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Lessons from the Masters: Sally Mann

19 Nov

The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.

Photography can be mischaracterized as a “safe” medium. More often than not, photographs are geared towards improving the way we view the world and ourselves. Generally speaking, photography appeals to the lighter side of our senses. Whether it’s the calm aesthetics of a serene landscape or a hauntingly sublime portrait of an elegant model, when we think of photography, we immediately think about all the ways it can make the world seem more beautiful and more safe.

Lessons from the Masters: Sally Mann

But the world isn’t always beautiful. The world isn’t always the safe and secure menagerie of perfection we often see displayed in the photographs on social media and other corners of the internet. For all its effectual nature, photography, which displays only the conventionally pristine faces of our world, is at best, a blissful half-truth and at worse, blatant hypocrisy. We are surrounded by uncomfortable realities that are easier ignored than embraced or even acknowledged.

This leads me to the work and life of a photographer who is surrounded by as much controversy as she is by her works enigmatic magnetism. In this edition of “Lessons from the Masters,” we take a close look at the photography of Sally Mann. We see why and how she has become such an oddly iconic herald of the merits of unconventional photographic content.

Mann’s photographs epitomize the harsh internal conflicts we all face in our work and our lives as we walk the fine line between tactful self-expression and creative freedom. We’re going to find out what lessons we can learn and apply (or avoid) to grow as photographers.

Who is Sally Mann?

Photo: Michelle Hood [CC BY-SA 3.0]

In 1951, the girl who becomes Sally Mann was born in the small southern town of Lexington, Virginia where she still lives today.

Her path to photography was first facilitated through her physician father (also an artist) with whom Sally would have an admittedly complex relationship throughout her life. She holds a BA and an MA in creative writing from Hollins University in Virginia. It is remarkable to note that Sally Mann has never formally trained in the craft of photography.

Although she has produced work across all photographic mediums, she gravitates toward photographing things closest to her home in the southern United States. The large body of her photographs centers around the investigation of death, sensuality, history, childhood, and the visceral (often painful) realities of life.

Many of her most known photos are products of antiquated photographic techniques such as wet plate collodion. She captures these using an antique 8×10 view camera with equally-aged lenses. Incidentally, this type of photography plays an enormous role in one of the most important lessons we will learn from Mann.

Sally Mann has published numerous books of her photographs as well as produced multiple major exhibitions and is a Guggenheim fellow. She has been the subject of two documentary films with one nominated for an Academy Award and the other an Emmy.

In 2001, Mann was named “America’s Best Photographer” by Times magazine.

The following two images are from Sally Mann’s A Thousand Crossings exhibition.

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“Deep South, Untitled (Concrete Grave)”, (1998) Gelatin silver print . . . . . . #sallymann #athousandcrossings #gelatinsilverprint #analogphotography #blackandwhite #photography #print #darkroom #highmuseumofart #ngadc #peabodyessexmuseum

A post shared by A Thousand Crossings (@a_thousand_crossings) on Nov 4, 2019 at 11:32am PST

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“Untitled (Self-Portrait)”, (2006- 2012) Grid of nine ambrotypes. . . . . . . #sallymann #athousandcrossings #analog #photography #ambrotype #glass #plate #negative #ambrotypephotography #analogphotography #selfportrait #process

A post shared by A Thousand Crossings (@a_thousand_crossings) on Sep 19, 2019 at 11:07am PDT

Now, let’s look at some lessons we can learn from Sally Mann.

Photographic opportunities are everywhere

We are fortunate today as photographers in that we can make photographs at literally any time. Through the progression of photographic techniques, our cameras have become smaller, cheaper, and generally more qualitative than ever before.

And yet, we sometimes find ourselves at a loss for what to photograph.

Lessons from the Masters: Sally Mann

I’ll admit, I’m guilty of this mental photo block myself. Sometimes we can convince ourselves that we need to “go somewhere” to make photos. It’s easy to forget that it’s not necessarily the location or the subject matter that makes for a great photo. Instead, it’s how we inject our own creativity into the making of the photo that truly matters.

In the case of Sally Mann, the majority of her work takes place on and around her property, with concentrations on simple subject matter.

The lesson:

The next time you feel like there’s nothing to photograph, remember to look a little deeper at the things surrounding you at any given moment. Light transforms textures and can produce incredibly dynamic compositions from even the most common subjects.

As a measure of solidarity, I made three photos using my cell phone here in the room where I’m currently writing. They are incredibly basic objects: my hand, a spoon, and a book, with the entire process only consuming about ten minutes. I made all of these using available window light and then quickly processed them in Adobe Lightroom Mobile.

