR Mike Gallic

FINANCIAL DIRECTOR Tara Bisciello SVP, CORPORATE SALES & MARKETING Mark Wildman

NORTHEAST ADVERTISING OFFICE Lauren Brewer, Scott Constantine, Susan Faggella, Sara Schiano Flynn, Taryn Guillermo, Tara Weedfald

MIDWEST MANAGER John Marquardt 312-252-2838 AD ASSISTANT Krissy Van Rossum

WEST COAST ACCOUNT MANAGERS Robert Hoeck 310-227-8958, Bob Meth 310-227-8955

AD ASSISTANT Kate Gregory DETROIT MANAGER Edward A. Bartley 248-282-5545

AD ASSISTANT Diane Pahl SOUTHERN MANAGER Jason A. Albaum 404-892-0760

BUSINESS DEVELOPMENT MANAGER Phil Mistry 205-249-0510 CLASSIFIED ADVERTISING SALES Patrick Notaro 212-779-5555,

Chip Parham 212-779-5492 INTERACTIVE SALES MANAGER Chris Young

DIGITAL SALES DEVELOPMENT MANAGER Brian Glaser SALES DEVELOPMENT MANAGERS Alexis Costa, Mike Kelly, Kerri Levine

GROUP DIRECTOR, CREATIVE SERVICES/EVENTS Mike Iadanza DIRECTOR OF SPECIAL EVENTS Michelle Cast

SPECIAL EVENTS MANAGER Erica JohnsonDIGITAL DAYS COORDINATOR Athos Kyriakides MARKETING ART DIRECTORS Lindsay Krist, Shawn Woznicki

PROMOTIONS MANAGER Eshonda Caraway ADVERTISING COORDINATOR Irene Reyes Coles

CONSUMER MARKETING DIRECTOR Diane Potter PUBLICITY MANAGER Amanda McNally

HUMAN RESOURCES MANAGER Kim Putman

GROUP PRODUCTION DIRECTOR Jek Cassell PRODUCTION MANAGER Kristin Prohaska

CHAIRMAN JONAS BONNIER CHIEF EXECUTIVE OFFICER TERRY SNOW CHIEF OPERATING OFFICER DAN ALTMAN CHIEF FINANCIAL OFFICER RANDALL KOUBEK

VP, CONSUMER MARKETING BRUCE MILLER VP, PRODUCTION LISA EARLYWINE

VP, E-MEDIA BILL ALLMAN VP, DIGITAL SALES & MARKETING JOHN HASKIN

VP, ENTERPRISE SYSTEMS SHAWN LARSON VP, HUMAN RESOURCES CATHY HERTZ

VP, CORPORATE COMMUNICATIONS DEAN TURCOL BRAND DIRECTOR JOHN MILLER

PUBLISHING CONSULTANT MARTIN S. WALKER CORPORATE COUNSEL JEREMY THOMPSON

SUBSCRIPTIONS: American Photo (ISSN 1046-8986) (USPS 526-930) is published bimonthly (Jan/Feb, Mar/Apr, May/June, July/Aug, Sept/Oct, Nov/Dec) by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY 10001 and at additional mailing ooces. Authorized periodicals postage by the Post Ooce Department, Ottawa, Canada, and for payment in cash. POSTMASTER: Send address changes to American Photo, P.O. Box 420235, Palm Coast, FL 32164; 386-597-4375; www.americanphotomag.com/customerservice. If the postal services alert us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. One-year subscription rate (six issues) for U.S. and possessions, $15; Canada (includes 5 percent GST) and foreign, $29; cash orders only, payable in U.S. currency. Two years: U.S., $30; Canada and foreign, $53. Three years: U.S., $45; Canada and foreign, $76. Publications Mail Agreement Number: 40052054. Canadian Registration Number: 126018209RT0001. Return undeliverable Canadian addresses to: P.O. Box 503, RPO West Beaver Creek, Richmond Hill, ON L4B 4R6 Canada.

E M P LOYM E N T O P P O R T U N I T I E S AT

B O N N I E R C O R P.C O M

The paper used for this magazine

comes from certified forests that are

managed in a sustainable way

to meet the social, economic and

environmental needs of present

and future generations.

*OXIBUIBTCFDPNFBOBOOVBMUSBEJUJPOBOEHSPXO

UPCFBIJHIMJHIUPG1IPUP1MVT4POZBOE"NFSJDBO

1IPUPNBHB[JOFUPHFUIFSXJUIUIF"QFSUVSF'PVOEB

UJPOXFMDPNFEOFBSMZPGUIFXPSMETNPTU

JOVFOUJBMNFEJBBOBMZTUTQSPGFTTJPOBMQIPUPHSB

QIFSTBOEJOEVTUSZJDPOTUPBDFMFCSBUJPOPGUIFBSU

PGQIPUPHSBQIZ5XPOFXBOEEJWFSTFQIPUPHSBQIZ

FYIJCJUJPOTPQFOFEBU"QFSUVSF(BMMFSZPO0DUPCFS

XJUIQIPUPHSBQITTQBOOJOHHFOSFTCZUIF

XJOOFSTBOEOBMJTUTPGUIF4POZ8PSME

1IPUPHSBQIZ"XBSET&YIJCJUFEBMPOHTJEFUIFNBSF

JNBHFTGSPN4POZ"SUJTBOTPG*NBHFSZTJYQSPGFT

TJPOBMQIPUPHSBQIFSTXIPIBWFCFFOTIPPUJOHUIFJS

FEJUPSJBMBEWFSUJTJOHBOEQFSTPOBMQSPKFDUTXJUIUIF

4POZBMQIBDBNFSBPWFSUIFQBTUZFBS

5IF4POZ8PSME1IPUPHSBQIZ"XBSETQSFTFOUTJUT

(MPCBM5PVSBDVSBUFEFYIJCJUJPOPGXJOOJOHJNBHFT

DIPTFOGSPNDPVOUSJFTTQBOOJOHQIPUPKPVSOBMJTN

DPNNFSDJBMBOEOFBSUHFOSFT#SPVHIUUPHFUIFS

CZMFBEJOHDVSBUPS;FMEB$IFBUMFUIFQIPUPHSBQIT

IBWFCFFOTFMFDUFECZUIFIPOPSBSZKVEHJOHDPN

NJUUFFXIJDIJTDPNQSJTFEPGMFBEJOHHVSFTGSPN

UIFJOUFSOBUJPOBMQIPUPHSBQIJDDPNNVOJUZ

1SPNPUJPO

5IF4POZ1IPUP1MVTQBSUZIPTUFECZ"NFSJDBO1IPUPXBTUIFQMBDFUPCF

"/&7&/*/(0''6/"/%1)050(3"1):

'03.03&)*/%5)&4$&/&41)0504(050 1011)050$0.40/:1"35:

'SPN-FGU4POZ"SUJTBOT#SJBO4NJUI.BUUIFX+PSEBO4NJUI%BWJE.D-BJO"OEZ,BU[.F3B,PI$SJTUJOB.JUUFSNFJFSBOE

,SJTUFO&MEFS%JSFDUPS"MQIB%JHJUBM4-3$BNFSBT

'SPN-FGU,SJTUFO&MEFS%JSFDUPS"MQIB%JHJUBM4-3$BNFSBT

(SFHH)BOP(SPVQ1VCMJTIFS.BSL+BOOPU&YFDVUJWF&EJUPS

.JDIFMMF%VOO1VCMJTIFS"QFSUVSF

'SPN-FGU*WB5DIPNBLPWB(SPVQ.1SJOU"OBMZTU

4UBDFZ#BSSFUU(SPVQ.1SJOU.BOBHFS4VTBO'BHHFMMB5BSZO

(VJMMFSNP#POOJFS5FDIOPMPHZ"DDPVOU.BOBHFST

'SPN-FGU4UFWF4PNNFST%JSFDUPS.BSLFUJOH4POZ

.BSL8FJS4FOJPS5FDIOPMPHZBOE.BSLFUJOH.BOBHFS4POZ%JHJUBM

*NBHJOH,BZMB-JOERVJTU%JSFDUPS4POZ"SUJTBOPG*NBHFSZ

QSPHSBN$SJTUJOB.JUUFSNFJFS4POZ"SUJTBO+VTUJO#MBDL

%JSFDUPSBOE$IJFGPG4UBGGJ-$1

anasonic continues to

redefine the standards for

digital photography with a

versatile line of advanced

digital cameras designed for

photographers who demand exceptional

qualitywhether for video or still

photosultimate flexibility with small,

lightweight camera bodies and lenses,

and a broader selection of creativity

options. With Panasonics award-

winning LUMIX G Series, the company

makes all this, and a more, a reality.

Panasonic revolutionized the digital

photography industry in September, 2008,

with the introduction of the worlds first

Micro Four Thirds digital camerathe

Panasonic LUMIX DMC-G1. At the time,

the G1 took claim as the worlds lightest

and smallest digital interchangeable lens

camera and proved to the photo industry

that a non-DSLR camera could still

produce DLSR-like quality resultswith a

smaller and lighter camera system. Taking

the bold move of removing the very same

mirror box that traditionally defined a

single-lens reflex camera led Popular

Photography to recognize Panasonics

ambitious vision and name the G1 as the

magazines Camera of the Year in 2008.

