Oct 042012
 
How to access to your next Project

How to access to your next Project Password Required Have you ever looked at a photography series and thought, “How did the photographer get access to that scene?”  Access is one of the key components  to a successful project.  But  gaining access is not always easy. Lets look at a few different  ways to approach [more...]

Aug 072012
 
From the Front with Robert Capa

See into the Future Running in Traffic [ WAR & TRAFFIC ] When a photographer can  see a photo before it happens  the final image breathes with life. A quick change in your step  can mean the difference between  a picture that works or the one  that got away.    Face Front The split second [more...]

May 022012
 
Henri Cartier-Bresson vs Ferdinando Scianna

Copying is not Enough An appretice’s life in a studio meant copying the work of  a master artist.  But copying alone does not guarantee an understanding of design.  We need to bring “information to bear” as we organize the  chaos of life into a successful image.    Art versus Xerox In the 1500’s, when a [more...]

Mar 072012
 
The Surrealist Manifesto: Part VI

Henri Cartier-Bresson There were many games that Cartier-Bresson played with his photographs.  The anarchist in him liked to test the limits of a photograph. When he butts up against those limitations he uses the 2D effects of the picture plane to his advantage.  Lets look at how and why he does this. Outside of the [more...]

Feb 192012
 
Tête A Tête

E. H. Gombrich Making A Likeness What is the difference between a mug shot and a portrait? Capturing the likeness of a sitter is a skill which continues to captivate an audience. Even though a photograph is taken from reality, it does not  guarantee the portrait will ring the bells of recognition.  — What is [more...]

Dec 252011
 
Surrealist Manifesto: Part III

[ HENRI CARTIER-BRESSON ] The world we see in advertisements is hardly a reflection of reality. The billboards of our cities are as doctored as Raphael’s School of Athens.  Set against the backdrop of a “perfect world” is an chance for a photographer to play with the contradictions of imagination versus reality.   | WHITE [more...]

Nov 232011
 
Surrealist Manifesto: Part I

A Surrealist Photographer [ HENRI CARTIER-BRESSON ] What do the Surrealist Manifesto  and Cartier-Bresson have to do with each other?  After his 1947 show at the Museum of Modern  Art, Robert Capa advised Cartier- Bresson to stop calling himself a Surrealist Photographer.  Years  later Cartier-Bresson agreed  that Capa’s advice was sound.   The Manifesto While [more...]