Schloff_MJ_2008_3

School Pictures

written by: Sa Schloff

I first became interested in photographing inside schools about seven years ago. I was finishing up projects in which I had photographed my contemporaries dressed up as imaginary historical figures and also taken architectural shots inside houses whose décor had gone out of style. Specifically, I was interested in modernist spaces, as this was the near-ubiquitous style when I was going to grade school, and was a style that was self- consciously new. By the time the millennium rolled around, much of this design was showing its age. Yet aside from this wear, many school rooms were unaltered, almost completely Read more »

Shumway_MA_2008_1

Color and Patterns

written by: Clare Shumway

My understanding of the photographic process began 75 years ago when I dropped my Kodak Brownie into a creek. A kindly man helped me by removing the film and hanging it on a clothesline. After it was dry, he rewound it back onto the spool and reinserted into the camera. After the resulting solid white prints were returned from the drugstore, it took me a few days to figure out why they looked that way. Over the next few years, my choice of cameras progressed to a Kodak folding camera, a National Graflex, and a Miniature Speed Graphic. By then Read more »

Basbus_MA_2008_1

Digital Panoramas

written by: Jose Andres Basbus

I am a self-taught photographer, mainly of nature and landscapes. What started as a hobby a long time ago is today part and parcel of my nature as a human being. I think that photography is a conscious creative process whereby the author tries to organize the environment that he sees by enhancing some aspects and ignoring others. The photographer creates his own view of what he has already seen, attempting to show the world as it is. However, by shooting panoramas, I change the classic rules of composition, trying to introduce the viewer to a different image by using Read more »

Keenan_JF_2008_1

Street Photography

A New Take on an Old Genre
written by: David Lykes Keenan

After a fairly long and relatively successful run as a software entrepreneur, three years ago I embarked on a path to reinvent myself as a fine-art/documentary photographer. Dramatic life changes such as this are never as easy as they might seem, but photography is far more rewarding, emotionally and spiritually, than debugging C++ code. My first love is street photography, in black-and-white, using small, unobtrusive rangefinder cameras. People, usually random and anonymous, are essential elements of these photographs. My preferred method is to see and photograph—but not be seen. Street photography is a very liberating experience for me. After years Read more »

Kenna_MJ_2009_2

Questions Are More Interesting than Answers

“There is something magically seductive about a creative process that is not fully in our control,” Michael Kenna says of his work, particularly his night photographs. Not that his work seems out of control. Perhaps that’s because, as he points out, “It really doesn’t take long to figure out how to photograph at night.” (Kenna says his exposures range between a few seconds and many hours.) Still, many photo afficionados have indeed found something magical about his images—he’s represented by some 17 galleries throughout the world, has published more than 30 books, and recently had 30-year retrospectives on multiple continents. Read more »

TEvans_MA_2009_1

Prairies and Steel Mills

Photographer Terry Evans seems fascinated by systems, whether it’s the interconnectedness of the prairie, or of steel mills, with their web of necessary raw materials, that now crouch on land that used to be prairie. Her prairie work goes back to March 1978, when Evans, then living in Kansas, was asked to photograph some survey work that Wes Jackson of the Land Institute, was doing on a nearby prairie. “My visits started in early March and as the spring progressed and grasses and legumes and other plants emerged from the ground, I began to see the rich ecological diversity of Read more »

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8 Bold Ways to Improve Your Waterfall Photography

written by: Chris Tennant

Any introduction to photographing waterfalls will usually include the following: (1) always shoot on overcast days, (2) use a circular polarizer to minimize reflections in the water and (3) use a slow shutter speed to blur the water. Like many “rules”, they are best served as guidelines. Here are eight bold ways to take your waterfall photography to another level by challenging these (and other) rules. 1. Get wet. Don’t be afraid to get in the water to create a bold, in- your-face foreground that puts the viewer smack dab in the middle of your composition. Safety should be your Read more »

butcher1ja13

Florida’s Wild Places

written by: Bob Schwabik

Clyde Butcher moved with his family into the heart of the Big Cypress National Preserve in 1993. He purchased 13 acres of swamp with a two-story dwelling surrounded by wild orchids and irises in the middle of a cypress strand. Today, you can sit on his back porch and watch alligators. Clyde has recently been named a Guardian of The Everglades and through his photography he lets people see the natural places of wild Florida in a new way. We sat down at Clyde’s studio and gallery in Venice, Florida for this conversation in February 2013, the day before the Read more »

BarnbaumPort1ja8

Death Valley Sand Dunes at Stove Pipe Wells

written by: Bruce Barnbaum

I visited Death Valley several times in the 1970s and became interested in photographing its sand dunes by the middle of that decade. But it was new subject matter for me, and one that confused me. I didn’t quite know how to approach the dunes, how to photograph them in a way that made them feel “right” to me. What I really was seeking was to have some amount of dunes at the base of a photograph with a spectacular sky full of exploding clouds above it. Well, you don’t always get what you wish for. I didn’t get the good Read more »

Fang-Yi Sheu

The Subtleties of Expression

written by: Bree Lamb

Lois Greenfield is a New York City-based photographer whose work focuses on capturing human movement in its most elegant and evocative forms. To label her a “dance photographer” is to overlook her insight and investigation into the subtleties of such powerful modes of expression. With over 25 years of experience in personal and commercial work, it is her expertise coupled with her insatiable curiosity that continues to be the driving force behind her success. Bree Lamb: I’ve read that you studied anthropology in college and I found this to be really fitting given your photographic interests. The human need for music Read more »