Pop Photo noted that the G1 camera

best refined or redefined photography,

and was a forward-thinking product that

represented the next big thing for the

industry. And this was just the beginning.

Setting the stage for a platform that could

truly shrink the size of digital cameras,

Panasonic then went one step further

by adding full high definition 1080p

video to its LUMIX G Series with its

announcement of the LUMIX DMC-GH1.

The GH1 not only produced exceptional

still images, just like the G1, but it could

also record 1080p high definition video

comparable to footage produced by more

expensive, top-level professional video

equipment. The GH1 comes with the

LUMIX G VARIO HD 14-140mm/F4.0-

5.8 ASPH./MEGA O.I. lens, which is the

worlds first digital interchangeable lens

to enable continuous auto focus, so video

quality is unparalleled when compared to

other video-enabled DSLRs. To further

this uncompromised video experience,

the GH1 records video in high-quality

stereo sound via Dolby Digital Stereo

Creator, the global standard of audio

recording. An optional stereo microphone

is also available to achieve a more

intensive sound recording experience.

The GH1 was recognized by American

Photo with their Editors Choice 2009 award.

More specifically, they noted, Perhaps

the first successful hybrid camera, the

LUMIX GH1 is just as adept at capturing

high-definition video (at broadcast-quality

24fps 1080p or ultra-smooth 60fps 720p)

with Dolby stereo sound. And unlike all

other video-capable DSLRs, it can focus

continuously and silently while youre

shooting, just like a regular camcordera

huge advantage that gives you or your

subject the freedom to move in and out

without the worry of manual refocusing.

Panasonic Lumix G Series digital cameras

are a fresh alternative to traditional DSLRs.

Advertisement

RedefiningPhotography

P

The GH1 also speaks to the photographer

looking for creative controls while

shooting still photos and video. Using the

Creative mode, the user can manually

set the shutter speed and aperture,

making their videos more creative and

representative of their own personal

video style preferences. Changing the

shutter speed gives the videos a special

look, particularly suitable for shooting

fast-moving subjects. Controlling the

aperture is convenient when there are

several subjects at varying distances,

so the user can focus on the foreground

and blur the backgroundor vice versa.

Most recently, Panasonic introduced the

LUMIX DMC-GF1 its most compact

LUMIX G Series digital camera to

date, whose design is reminiscent of

a classic rangefinder. The GF1s small

and attractive design was anxiously

welcomed by photo enthusiasts eager

for a high-quality, yet compact camera

that would be an ideal companion

model to their larger DSLRs. Again,

Panasonic offers HD video on the GF1,

takes claim as the worlds lightest and

smallest digital interchangeable lens

camera with a

built-in flasha

practical feature that is

a must in a go-anywhere digital camera.

The GF1 includes the new My Color

mode, which includes seven preset

effects Expressive, Retro, Pure,

Elegant, Monochrome, Dynamic Art,

Silhouette and Custom all of which let

users manually set the color, brightness

and saturation levels. With the Live

View function, users can see how these

settings will effect the photo before they

shoot, making it easier to capture the

exact mood or atmosphere desired. For

even more elaborate effects, users can

choose from a total of nine Film modes,

and set the contrast, sharpness and

saturation levels for each. A custom

function lets users store their favorite

settings in memory. Furthermore, the

exposure meter can be displayed

in other shooting modes and the

correlation between shutter speed and

aperture is shown, with a color-coded

warning that alerts users when the

settings are not in the proper range.

The Panasonic LUMIX G Series digital

camerasthe G1, GH1 and GF1

offer people who are serious about

photography a fresh alternative to

traditional DSLRs. For more information

on the Panasonic LUMIX G Series,

visit www.panasonic.com/lumix.

Advertisement

The LUMIX GF1...takes

claim as the worlds

lightest and smallest digital

interchangeable lens camera

with a built-in flash.

Sign up and see a full listing of cities at

digitaldaysphoto.com | 888-243-6464

Upcoming Cities

GIVE US ONE DAY WELL MAKE YOU A BETTER PHOTOGRAPHER

130.05*0/

Be inspired with creative tips and tricks

Explore the potential of light and composition

Learn the power of a digital workow

Master your cameras settings for any brand

#SPVHIUUPZPVCZUIFQSPTBU

Athos Kyriakides

Los Angeles, CA San Jose, CA Phoenix, AZ

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

9FLASHTOP TO BOTTOM:

CHANG LEE;

LYNSEY ADDARIO/VII NETW

ORK

Photojournalist Lynsey Addario was at home in Turkey last Sep-tember when she received a call that she had been awarded a 2009 MacArthur Fellowship genius award for her work record-ing conflicts and humanitarian crises in the 21st century. Here she talks about the freedom the award will bring and why she contin-ues to work in some of the most dangerous places on Earth.

AP: $500,000 with no strings attached! How will the award change things for you? LA: I dont think Ill work any less! I am already doing exactly the type of photojournalism I set out to do covering humanitarian and womens issues, and the toll conflicts take on civilians and soldiers alike, but the MacArthur grant will enable me to be a bit

ON THE FRONT LINELynsey Addario goes deep inside conflict zones to tell the stories of victims of violence BY AMY BEDIK

NEWS & TRENDS IN PHOTOGRAPHYNEWS 12 | ON THE WALL 14 | SWEET SPOT 15

LAfghanistan et nous, 2001-2009 Muse de lArme,

Htel national des Invalides, 129 rue de Grenelle, Paris

Through Feb. 26Lynsey Addarios work will be included in

this exhibition of more than 100 photo-graphs of Afghanistan by photojournalists

from around the world. Through unpublished and previously shown images,

the exhibition explores a country in the grip of conflict and violence.

LOOK

Above: Lynsey Addario was on location in Baghdad after the fall of Saddam Hussein in April 2003 when she photographed an Iraqi man who brought his wounded son to an American base for care. Chang Lees photograph of Addario is witness to her fearlessness and ability to get close to her subjects.

CLOSE-UP: LYNSEY ADDARIO

AMERICANPHOTOMAG.COM | JAN/FEB 2010

more selective with my assignments and focus more on long-term stories rather than daily news stories. Id also like to nally try to do a book. AP: Your work in conict zones like Afghanistan, Iraq and Darfur takes you into places that would be terrifying to most people. What drives you to work in such diBcult environments? LA: The desire to document whats happening. While working in the Congo, I spent 10 hours a day for two weeks talking with women who were victims of sexual assault and unimaginable violence. Each womans story was more violent and raw than her predecessors. On the nal day of that assignment I was a complete basket case, crying all the time and so sad. And I thought, my life is great compared with these poor people. What right do I have to cry? AP: How do you manage to get so close to your subjects?LA: It takes some perseverance. While on assignment for The New York Times Magazine in Afghanistan with Dexter Filkins, I accompa-nied him to a meeting with a Taliban commander. The translators kept saying, no women, no women, no women, but Dex introduced me as his wife and said that he didnt want to leave me alone at the hotel in Peshawar. I sat in a corner, totally veiled, and after a while, Dex asked if I could take some pictures. I was terried. There is a ne line when photographing in these delicate, dangerous situations I always try not to look too professional (it probably helped that I was shooting through my veil at this point!). I really calculate my shots

and shoot sparingly. AP: Some of your photographs are in black and white, while others are in color. How do you decide which to use? LA: Although I work primarily in color, sometimes I cant control what time I go out shooting. If I have to shoot at high noon, the colors are likely to be washed out, so Ill sometimes convert to black and white, which oTers more tonal latitude. There are some stories that I have to shoot in all uorescent light or oVces, which would also inspire me to convert to black and white. Also, I dont Photoshop my images much, so I try to shoot at dawn or dusk when the light is rich. AP

Training: Started shooting as a teenager, picked up darkroom rudiments from a family friend in high school, then learned on the job as a stringer for the Associated Press.Inspired by: Her subjects and her desire to document their stories.Accolades: In addition to the MacArthur, she won the 2009 Pulitzer Prize for International Reporting as

part of The New York Times team and the Getty Images Grant for Editorial Photography in 2008 for her work in Darfur, Sudan.Best advice: Get out there and do it. Hone skills through experience.

FLASH10

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

LY

NS

EY

AD

DA

RIO

(4

)

Opposite: Addario traveled around Darfur in 2004 with a rebel group to see how civilians were suGering at the hands of the government. To get this shot, she spent 10 minutes at on her stomach, waiting for someone to walk past to add a human element to the scene of devastation. Top: Addario had spent six days along the Abas Ghar ridge while embedded with a battle company patrolling the area in the Korengal Valley in Afghanistan. She took this picture following an ambush that killed a young soldier. The soldiers somber faces stand out in relief against the unforgiving landscape, em-phasizing the unreality of life in wartime. Above: On assignment for The New York Times Magazine in a Taliban compound in Afghanistan, Addario was able to photograph with more freedom than she could on the streets of tribal villages. This image of a truckload of heavily armed young ghters illustrated the 2008 story, Right at the Edge, which won the Pulitzer Prize in 2009.