Lessons from the Masters: Sally Mann

Much like Ed Weston and his simplistic photos of common objects, Sally Mann teaches us that it can pay to look deeper at the things we encounter every day.

Embrace the flaws

Nothing is or ever will be perfect, especially our photographs. Coming to terms with the truth that perfection is unattainable is a constant difficulty that we all must face as photographers. Sally Mann takes this one step further by actively welcoming flaws and imperfections into her work.

Many of Mann’s most iconic works carry a measure of impurity, which somehow lends itself to completing the total impact of the photo.

From one of my own photo projects. A sheet of 4×5 film shot in the Mojave desert and developed from the back of my car. Complete with dirt, scratches and water spots.

Sally Mann refers to this mercurial facet of her work as the “angel of uncertainty” in reference to the somewhat unpredictable nature of the photographic processes she employs. It’s this complete surrender to the happenstances of the work that gives Sally Mann’s photos their unique qualities.

The lesson:

Try to strike a balance between proficiency and cautioned spontaneity when you make your photographs. Keep in mind that a “perfect” photo doesn’t exist and try not to become so preoccupied with your technique that the creative nature of your work suffers.

Allow yourself to be yourself, and that will shine through in your photos. Welcome all the little intricacies and glitches, which come along with making photographs, and you will likely find more enjoyment from the images you make.

Recognize the power of photography

As much as Sally Mann’s work is revered by some it is reviled by others. Her expressions of death, decay and especially her highly controversial images of her children have made here somewhat of a polarized figure. It speaks to the incredible power held within photographs which can move people in a multitude of directions.

Photo by Adam Welch

The lesson:

Photography is not just a two-dimensional art form. The power of photography can transcend the medium itself with many legendary photos serving as a model for social and environmental change.

To that end, we must always remember that our work can affect our viewers on levels we might not fully comprehend.

It’s true that we can impact the lives of those who see our photos in a positive way. Yet, it is also true that our photos can have the opposite effect and can potentially cause pain. In the case of Sally Mann, the public reception may include entirely different attitudes than was originally intended.

In closing…

No matter if you’re a professional or hobbyist, being a photographer today means constant reminders that our photographs could always be better. If we only had this or that piece of gear, or maybe if we travel to this place or that, our images will somehow finally reach that magical Nirvana we always hoped they could achieve.

And then we have Sally Mann – a photographer that has managed to become arguably one of the most influential photo makers of the last fifty years.

She seems to defy the conventions of today’s photographic climate by shooting close to and in her home using tools and techniques that are more than a century old.

Her work is famous – and at times, infamous.

In fact, many of her more notable works can’t even be shown within this article. Yet, the work of Sally Mann reminds us all that we are making photographs with similar intentions; to express ourselves using whatever means satisfy us most.

Perhaps the greatest lesson we can learn from Sally Mann is that we all share a common complexity best translated through photographs in the absence of words. That somehow we find perfection through imperfection, and that we are all mortal.

Lessons from the Masters: Imogen Cunningham

05 Apr

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

It’s easy enough to develop the illusion that the legendary names venerated throughout the history of photography were somehow so different from ourselves. While’s it’s certainly true that the photographic climate has changed, we still share the same passion for the art as those who clicked shutters fifty years or even a century ago. Many of them faced the same challenges, inspirations, successes and failures as we do. Perhaps that’s why I love learning more about the giants of photography and applying lessons from their work to my photos.

In this installment of “Lessons from the Masters,” we’re going to take a closer look at the work of the estimable Imogen Cunningham. Her determination and herculean achievements placed her working alongside other formative photographers of the 20th century. The contributions she made to photography as an art helped shape the photographic landscape we know today.

Imogen Cunningham

Named after the heroine of the Shakespearean play Cymbeline, Imogen Cunningham entered this world on April 12th, 1883. Born to rather paradoxical parents (her father a spiritualist and her mother Methodist) in Portland, Oregon she was a self-described “ill-tempered” child.

When she was 18 years old, she saved enough money to purchase (via mail order) her first camera in 1903, a 4×5 type, along with a box of glass plate negatives. She then began teaching herself how to make photographs. Cunningham knew photography would be her life’s work although her path would not be a direct one.

Following her graduation from the University of Washington with a degree in Chemistry in 1907, Imogen worked with Edward Curtis at his Seattle studio. There, she honed her skills in the darkroom while printing his iconic images of Native Americans and the American West.

