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
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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
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AMERICANPHOTOMAG.COM | JAN/FEB 2010
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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.
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anasonic continues to
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More specifically, they noted, Perhaps
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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
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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
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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
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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
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ZACH STOVALL;
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STEVE SIM
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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
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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
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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
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PHOTO COPYRIGHT ALAN KARLIN
create. inspire. evolve.
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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
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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
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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
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Join the American Photo community and upload your photos to
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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)
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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
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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
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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
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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
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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+ !*$.1
the Hasselblad 1.-!.+.12''#"26(3'
softboxes, grids, beauty dishes and boom arms to supplement the natural daylight for a stylized eLect and to freeze models in motion (models were not suspended by wires nor were images signicantly altered in postproduction)
39
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powerful enough to turn people o.
cigarettes without resorting to the gruesome imagery so prevalent
in anti-smoking campaigns. With the help of a couple of dancers, an
up-for-anything ad agency and hun-dreds of yards of Lycra, Los Angeles /'.3.%1/'#1(!1".1#-!."("
just that. I wanted to evoke a sea of people trapped inside their addic-
tion, says Marenco, who created the 2'.3$.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
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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
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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-