AMERICANPHOTOMAG.COM | JAN/FEB 2010

CLO

CK

WIS

E F

RO

M T

OP

: JE

FFR

EY

LA

MO

NT

BR

OW

N;

VIN

CE

NT

LA

FOR

ET

; D

AV

ID H

AR

RY

ST

EW

AR

T

Left: A street racer attempts to intimidate his opponent in Je?rey Browns Fast and Furious commercial for Dr Pepper (je?reybrown.com). Center: David Harry Stewarts Chess-Dance (dhstewart.com) is a hybrid of video and still images made with the Canon EOS 5D Mark II. Below: Vincent Laforets now-famous Reverie got about a quarter-million views within four hours simply by being posted on his blog.

Uncertain consequences of the video revolution BY LAURENCE CHEN

CONVERGENCE OR COLLISION?

When a digital acorn hit photographer Chicken Little on the head he proclaimed: The Industry is Falling! Since then we have embraced the digital convergence. Were making behind-the-scenes videos. We are rock stars on Facebook, and we tweet.

But is there a Foxy Loxy in our story? Vincent Laforet who shot Reverie, the rst 1080p short lm shot with the Canon EOS 5D Mark II DSLR (vincentlaforet.com/index_reverie.html) thinks so. Suddenly, lm and video cinematographers are competing for work that was once the mainstay of photographers.

The convergence has some positive side e5ects, but you cant ignore the reality that two independent professions are on a colli-sion course, he says. After the success of Reverie, Laforet has met many cinematographers who conde that they too are excited about the new low-cost tools, because their clients are always ask-ing them if they can shoot stills while doing video.

The gap between the still and motion industries is closing fast, accelerated by the economic climate. When budgets shrink, people lower rates or o5er more for less. Photographers throw in Internet-friendly video, and cinematographers o5er still images.

David Harry Stewart, a commercial photographer based in New York City and Los Angeles, sees the gap disappearing when people gure out how to reorganize their infrastructure. Agencies and creatives dont have their minds around how to budget. Whose line item is this? he asks. There are other factors too. Photographers are paid by rights and time. In the motion-picture industry, all of that changes. Actors might get residuals. Directors of photogra-

phy may just be there for the day. Im not sure how that is going to get worked out.

Je5rey Lamont Brown, a commercial lm director and still pho-tographer in San Diego, made the jump from still to video about a year and a half ago. For us it was a creative decision; Ive wanted to do it for years. My catalyst was the availability of the RED ONE camera and ne-tuning in camera RAW, he says. Brown found a helpful community on a RED camera forum and built his skills rap-idly. The result: He recently produced and directed a commercial spot with 57 cast members and crewmembers on the set.

The question remains: How fast is this coming? The writing is on the wall for me, says Laforet, who preordered four Canon EOS 5D Mark II DSLRs after making his historic video. Brown agrees: Its not the future; its here right now. Almost every discussion I have [with clients] is: Can you do still and video? How does that work? If theyve got money, they want to make a video. AP

AP IS SPONSORING VINCENT LAFORETS SEMINAR STORYTELLING WITH THE NEW CANON EOS 5D MARK II AT THE PALM SPRINGS PHOTO FESTIVAL. GO TO PALMSPRINGSPHOTOFESTIVAL.COM FOR MORE INFORMATION.

FLASH | NEWS12

3fb`S[SS\Rc`O\QSVSZ^a[OW\bOW\RObOW\bSU`WbgO\RQO`RS\Rc`O\QSbV`]cUV]^bW[WhSReSO`ZSdSZW\U

3fb`S[Sc^b]';0aSQ`SORe`WbSa^SSR$FeWbVbVS>]eS`1]`S1]\b`]ZZS`T]`aV]`bS`eOWbbW[SPSbeSS\

aV]ba)O\RTOabS`b`O\aTS`aeWbVTcZZC2;/$QO^OPWZWbWSa

3fb`S[S`SZWOPWZWbgeWbVW\Rcab`gZSORW\US``]`Q]``SQbW]\Q]RSb][O\OUSRObOW\bSZZWUS\bZg

3fb`S[SRc`OPWZWbgR]e\b]SdS`gQ][^]\S\bbSabSRT]`aV]QYdWP`ObW]\Vc[WRWbgO\RbS[^S`Obc`S

C\Q][^`][WaW\UQO`RaT`][bVSe]`ZRZSORS`W\OaV[S[]`gQO`Ra

C^b]';0aSQ`SORe`WbSa^SSR0OaSR]\AO\2WaYW\bS`\OZbSabW\U)^S`T]`[O\QS[OgPSZ]eS`RS^S\RW\Uc^]\V]abRSdWQS[SUOPgbS;0+[WZZW]\PgbSaF+#90aSQ

UWUOPgbS50+PWZZW]\PgbSaA][SQO^OQWbg\]bOdOWZOPZST]`RObOab]`OUS!gSO`aeO``O\bgW\5S`[O\gO\R`SUW]\a\]b`SQ]U\WhW\U:W[WbSR:WTSbW[SEO``O\bg

'AO\2WaY1]`^]`ObW]\/ZZ`WUVba`SaS`dSRAO\2WaYbVSAO\2WaYZ]U]1][^OQb4ZOaVO\RAO\2WaY3fb`S[SO`Sb`ORS[O`Ya]TAO\2WaY1]`^]`ObW]\`SUWabS`SRW\bVSCA

O\R]bVS`Q]c\b`WSaAO\2WaY3fb`S[S>`]O\R>]eS`1]`SO`Sb`ORS[O`Ya]TAO\2WaY1]`^]`ObW]\

U]Sfb`S[SbVS`Sa\]bc`\W\UPOQY

!

!

ON THE WALL

CENTER FOR ART, DESIGN AND VISUAL CULTURE, UMBC 1000 Hilltop Cir., Baltimore, MD Exhibition: Dana Hoey: Experiments in Primitive LivingFeb. 4-March 20Highly conceptual, shifting styles and subjects interact in an imagined world.Hours: Tue-Sat 10-5 except campus holidays .-3!3 410-455-3188, umbc.edu/cadvc

NATIONAL MUSEUM OF AMERICAN HISTORY,NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY CULTURE GALLERY, SMITHSONIAN INSTITUTION 2nd Floor East National Mall, 14th St. and Constitution Ave. NW, Washington, D.C. Exhibition: The Scurlock Studio and Black Washington: Picturing the PromiseThrough Feb. 28A century of images forms a vivid historical account of African-American urban life in Washington, D.C.Hours: Daily 10-5:30 except Dec. 25.-3!3 202-633-1000, americanhistory.si.edu

SERAPHIN GALLERY 1108 Pine St., Philadelphia, PA Exhibition: Victor Vzquez: Dislocation, Encounter and DisplacementThrough Jan. 26Remarkable, provocative photographs with a political edge /#-(-%#!#/3(.- Jan. 29 from 6-8Hours: Tue-Sun 11-6.-3!3 215-923-7000, seraphingallery.comVzquez images are also included in Seraphins Printable exhibition. Jan. 29-March 9Multiple artists illustrate surprising uses of the modern printing process.

FLORIDA MUSEUM OF PHOTOGRAPHIC ARTS 200 N. Tampa St., Ste. 130, Tampa, FL Exhibition: August Sander, the Twentieth Century Man and Jules Aarons, Views From the StreetJan. 21-March 13Two fine historic photographers capture the people of Germany, the U.S. and elsewhere circa mid-1900s./#-(-%#!#/3(.- Jan. 21 for members and invited guestsHours: Tue-Sat 10-5.-3!3 813-221-2222, fmopa.org

HIGH MUSEUM OF ART1280 Peachtree St., N.E., Atlanta, GA Exhibition: The Portrait Unbound: Photographs by Robert WeingartenJan. 23-April 4Large-scale digital compositions of biographical information form richly layered portraits of eminent Americans.Hours: Tue, Wed, Fri, Sat 10-5; Thu 10-8; Sun 12-5.-3!3 404-733-4400, high.orgIf you want more Weingarten, The Lumir Gallery, The Galleries of Peachtree Hills, 425 Peachtree Hills Ave. in Atlanta will simultaneously hold a retrospective exhibi-tion of the artists work.Hours: Tue-Sat 10-4.-3!3 404-261-6100, lumieregallery.net

MUSEUM OF THE CITY OF NEW YORK1220 Fifth Ave. at 103rd St., New York, NYExhibition: Joel Meyerowitz: Legacy: The Preservation of Wilderness in New York City ParksThrough March 21Shorelines, wilderness, marshes and wildlife who knew the five boroughs held such rich nature?Hours: Tue-Sun 10-5 .-3!3 212-534-1672, mcny.org

LIGHT WORK 316 Waverly Ave., Syracuse, NY Exhibition: Rachel Herman: The Imp of LoveJan. 14-March 12 Intimate, poignant, often painful portraits of couples in the midst of palpable dissolution.412Sun-Fri 10-6.-3!3 315-443-1300, lightwork.org

ON THE WALL | CONTINUED ON PAGE 78

| BY ANGELA FARIS BELT

FLASH14

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

CL O

CKW

ISE FROM TOP:

ZACH STOVALL;

GREG

VAUGHN/A

LAMY;

STEVE SIM

ONSEN/LO

NELY PLA

NET IM

AGES

Puerto Ricos sister island is ideal for shots of unspoiled beaches, wild horses and idiosyncratic architecture BY GREG CEO

VIVA VIEQUES!