Two years later, Cunningham received a $ 500 grant which enabled her to continue her studies abroad in Germany. During this time she developed theories on photographic chemistry still practiced today.

On her return to the west coast from Europe, Imogen made a familiar pilgrimage which other notable artists of the time often made and ventured to New York City for a meeting with the legendary Alfred Stieglitz at his “291” gallery. Stieglitz introduced her to Gertrude Käsebier who was the first professional female commercial photographer at that time.

After this influential meeting, Imogen committed her energy to photography. She opened a studio in Seattle, Washington and soon made a name for herself through portraits.

It was this studio where Imogen made her living while finding time to delve into more personal work before relocating to California in 1917. Unfortunately for us, she left the majority of her photographs and negatives behind, so there isn’t a large wealth of examples from that period of her career. In 1929, the Film und Foto Exhibition in Stuttgart, Germany, included a ten-piece selection of Cunningham’s work. The fabled Group f/64 would form a few years later to which Imogen was a founding member. Other founding members included her friend Edward Weston as well as Henry Swift, John Paul Edwards, Sonja Noskowiak, Ansel Adams and Willard Van Dyke. Over the years, Imogen Cunningham’s body of work would be as eclectic as it was groundbreaking.

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After living an extraordinary life of photography, Imogen Cunningham passed away on June 23rd, 1976 in San Francisco, California at the age of 93.

Now that you know a little bit about the person, let’s dig a little deeper. We’ll look at a few of the many the lessons you can learn from the life, work, and attitude of Imogen Cunningham which can help to improve your photography.

Extend your range

Imogen Cunningham’s choice in subject matter was ‘diverse’ to say the least. From her earliest pictorial work to her self portraits and nudes, it’s safe to say that the idea of sticking to one subject or even one genre for that matter was not something that held back the creative spirit of Imogen Cunningham. She believed that photographs presented themselves to her organically.

She seldom went “looking for things to shoot,” instead preferring to allow the subject matter to appeal to her aesthetic awareness. I mean, come on, she was even one of the early practitioners of street photography before there was street photography!

imogen-cunningham-masters-series-digital-photography-school-adam-welch-2

Many of Imogen’s most iconic photographs gravitated towards the use of light and shadow to present common scenes in an extraordinary way by accentuating texture and shapes. She could look past what a subject was to see what it could be. This beautifully simplistic aesthetic is one of the reasons so many Cunningham prints carry a timeless appeal.

imogen-cunningham-masters-series-digital-photography-school-adam-welch-1-4

Sometimes we find ourselves concentrating so vigorously on obtaining a particular photograph that we overlook other opportunities to produce great work. While it’s true that we can and should visualize how we want the final image to appear, the process is often helped along if we remain flexible.

imogen-cunningham-masters-series-digital-photography-school-adam-welch-3

Don’t allow yourself to be mired down by one particular subject or location. This is especially true for us today while bombarded by social media accounts producing visually similar photos according to a theme rather than personal expression. This leads to an almost unconscious dulling down of creativity.

imogen-cunningham-calla-lillies-digital-photography-school-adam-welch-1

My own still life photo of lilies making use of light and texture to bring out the subtle elegance of a simple subject.

Photograph anything and everything that you please – even if might not fit with what you generally shoot.

Feel the fear…then do it anyway

One of my favorite quotes from Imogen Cunningham goes like this:

“…you can’t expect things to be smooth and easy and beautiful. You just have to work, find your way out, and do anything you can yourself.”

Without a doubt, Imogen was a strongly independent, capable and witty woman who pursued her work with an intensity of purpose. At the same time, she was human. She faced challenges, hardships, and fear just as we all do.

mogen-cunningham-masters-series-digital-photography-school-adam-welch-1-2

The key to overcoming your self-doubt is to keep moving forward. I think that’s what Cunningham was getting at here. It’s not that we should strive to be fearless but instead work to be tireless in the face of fear or our lack of confidence.

When it comes to photography, there will always be areas where we don’t feel as knowledgeable or proficient as we would like. However, that shouldn’t reduce you to thinking you will always feel that way. Take it from Imogen. Work hard and accept that you won’t always find yourself in easy situations. But never, never, never give up.

Interface with other photographers

Surrounded by other photographers, like many other defining artists of her time, Imogen loved discussing all aspects of photo work. As a founding member of Group f/64, she understood the value of sharing ideas and concepts with other photographers who approached the medium with the same zeal as she did. They learned from one another and worked to further the craft.