Fly from mainland Puerto Rico to the leeward island of Vieques, and you will be transported back in time to a photographic paradise and a lazy island way of life. Dont look too hard for large resorts and the jet-set crowd. It is more likely you will wake early to the sounds of roosters outside your window, not to mention stop your four-wheel-drive vehicle while a wild horse crosses the road. Vieques is quite a nice place to shoot simple beachscapes and

breathtaking skies white clouds seem to hang in the air and roll across a tranquil blue canvas. Near the end of a sandy one-lane road lies Navio Beach, secluded with fine white sand, rocky out-croppings on either side, and hidden caves, including a tiny one accessible only by swimming into it from the surf. Navio Beach is perfect for fashion shoots, but dont expect to have electricity or find restaurants nearby.

One of the architectural marvels on the island is Hix Island House: a modernist gem designed by John Hix that rises from the middle of the island with open air terraces. Many professional shoots, includ-ing one by Getty Images contributing photographer Tony Anderson, have taken place at Hix, and the manager is very accommodating if you stay there. If you play nice, perhaps you will get to shoot at Hixs private house and pool. When your shooting day is over, head to Als Mar Azul, one of

two ex-pat bars on the island. You can watch the sun go down and plan a sailing trip with Capt. Bill for more photographic adven-tures. If you stay late enough, Al will start sliding shots your way, and you will think to yourself that you already feel a part of Vieques island life. AP

Other than bringing it yourself, the best way to get gear is to have FedEx overnight it. Bring backups. NEVER leave ANYTHING unat-

tended as theft is a concern. Rent a reliable four-wheel-drive vehicle from Martineau Car Rental (martineaucarrental.com) or risk being stranded with gear beside a rutted road.

Bahia de la Chiva (what the Navy called Blue Beach) and Playa la Plata (Silver Beach) All the beaches in the wildlife refuge are beautiful and lonesome, but these are my favorites.

Underwater Photography for Nondivers Capt. Bill, oft found at Als, can take you to a shallow reef accessible without scuba gear.

La Finca Caribe Rustic villas and cottages have a casual, tropi-cal feel with wood floors, pastel paints and loads of foliage. It has hosted J. Crew, Self magazine and Nickelodeon, and is welcoming to photographers and anyone who wants to get away from it all (lafinca.com).

Martineau Bay Villas This cluster of luxury homes, located near the W Hotel, has stunning interiors and exteriors, and is ideal for fashion shoots or just an extraordinary vacation. View several properties at viequestravelguide.com. Look for the

Luxury Villas with Martineau in their names.

WHERE TO SHOOT IN VIEQUES

TRADE SECRETS

Far Left: Fish over Sail Rock Pinnacles at Vieques Passage. Left: Looking out from the cave at Navio Beach. Above: Hix Island House.

FLASH | SWEET SPOT 15

contest categories

Winners will be published in the July/August 2010 issues of American Photo and Destination Weddings & Honeymoons. Two grand-prize winners will receive trips for two to a luxury resort. Additional prizes to be provided by:

All winners will appear in American Photo. Winners in categories indicated with an asterisk (*) will also appear in Destination Weddings & Honeymoons.

Getting Ready A candid moment caught of the bride, groom or other members of the wedding party just before the big event.

Ceremony The emotion, signi! cance and beauty of this momentous ritual, as the lives of two people and their families are joined.

Couples Portrait Whether formal or informal, this shot should reveal the deep connection between the bride and groom on their wedding day.

Reception The ceremony is over and its time to gather with friends and family, dancing, eating cake and toasting the newlyweds.

Send-O! Bidding adieu to the happy couple as the bride tosses her bouquet and they climb into the just married car, or walk hand-in-hand past cheering wedding guests.

Details Little things often stand as perfect symbols of this momentous occasion. Whether its a still life of rings, bouquets or champagne glasses, or a close-up element such as beading on the wedding dress or the couples hands.

*Best Use of Locale An image that combines the beauty of the ceremony with the essence of the destination from an exotic tropical island to a medieval European castle.

*Best Use of Local Flavor The creative use of regional elements as integral parts of the ceremony, whether its leis in Hawaii or a mariachi band in Mexico.

*Day After Once the o" cial ceremony and reception are over, everyone can relax and take a more playful approach to photos of attendees.

*Trash the Dress Repurposing a wedding dress is just a myth, so why not have some fun? Stretch out on a lawn, wade into the ocean or ride a roller coaster.

SPONSORED BY

Winning photos will be selected by a panel of distinguished judges:

C^ ]h2^aQT[[u:TeX]:dQ^cPu3^dV6^aS^]1P\QX2P]caT[[u9X\6Pa]Ta And editors of American Photo and Destination Weddings & Honeymoons.

fTSSX]V_W^c^VaP_WhR^]cTbcR^\Enter online from January 15 April 5, 2010

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

17FOCUSTHE PEOPLE BEHIND THE PICS

CLOSE-UPJORDAN MANLEY

Grew up in: Toronto, before mov-ing to Vancouver at age 12

Studies: Political science at Simon Fraser University

Appears in: Powder, Skiing, Ski, Bike, Mountain Biking

Awards: 2009 Winner of Olym-pus Pro Photographer Showdown

at Telus World Ski & Snowboard Festival; top honors in Whistler

Blackcombs Deep Winter Photo Challenge in 2008 and 2009; Koo-tenay Coldsmoke Powder Fest Cold

Shot Foto Face-OS 2009; Skiing magazines Portillo Shoot-out 2008

Canadian Jordan Manley is often asked which of his passions came first outdoor adventure or photography. The outdoors definitely came first, says the 25-year-old, who lives and works in Vancouver, British Columbia. Ive long been an avid skier and mountain biker, and photography grew out of being outside with my friends and wanting to document our pursuits in the mountains.

Manley first picked up a camera about nine years ago. My dad taught me the basics, and then it was

SNOWBOUND Jordan Manley melds a love of sports with a career behind the lens | JACK CRAGER

JO

RD

AN

MA

NLE

Y (

2)

Right: For this image in Backcountry magazine, Manley

asked his friend Tobin to ski into a sliver of sunlight. Shooting

high in mountainous terrain, its di]cult to haul a lot of lighting

equipment with you, so the action has to be brought to the light rather the reverse. Skiing

is such a dynamic sport to pho-tograph because the snow ying

brings a static environment to life when it reacts with light.

ONE TO WATCH 17 | PERSONAL PROJECT 21

AMERICANPHOTOMAG.COM | JAN/FEB 2010

FOCUS | ONE TO WATCH18

JO

RDAN M

ANLEY (2)

Above: To get an interesting angle, Manley used an extendable pole that he modified to support his camera. The photo ran in the Swedish magazine ka Skidor. Opposite: For Bike magazine, Manley shot a self-portrait in a forest at night with a wireless trigger and backlighting from a remote flash, repeating the steep ride in darkness several times. It was pretty scary, he recalls, but I had to do it.

While Manleys shots look spontaneous, many of them are carefully set up. Theres communication between athlete and photographer, he says. And we make sure both of us are on the

same page so we can sculpt the picture how we want it. One little trick is, we throw a snowball that makes a little indent in the snow, so if Im going to be shooting a nice power turn, both the athlete and I know where the turn is going to be. I know when those brief few seconds of peak action are happening, and I hold the shutter down during that time then log back through the images to find

the best ones.

TRADE SECRETS

a process of experimentation and self-exploration, he says. The hobby morphed into a career, and a few years later he began sub-mitting images to magazines such as Powder, Ski and Skiing. Soon he was not only getting assignments but also awards, including top honors in 2009 at the Olympus Pro Photographer Showdown.

Manleys editorial work combines bold action shots often from unusual angles with moody, atmospheric images that reflect his love of dense fog, thick forests and imposing terrain. A constant goal of mine is to simplify the elements of a photograph, he says. Silhouetting is one way to achieve this it reveals the form of the landscape and the person in it, abstracting it at the same time. In other cases, Manley employs a more straightforward style that lends itself to commercial campaigns, and hes begun selling and licensing images to ski- and mountain-bike-related companies for advertising. But he adds, Im equally a fan of straight documen-tary photography.A daring athlete himself, Manley credits his success to a collab-

orative bond with his subjects, most of whom are skiing and biking buddies. Usually with the athletes, we have a working relation-ship as well as a great friendship, he says. Thats important for developing trust, knowing how the other behaves in challenging situations and getting onto the same page creatively.

He knows hes enjoying a young mans game. I dont think Ill be a professional ski photographer forever, but I see myself as being a pro photographer, in some capacity, for a long time to come. And he admits his prime motivation: This is a career that allows you to keep skiing! Does that make him a glorified ski bum? Yes, I am, he says with a laugh. I wont shy away from that term. AP

MARK

THESE DATES!

Full Convention:

march 4-11

Tradeshow:

march 8-10

PHOTO COPYRIGHT ALAN KARLIN

PH

OT

O C

OP

YR

IGH

T

KE

NN

Y K

IM

PH

OT

O C

OP

YR

IGH

T

AR

T P

SU

WA

NS

AN

G

PH

OT

O C

OP

YR

IGH

T

AL

AN

KA

RL

IN

PHOTO COPYRIGHT ALAN KARLIN

create. inspire. evolve.

www.wppionline.com

TIME CAPSULEA photojournalist spends more than three decades creating the ultimate family album for someone elses family BY LINDSAY SAKRAIDA

Truth changes, muses Pam Spaulding, a longtime photographer for TheCourier-Journal in Louisville, Kentucky. As journalists, we think we get the truth by spending a couple of months with someone, but the truth changes over time.No one can speak to the subject of time quite like Spaulding; after all, shes

spent the past 32 years photographing the lives of the McGarvey family in Kentucky, the photos from which were recently published in the book An American Family: Three Decades With the McGarveys (National Geographic Focal Point, $35). Originally, the endeavor began as a self-created assignment in 1977 for The Louisville Times (then the afternoon counterpart of The Courier-Journal) to spend a year documenting the trials and tribulations of first-time parents with a newborn. But the connection between photographer and subject was so strong that the project never ended and the resulting body of work is arguably one of the most thorough and honest representations

Above: John and Judy McGarvey steal a kiss amidst the chaos of a busy, three-child household in January 1987. Pam Spaulding first photographed the couple 10 years prior for a self-created piece that illustrated a year in the life of first-time parents. After the assign-ment was complete, however, Spaulding continued to document them, resulting this year in An American Family: Three Decades With the McGarveys, a book that chronicles the persistent (and still ongoing) project about the happily ordinary, middle-class McGarvey family.T O

P TO BOTTOM:

2009 PAM SPA

ULD

ING;

BILL LU

STER

Training: Ohio State UniversityWork: The Courier-Journal and The Lou-isville Times photojournalist since 1972Honors: First woman to win a Hearst Journalism Award for Photojournalism with first place in the picture story cat-egory; a College Photographer of the Year award; Nieman Fellow at Harvard

University; contributed to Pulitzer Prize-winning coverage by The Courier-Journal and The Louisville TimesEpiphany: Its a gift to be a background person. It took me a long time to realize that.

CLOSE-UP: PAM SPAULDING

Photos reprinted by arrangement with the National Geo-graphic Society from the book An American Family: Three Decades With the McGarveys by Pam Spaulding. 2009 Pam Spaulding.

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

FOCUS | PERSONAL PROJECT 21

2

00

9 P

AM

SPA

ULD

ING

(7

)

The book conveys a strong thesis about time and change by carefully juxtaposing pictures that speak to one another, despite being separated by many years. The reversal of caretaking roles, for example, is poignantly on display at left as Johns mother holds her rst grandchild in May 1977, and then sits aRicted with Alzheimers with granddaughter Sara 20 years later in a nursing home. The irony of child development is suggested with the photos below of young David playing with a toy aircraft carrier in 1985, then being sworn into the Air Force in 2002.

of the dynamics of an American family. The book is the product of Spauldings relentless dedication

shooting during any spare moment she had, plus mentoring from noted photographer Sam Abell who encouraged her to continue, and the McGarvey familys warm embrace of the project. In fact, it was Judy (the familys matriarch) who enticed Spaulding to con-tinue photographing them after the Courier-Journal assignment was complete. As a journalist, you get really close to your sub-jects, but then drop them because you have to move on, she says. But Judy kept calling me to update me on the family and to tell me about upcoming events. She drew me back in, and I would think, I have to photograph this or that.

With the many years Spaulding spent photographing major milestones and quiet moments in the McGarveys lives, its no surprise that they became like a second family. Spaulding usually found the time to photograph the McGarveys whenever her own children left to visit her ex-husband a matter of convenience, perhaps, but also a symbolic act. To this day Spaulding spends every Christmas afternoon and evening with the family, photo-graphing their every move.

But, despite the thousands of black-and-white photos Spauld-ing has taken (and continues to take) of the McGarvey family, she says her book isnt actually about them. Instead, they are vessels for a more universal subject: the passage of time in our society. The beauty of Spauldings book which eschews chronology and pres-ents the photos according to theme and family member is how her compressed representation of the familys evolution allows

us to recognize important threads, often obscured, which persist throughout a life. For example, a young boy playing with a toy air-craft carrier is hardly remarkable until you then see that same boy (David McGarvey) being sworn into the Air Force years later. A seemingly unimportant moment in the past resonates when placed into context, creating a strong visual narrative.

Spaulding is an adamant supporter of photography for posteri-tys sake, and she hopes the book will become a historical reference for future generations to see how a very ordinary, middle-class fam-ily functioned in todays society. In a hundred years, a picture of just someone standing in front of their house will be so interesting, she explains, because the culture will be di-erent. There might not be electric wires, the cars will be di-erent, or maybe there wont be cars at all. So Ive been trying to photograph things for future generations. AP

AMERICANPHOTOMAG.COM | JAN/FEB 2010

FOCUS | PERSONAL PROJECT22

Sometimes its more important to know what equipment a photographer leaves out

++3'#,#, #12.$3'#!15#8!+-4/.-5(#6(-%, Spauldings pictures, say they remember the captured mo-ment but not the photographers presence. She can thank her equipment for that one. In the early years, I used a Leica rangender with a wide-angle 24mm or 35mm lens because it was quiet, she explains, but after a few years the family seemed at ease around me, so I switched to an SLR, which is easier to shoot with. Since 2002, Spaulding has shot with digi-tal, recently using the Canon EOS 40D with either the EF 16-35mm or 70-200mm zoom. Though she also uses a Canon EOS 5D Mark II, she never carries more than one camera body, which allows her to blend in. I cant operate with too much weight hanging oV me, she says.

/4+"(-%1.4-"2.43'#1%#16(3'2,++231. #,.23.$3#-

a Canon Speedlite 580EX), which she uses indoors in order to capture the details of the familys darkly lit house. I feel about camera equipment the way I feel about cars, she says of her intentionally sparse gear. I just want it to work.

IN THE BAG

Spaulding sought to capture a comprehensive range of life moments, from the common, everyday antics of a father with his rambunctious children, to seminal moments like shopping for a rst bra or enjoying annual holiday tradi-tions. Thus, while the book might resemble a family photo album for the McGarveys, readers can see themselves in these snapshots of conventional moments.

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

FOCUS | PERSONAL PROJECT 23

Flickr Creative Showcase

FUJIFILM believes that

every picture captures a

memory, imparts meaning

and plays a role in the

grand mosaic of life.

As you embark on this New Year in

this new branch of your lifes journey

embrace it and make it a memorable

one. In this time of celebration and

revitalization, capture all of those special

moments and majestic landscapes.

FUJIFILM digital cameras enable you to

preserve these moments in time, letting

you remember whats most important to

you. Because memories fade, but with

photos they can last forever.

PROMOTION

sponsored bypresented by

Creative Showcase proudly supports FLASHES OF HOPE | www.flashesofhope.org

Flickr is the best way to store, sort, search and share your photos online. Flickr helps you organize that huge mass of photos you have and offers a way for you and your friends and family to tell stories about them.

Behind every great photo theres a great story. The first snow of the year is always my favorite. Its like the world

becomes a blank canvascovered in white. Everything seems so quiet,

so crisp and fresha clean slate for new hopes, dreams and ideas

gleaming with all the possibilities of things yet to come. This is how I

like to start every New Yearby taking a long deep breath and taking

in the new world around me, knowing that anything is possible.

Read more stories at everypicturematters.com

Join the American Photo community and upload your photos to

www.flickr.com/groups/americanphoto

THE PHOTOAustin, Texas-based Jay B. Sauceda created this shot (above left) to promote a concert series run by New York-based entertainment company Jelly NYC. I used four lights: one on the left and one on the right for rim light, a big softbox above for the ll, and one strobe high and above to the right for the hard sun look, he says.

THE AGENCYThe Boxing Club of Austin was creating corporate identity mate-rials for Jelly NYC; art director Matthew Genitempo contacted Sauceda because he liked the pictures on his Flickr photostream.

THE CAMPAIGNThe image was used in a national print media campaign for Jelly NYC (above right) that ran in The Fader and Spin. I shot about 10 diSerent people and this was the main select, Sauceda says. (See text on page 26 for details.)

PHOTOGRAPHER: JAY B. SAUCEDA

Why are ad agencies looking for photo talent on Flickr? Because theyre finding a freshness you usually cant get with stock photography BY JACK CRAGER

VISION QUEST

When Seattle-based Darien Chin began posting his personal pho-tographs on Flickr four years ago, he had no idea what it would lead to. When I rst started on Flickr, it was only to share work that I had done and to learn more about photography, recalls Chin, 30. I hadnt shot anything professionally. I just loved photography and making images.

Chin soon discovered the power of Flickrs social-networking reach. By prolically updating his Flickr photostream, he devel-oped a fan base on the globally popular photo-sharing site and commercial interest in his work soon followed. People started writing me through Flickr with job o,ers and image-licensing requests, says Chin. When you gain a presence and more people pay attention to your work, they tend to think of you when some opportunity comes up that they think ts your style. They try to put you in touch with the right people to make things happen.

Thats exactly how Chin ended up having his work used in a campaign for cellular-phone giant T-Mobile, created by Seattle ad agency Publicis in the West. (See pages 26-27.) I heard about Dariens work through a mutual friend on Flickr, says Lauren Burks, formerly a recruiter for the agency who regularly scouted

Dropping type onto a blank newspaper (above left) turned Saucedas image into an ad for Jelly NYC (above right).

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

J AY SAUCEDA; C

OURTESY

THE BOXING CLU

BFLICKR CREATIVE SHOWCASE 25

THE PHOTOSeattle photographer Darien Chin posted break-dancing self-portraits (opposite and top) along with other work on his Flickr photostream. I didnt have a website of my own at the time, he recalls.

THE AGENCYSeattle ad agency Publicis in the West discovered Chins work on Flickr. [Creative director] Lindsay Daniels and her team went on to use it in their concept for the T-Mobile 3G Sidekick LX campaign, explains former Publicis recruiter Lauren Burks.

THE CAMPAIGNThrough Publicis, T-Mobile bought yearlong unlimited rights to one of Chins images for use on a Seattle-area billboard, and nationally in Internet ash ads and in various promotions (above). The nal shot was a composite of two diS erent images, one for my top and one for my legs, says Chin.

PHOTOGRAPHER: DARIEN CHIN

the site for talent. [Creative director] Lindsay Daniels and I agreed that his work would be perfect for the T-Mobile 3G Sidekick LX campaign, because we were looking for someone capturing break dancing in a fun and innovative way. The client ended up buying yearlong unlimited rights to Chins break-dancing self-portrait, Footloose (opposite). The image, which is actually a composite of two shots, appeared on a Seattle-area billboard, and nationally on Web-based fl ash ads and even Xbox Live Wallpapers. Hes all over the campaign, says Burks. Art directors and creative directors are using Flickr a lot for

visual research, says Cheryl Masaitis, an art buyer at the JWT agency (formerly J. Walter Thompson) in New York City. I think we go to Flickr to experience something that is not stock photogra-phy, and thats what we get. You can fi nd a breadth of photography that is fresh, unpolished or unique, and that may refl ect the vibe your campaign is after. Its a spontaneous place for creative think-ing a visual melting pot without reservations. Flickr often brings like-minded collaborators together. I use

Flickr on a daily basis to discover new photographers and artists, says Matthew Genitempo, a freelance photographer and art direc-tor based in Austin, Texas. Ive met many other photographers who I wouldnt have known otherwise if it werent for Flickr. One such case was fellow Austinite Jay B. Sauceda. Sauceda collaborated with Genitempo on a campaign for Jelly NYC, a hip New York City-based show-staging agency, which ran nationally in The Fader and Spin magazines. His style is exactly what we were going for, says Genitempo. We came across Jays work on Flickr, and the rest is

pretty much history. Masaitis points out that because many images posted on Flickr

are taken by amateur photographers, problems can arise with com-mercial usage. Once we fell in love with an image of a rock-concert crowd and used it in a design comp for a campaign we were working on, she recalls. It was perfectly spontaneous and rough around

For its T-Mobile campaign, Publicis digitally combined two

break-dancing self-portraits by Flickrs Darien Chin the

legs of one (opposite) with the upper body of another (right).

They also changed colors, repaired rips and trimmed Chins

fl ying dreadlocks (below).

AMERICANPHOTOMAG.COM | JAN/FEB 2010

COURTESY

PUBLICIS IN

THE W

EST

; DARIEN CHIN (2)

FLICKR CREATIVE SHOWCASE26

JAN/FEB 2010 | AMERICANPHOTOMAG.COM

FLICKR CREATIVE SHOWCASE 27

1X (27mm Wide Angle)

*F70EXR is the worlds smallest among digital cameras with 10X optical zoom lens; as of July 2009, FUJIFILM research.

Conventional digital camera Conventional digital camera

10X (270mm) With FinePix F70EXR With FinePix F70EXR

YOU DONT HAVE TO BE

A PRO TO SHOOT LIKE A PRO.

As the worlds smallest 10X zoom* digital camera, the FinePix F70EXR and its

award winning Super CCD EXR sensor technology will allow you to intuitively

perfect any scene with image quality thats impressive by any camera standard.

10X FUJINON

OPTICAL ZOOM

With a powerful 10X optical zoom, you can

capture subjects from 27mm wide angle to

an extraordinary 270mm close up.

CHALLENGING

LOWLIGHT SITUATIONS

Capture extreme color and exceptional

detail with less noise in low-light settings.

MACRO MODE WITH

SUPER INTELLIGENT FLASH

Capture subjects in extreme close ups

reducing wash and black outs.

Discover for yourself the stylishly slim FinePix F70EXR with the award

winning Super CCD EXR sensor technologya revolutionary imaging sensor

that adjusts to any setting with professional precision to bring you beautiful

pictures that just might leave you speechless.

Learn more about FUJIFILMs legendary picture quality

and the F70EXR at: everypicturematters.com/f70exr

The Genius Behind the Image.TM

Conventional digital camera

You can also experience

FUJIFILMs award winning

Super CCD EXR sensor

technology in the F200EXR

and S200EXR models.

With FinePix F70EXR

AWARD

WINNER

WIDE DYNAMIC RANGE

Capture natural tonal range and the

fi nest details that are true to reality.

TM

THE PHOTOMontreals Jonathan Laberge uploaded an image of his wife out-doors in a lounge chair (top) to his Flickr photostream. Along with the existing light, I bounced a Nikon SB-24 Speedlight into an umbrella for front light and placed another Speedlight behind the chair to create the highlights, he says of the shot.

THE AGENCYThe Thomas Agency in Lubbock, Texas, spotted the picture on Flickr. I contacted Jonathan through his website to ask if we could license this particular image for use in a retail ad campaign, says account executive Ashleigh Sawyer.

THE CAMPAIGNThe photo was used throughout 2008 and 2009 in billboard, print and television ads (above) for the Kingsgate Center shopping

complex in Lubbock. The client loved it so much, Sawyer says, that they asked us to renew the license for our 2009 campaign.

PHOTOGRAPHER: JONATHAN LABERGE

the edges like we wanted. But the image was not high-res enough, the people in the image were underage and not model-released, and there was at least a two-day lag in discussions with the pho-tographer all red flags that make an image unlicensable. At this point, though, our client was in love with the image, and so were we. So we found another way: We licensed the idea and composi-tion of the photograph and then recreated it, with released talent and proper resolution. In other cases, agencies buy photographs on Flickr that are

already up to spec for commercial use. Take the photograph of a woman in a lounge chair in the middle of what seems to be an overgrown field. It was shot by Montreal, Canadabased Jonathan Laberge of his wife, who happens to be a model. There is a certain commercial quality thats inherently a part of this photo, which uses artificial lighting in an outdoor situation, says Steve Smothers, art director at the Thomas Agency in Lubbock, Texas. Smothers used the shot in a billboard campaign for Lubbocks Kingsgate Center shopping complex. What attracted me to the image was not only the subject matter but also the amount of light-ing and post-production work. Those two things delivered a surreal image that worked with the campaign and a level of polish not always seen in the scrapbook shots on Flickr.

The size and scope of Flickr can be intimidating even to an expe-rienced user of photography. You can use keywords to search for particular kinds of images, says Masaitis. But with image authors all choosing their own keywords, it can be a crapshoot. The work

all tends to blend together. Still, I love the fact that Flickr is such a huge ocean of imagery.

You know its not filtered through a stock agency. In the end, it gives you a more authentic outcome if you have the patience and your project allows for it. And it certainly can be fun! AP

Laberges sleek portrait of his wife (top) was picked up from Flickr to advertise a shopping center.

AMERICANPHOTOMAG.COM | JAN/FEB 2010

JO

NATHAN LABERGE; C

OURTESY

THE THOMAS AGENCY

FLICKR CREATIVE SHOWCASE30

The fastest, easiest portrait touch up software.

Exceptionally well reviewed and exceptional value for money.

A 10% extra discount for American Photo readers by entering

the coupon SA1002 when buying online.

Download a free trial from:

www.PortraitProfessional.com

Original photo Minutes later

EXTREME: TYLER STABLEFORD

Ive been in a lot of extreme situations, but inhaling hot ash was a new experience for me, says adventure photographer Tyler Stableford, who got this shot while tagging along with re ghters in western Colorado while they set a controlled burn to stave o? wild res in the area. Rarely do re departments allow any journalists this close to the action, but the Colorado team made an exception for Stableford after he photo-graphed them for an assignment the previous year. In the middle of the scorching scene, a reman is turned into a painterly blur by the waves of heat, evoking a sense of heroism and focus on the ames that creates a feeling of re that practically burns through the page.

CLOSE-UP1(-(-%#+$34%'33 +#$.1"2313#"/4124(-%

photography professionally about 10 years ago while working as an editor at Climbing magazine. .23"-%#1.422'..3-2("#%+!(#1!5#2(-

Iceland when they could collapse at any moment-2/(1#" 8(2*82(343(.-2+3'.4%''#2%.33#-

less bold since becoming a father#23"5(!#(5#/1(-323.8.41,."#+2'#1#

ghters were thrilled to get Stablefords photos and in return, they gave him more access later on.# 2(3#38+#123 +#$.1"!.,

-.-21*6(3'-,,

$9..,

TYLER STABLEFORD

PORTRAITURE: MICHAEL HANSON

MICHAEL HANSON (4)

IMAGES

OF TH

E YEAR

lthough 2009 might have been a difficult time for the world, it was an exhilarating time for photography. For our annual Images of the Year com-petition, American Photo received nearly 4,000 entries, and selecting the winners from among them was not an easy task for the judges. There were novel approaches across all categories, says judge Paula Tognarelli, executive director of the Griffin Museum of Photography. Photographers are really stretching their imaginations to produce work that bears their own indi-vidual marks a difficult thing to do in these times, when we are bombarded by imagery. The pictures that made the final cut

represent the culture of 2009 in a vari-ety of original, technically masterful ways. After a year of devastating tsunamis and fires, the dramatic photographs by Aaron Feinberg and Tyler Stableford underscore natures dominance. Ed Kashis and Michael Hansons moving projects in Africa reflect a growing international consciousness. And the witty work by student Sean Dufrene speaks to our need to maintain a sense of humor amid challenging times. What the winners all have in common, however, is that they reflect a move away from heavy-handed digital manipulation in favor of pure, pow-erful imagery. Its easy to get caught up in technology, but these pictures show that the craft of photography capturing a sin-gle moment is thriving, says judge and lensman Tony Corbell. The industry is in very good hands.

Michael Hansons portraits prove that sometimes the most original images come when a photographer steps out-side his comfort zone. When the Seattle-based documentary photogra-pher made a trip to Ethiopias remote Omo Valley, he discovered that its villagers, members of ancient tribes who have not adopted Western ways, have grown used to posing for tourists. There was no way they were going to let me photograph them in a natural way, says Hanson, whose solution was to ditch his reportage style in favor of stark black-and-white portraiture. By focusing purely on the villagers and their tribal markings, Hanson was able to convey not just the essence of their personalities, but the compelling culture that has shaped them.

CLOSE-UPTraining: A former minor-league baseball player, Hanson is self-taught as a photographer.Work owned by: The Sir Elton John Photography CollectionInspired by: A curiosity about the people behind food and everyday objects; hes documented the gold mines in Chile and the oyster industry in Florida. Best advice: Learning how to con-nect to the people in your shots is more important than mastering the gear or the business side of photography. Website: michaelhansonphotography.com

-.-1*6(3'

,,$-"

,,$+#-2#2

##!3.16(3'2.$3%.+"

colored surface

35

While documenting Nigerias oil industry for his book Curse of the Black Gold (powerHouse), Ed

Kashi discovered the Trans Amadi Slaughter, an abattoir that had

sprung up after petroleum-related pollution destroyed local fisheries. The photographer spent three days shooting the grim conditions and young workers. It was so visually and emotionally overwhelming, it

took all my senses to figure out how to make a great picture, says Kashi. But he found it, snapping this stirring

2'.3.$8#1.+"!118(-%%.3

to be roasted over a pit of burning tires. After the picture appeared in

National Geographic, one reader was so moved that she raised money for the boy to return to school. When a photo inspires someone to action,

says Kashi, Ive done my job.

CLOSE-UPTraining: BFA in photojournalism $1.,81!42#-(5#12(38

Documentary projects: Aging and health care in America, the Iraqi Kurds, Pakistani cultureInspired by: Peoples stories and issues that stir my soulBest advice: Know what youre really good at and focus on that. You cant do everything well. Website: edkashi.com

-.-6(3'

,,$-"

,,$9..,2

-.-/##"+(3#2'

PHOTOJOURNALISM: ED KASHI

36

IMAGES

OF TH

E YEAR

Aaron Feinberg often uses Photoshop to enhance or refine the landscapes he photographs, but for this awe-

inspiring shot, Mother Nature did all the work for him. Based on the island of Kauai, Feinberg had witnessed this type of wave on the Na Pali coast only

a few times. When the surf is big enough, the wave splashes against the back of a rock, collides with an incoming wave and shoots up, he

explains. Early one evening last year, Feinberg decided to stake out his shot,

and after two hours on a rock with his Canon, he caught the translucent

blue-green water at its most explosive

moment. He named the shot, appro-priately enough, Kaboom!

CLOSE-UPTraining: Self-taughtOther area of expertise: He holds a degree in atmospheric sciences, and his understanding of weather and tidal patterns comes in handy for planning landscape shots.Inspired by: Photo-sharing web-sites like deviantart.com, because you see what others are doing and get instant feedback on your own workBest advice: Shoot, shoot, shoot. Its like the old monkeys-typing-Shakespeare saying eventually youll get something good.Website: afeinphoto.com

-.-21*6(3'

,,$-"

,,$9..,2

/+42-.-73#-"#1

-$1.33.31(/."6(3'

(1* ++'#"3.++.6$.1

smooth, quick camera positioning

NATURE: AARON FEINBERG

37

PERSONAL WORK: JULIA FULLERTON-BATTEN

IMAGES

OF TH

E YEAR

For several years, Julia Fullerton-

Batten has focused on the lives of teenage girls, portraying them in her edgy photographs as both awkward giants and expression-

less automatons. In her latest series, In Between, she looks at the transition from girlhood to

womanhood and the tumult that accompanies that stage. For the

project, she cast dancers, who could achieve the unusual posi-

tions she was looking for some appear to be levitating, while others look like theyre being

tossed about without look-ing too polished. I didnt want

professional models because they tend to be overcondent, says

Fullerton-Batten, whose work has been embraced by the ne-art

world. I quite like the oddness of girls at this age.

CLOSE-UPTraining:#%1##(-/'.3.%1/'8from Englands Berkshire College .$13-"#2(%-

Photographers she admires: 48.41"(-44"-,/#++2.

sculptor Erwin Wurm Inspired by: Her childhood, par-ticularly the period around her parents divorceBest advice: .-36.118($-.3everyone loves your work. Its better to do something extreme than something mediocre that everyone thinks is nice. Website: juliafullerton-batten.com

22#+ +"6(3' 22#+ +",,$(23%.-

CFE lens #$/3422"(%(3+ !*$.1

the Hasselblad 1.-!.+.12''#"26(3'

softboxes, grids, beauty dishes and boom arms to supplement the natural daylight for a stylized eLect and to freeze models in motion (models were not suspended by wires nor were images signicantly altered in postproduction)

39

'#!'++#-%#1#3#/'.3.%1/'

powerful enough to turn people o.

cigarettes without resorting to the gruesome imagery so prevalent

in anti-smoking campaigns. With the help of a couple of dancers, an

up-for-anything ad agency and hun-dreds of yards of Lycra, Los Angeles /'.3.%1/'#1(!1".1#-!."("

just that. I wanted to evoke a sea of people trapped inside their addic-

tion, says Marenco, who created the 2'.3$.13'#+($.1-(#/13,#-3

of Public Healths billboard and print campaign. To achieve his desired

e.ect, he photographed the dancers (-"(5("4++8(-2("#$..33++8!1

cigarettes. Then he digitally overlaid embers and smoke from real ciga-rettes on the gures. The ads ran

without any words, only a helpline number the image said it all.

CLOSE-UPTraining: BFA in lmmaking from 3'#-(5#12(38.$+($.1-(.2

Angeles; learned photography through working as an assistantAlso shoots: Film publicity posters (past projects have included V for Vendetta and House of Wax)Inspired by: His mom, who works harder than anyone in the world Best advice: Be good, be quick and be fast, but dont bust any heads. Website: ricardomarenco.com

-.-21*6(3'

,,$-"

,,$!1.+#-2#2

.418-+(3#

watt-second) power packs, ve 8-+(3#34"(.2'

heads

COMMERCIAL: RICARDO MARENCO

40

IMAGES

OF TH

E YEAR

With this shot, Academy of Art -(5#12(38234"#-3#-4$1#-#

!/341#"'(28#1.+"$3'#1!*

in all his surreal, Coors-guzzling glory. This photo isnt far from reality, 2824$1#-#8""2*(-".$

cowboy. The shot is part of a series on his father that is at once beauti-

fully composed, hilarious and tender. (Other images have him wearing a beer-can tool belt and dining with '(2!34$1#-#(-(3(++8/+--#"

to shoot his dad in a documentary 238+#k+(!'1"5#".- 433'#-

realized Jack warranted a more outra-geous approach. As for his model, 4$1#-#282#$.1##5#182'..3

hed grumble about it, but whenever I submitted a shot in class, he would

be the first one calling me, asking, So, what did they think?

CLOSE-UPTraining: Studied economics and photo communications at California 33#-(5#12(384++#13.--.6

pursuing an MFA at the Academy of 13-(5#12(38(--1-!(2!.

Upcoming project: A series of high-fashion shots in B-movie settingsInspired by: Quentin Tarantino and Mel Brooks moviesBest advice: Shoot for yourself, not other people. Critiques can refine your process, but also pollute it.Website: seandufrene.com

-.-6(3'5#13(!+ 33#18%1(/-",,

$9..,

+(*31(/."

1.$.3.!43#

watt-second) power pack with two !43#2''#"2

STUDENT WORK: SEAN DUFRENE

41

IMAGES

OF TH

E YEAR

MARK EDWARD HARRIS5#13'#2/-.$8#123'#(,/.22( +#3.

categorize photographer Mark Edward Harris has shot everything from celebrity decorator Kelly

Wearstlers apartment to the rarely seen militarized zones of North Korea. Based in Los Angeles, he has published five books, including the seminal Faces of the 20th Century (Abbeville) and Inside Korea

(Chronicle). IMPRESSED BY: #-4$1#-#2234"#-3work. Out of all of images, I kept coming back to this funny yet sophisticated picture. From the balance of the frame to the lighting to the way every object had

a purpose, the image popped.

JANICE LIPZINJanice Lipzin has been involved in the art world as a photographer, an agent (at Sygma and Magnum) and a portfolio consultant. She is now the director

of visual arts and education at the Banana Factory, a major gallery space and community center in Bethlehem, Pennsylvania, where she oversees

#7'( (3226#++21#2("#-313(23/1.%1,2-"

art courses. IMPRESSED BY: Julia Fullerton-Battens personal project. Theres a certain elegance and

grace to these girls defying gravity. Theyre so out of the ordinary, but the girls look like they belong in that

space, in those positions.

TONY CORBELL(-!#'#%.3'(22313(--(#%. 2#"

photographer Tony Corbell has trained his lens on brides, astronauts and heads of state becoming something of a lighting guru in the process. He cur-

rently divides his time between teaching workshops, managing product education for Nik Software, and shooting a personal project about his other great love, the Beatles. IMPRESSED BY: (!1".Marencos commercial photograph. Its clean,

inventive and powerful. I imagine it required a heck of a lot of work.

PAULA TOGNARELLIAs the executive director and curator of Bostons (-4#-3(+1(-42#4,.$'.3.%1/'84+

Tognarelli organizes shows that promote social con-sciousness while also moving the art form forward.

'#2/#-38#126.1*(-%(-%1/'(!132-"(2.-#

of the top experts on digital photography.IMPRESSED BY: Ed Kashis photojournalism shot. Kashi is a skilled storyteller, drawing us into the

drama of the situation and leading us to empathize with the boy as if we were there.

THE JUDGES

43

44

TIM

STREET-PORTER

Left: The protective covering of the Jack Colker Union 96 gas station on Crescent Drive in Beverly Hills was originally designed as part of the Los Angeles International Airport. Photographing it for a book, Tim Street-Porter drove there at twilight to get the right balance of lighting.

Architectural photographer Tim Street-Porter

has captured Los Angeles modernism and

Mexican style. Next he shapes how we see

urban living STORY BY PAUL LOVE

45

TIM

STREET-PORTER (2)

and architectural magazines in addition to working extensively on books not to mention shooting for designers. He has a new book due out in April and is in talks about another to follow. Plus, at an age when many would consider retirement, Street- Porter is entering the digital realm.Not one to follow convention, Street-Porter made an impulsive

leap into photography. While studying architecture at Regent Street Polytechnic School of Architecture in London in the mid-60s, he was awarded a student exchange scholarship in San Francisco. America was thrillingly indigenous: transportation, graphics, street signage, refrigerators everything was made in the USA. He documented this yearlong visit on color slides and 8mm movie film to create a mixed-media show titled Captain America. Back in London, the exhibition debuted to a sold-out audience at the Royal College of Art.That success led, in part, to his next big decision. Suddenly in

my final year of school, I had to choose: architecture or photogra-phy? Photography won.Guided by friend and fashion designer Emmanuelle Khanh,

Street-Porter immediately immersed himself in his newfound passion. I went to Paris with my Nikon F and photographed sev-eral new events in the design world, including a futuristic Andr Courrges fashion show and a display of transparent inflatable fur-niture designed by Khanhs husband, Quasar Khanh.Developed in the basement laundry room of his parents home,

these pictures landed Street-Porter his first published work four pages in British society magazine Queen (later Harpers& Queen and now Harpers Bazaar U.K.) and his first assignments, including shooting the Strand Palace Hotel in London and some studio work.

Beyond talent, Street-Porter credits his relationships for helping him break into magazine work. Overnight I had become a photog-rapher with a rapidly growing portfolio of tear sheets from a leading magazine thanks to a miraculous rapport with its art director, he says. Though he considers fostering connections in the industry

After four decades of shooting, Tim Street-Porter is still one of our busiest

architectural photographers. He travels the world on assignment for top design

46

Above: Larger-than-life advertisements are part and parcel of the Los Angeles landscape. The motion blur made by the

headlights of passing cars mirrors the frenetic energy of the iPod ad and the city itself. Opposite: Street-Porter used a tilt-shift lens to make one of the most tangled spaghetti junctions in southern California look like a scale model.

47

T

IM S

TR

EE

T-P

OR

TE

R (

3)

Left to Right: Light adds dynamic depth to a shot

of the Wol= Houses living room, in the Hollywood Hills. Shadows complement the display of a Harry Bertoia sculpture in a shot for Metropolitan Home.

Only sunlight and open oor-to-ceiling windows were needed to balance the interior and exterior of Richard Neutras Kau=man House in the Palm Springs Desert.

BEHIND THE LENS

Here I showed the space as graphically as possible, showing the layer-ing of the glass wall and the stone wall beyond. The tight edges of the composition accentuate the delightful drama of the space and also the indoor/outdoor ambiguity.

48

Freelance magazine photography can be good business, but Street-Porter admits that there are no rules to creating rela-tionships and landing consistent work with magazines. Even so, there are several ways to increase the odds of staying in favor with editors.

##/#"(3.124/3."3#31##3.13#1.$3#-(-$.1,23'##"(-tors he works with about when and where he travels, in case they have additional work for him in the area.

#+(5#1.-3'#2'.3+(23-"3'#-2.,#(5#3'#,%9(-#++

the shots they ask for, and then give them additional, creative shots they didnt realize they needed.

38.-+.!3(.-($(3+..*2+(*#!.-"(3(.-2!.4+"(,/1.5#3.'#+/

capture the best images. Putting in extra time, especially with dynamic subjects, can yield unexpected photo ops. Ambient lighting (and other factors) can enhance a subject at diHerent times of the day.

5#18,%9(-#'2 (32.6-6.1*.6-+#22#"(3.12,*#

unreasonable demands, its benecial to keep them happy by adapting to their procedures.

-.6+#"%# (2/.6#1$4+'#-"(2!422(-%4/!.,(-%22(%--ments, a photographers insights into a subject can lead to clearer visions of and expectations for shoots, making the photographers job a little easier.

REPEAT BUSINESS for consistent work a crap shoot, editors who have hired him cite his solid communication and ability to deliver on a shot list among reasons they keep going back to him.In 1978, Street-Porter made Los Angeles his new home,

attracted by the desert light, the 50s/60s architecture, the enigmatic palm trees, the sense of freedom and space.

While his work for magazines including Architectural Digest and The World of Interiors takes him all over the world, the City of Angels remains the primary subject of many of his photo-graphs and therefore his books (published by Rizzoli). In fact, his take on Southern California is so iconic that when the Annenberg Space for Photography on Avenue of the Stars opened in 2009, its inaugural exhibit, L8S ANG3LES, featured Street-Porters creative portrayals of the citys architecture.Approaching architectural shooting creatively is an ongoing

challenge. A building is like a huge sculpture, fixed in place, which limits opportunities to be really innovative. An exam-ple of how he has addressed this challenge can be seen in his book Los Angeles (2006), in a shot of a tangled spaghetti junc-tion where two freeways meet. I rented a helicopter and used a Canon 35mm SLR with a 90mm tilt-shift lens. This gave me an abstraction and created a visual surprise: Was it real, or was it a model?Other stunning images result from a combination of Street-

Porters technical mastery and architectural education. I can read a space really well, which helps composition and in

BEHIND THE LENS

This is actually quite a small space interiors-wise, but with the floor-to-ceiling windows slid open, it becomes much big-ger, and the floor outside is electrically heated. I wanted to get a low-angle view showing the indoor/outdoor relationship, of which this is a classic example.

49

TIM

STREET-PORTER (2)

communicating a buildings spaces and structural forms to really show what the building is all about.

In photographs such as an exterior of the Richard Neutra-