One of the most enlightening and enjoyable things I have ever done in this regard was to start the ongoing ITOW (In Their Own Words) Project. This project consists of interviewing other photographers that I either know personally or interact with on social media. The insights gained through these discussions continue to help deepen my own appreciation for the way other people see photography.

imogen-cunningham-digital-photography-school-adam-welch-1

By Seth Doyle via Unsplash

Whenever possible, take the time to get to know other photographers and discuss photography openly and honestly. This doesn’t mean you have to strike up a conversation with anyone you see is carrying a camera, but it’s always interesting to examine how other people go about making their images and why.

Worldwide communication has never been more extensive or readily available. We have the capability of connecting with people whom we would have never known existed otherwise. One of the greatest assets we have for growth in our work is by interacting with other people who appreciate the value of photography.

Parting thoughts on Imogen Cunningham

Having been fortunate enough to view some of Imogen’s original prints, it’s easy for me to understand why she was, and still is, one of the most influential and accomplished photographers of all time. Along with other pioneering photographers, we owe a debt of gratitude to Imogen for helping advance photography to the incredible medium we know today.

The lessons we can learn from her work extend well beyond the photographic. She helped show that beauty is found in places and objects we see every day and that we can accomplish almost any goal – no matter how distant it may seem.

I urge you to learn more about Imogen Cunningham, her photographs and her wonderful example of living a full life.

Author’s Note: I would like to extend my immense appreciation to The Imogen Cunningham Trust for permitting the use of many of the photographs presented in this article.

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

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Lessons from the Masters: Morley Baer

18 Jan

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

Portrait of Morley Baer

Each time I find myself cruising down Highway 1 in California between Big Sur and San Francisco, the urge to make photographs instantly strikes me. It’s an easy feeling to encounter. The rocky beaches and rolling hills tend to beg for a lens. Accompanying this sense of photographic wanderlust is a recognition of walking in the footsteps of some of the greatest American photographers that the twentieth century ever produced. Names like Weston, Adams, and Cunningham all seem to linger in this area of the country. However, there’s another name connected to the deep photographic past of the west coast that you might not know quite so well but should: Morley Baer. In this installment of “Lessons from the Masters,” we’re going to take a closer look at the prolific work of Morley Baer and learn some valuable lessons about how he went about the business of photography that you can use to improve your images.

Morley Baer

Morley Baer came into this world on April 5th, 1916 in Toledo, Ohio. After graduating from the University of Michigan with a BA in English and an MA in Theatre Arts, he briefly worked in advertising in Chicago until fate pressed him into his life’s work. After seeing an exhibition of Edward Weston’s work, Baer became captivated by the medium of photography. He left his position with the advertising firm he worked to educate himself in the art of photography. After working in commercial photography briefly, he soon made the journey to Carmel, California to track down Edward Weston.

After serving in the Navy as war photographer from 1941 to 1946, Morley and his now wife Frances (also an artist and photographer) embarked on a decades-long exploration into photography in and around the Bay Area of California until finally settling in their home/studio near Garrapata Beach. Baer became one of the most desirable architectural photographers of his time. His landscape and seascape works are also still widely regarded as some of the finest photographic representations of the west coast of California ever to be recorded on film.

Here are some, but certainly not all, of the lessons you can’t learn from Morley Baer.

Total proficiency with the tools you use

For the main body of his landscape and architectural studies, Baer used one camera and one camera only; the Ansco 8x10S view camera. In our modern day photography jungle, we are constantly harangued by the marketing mentality that if our cameras are not the newest, then they are somehow lacking. Of course, that’s just an opinion.

In any case, Morley was an expert operator of his Ansco to the point when it became almost an appendage and an extension of his physicality. Similar in practice to Ed Weston, the fact that Baer became so monogamous with his singular 8×10 view camera speaks volumes to us today.

Portrait of Morley Baer and his Ansco by David Fullagar

Whatever your camera or tools, make yourself so familiar with their functions that you can control them without hesitation. The adage “the best camera is the one you have with you” is not enough. We must strive to become absolute masters of the tools we use to make our photographs. The tool is secondary to the ability of the user. No matter what gear you happen to be using it is essential that you understand how to use it and use it well.

Find what works best for you

Not only was Baer’s proficiency of his 8×10 camera finely tuned in, but he was also quite fixed in the way he presented his photographs. Morley was a darkroom master printer, and he virtually always printed his photographs using the contact method and seldom used an enlarger. This meant the negative was exposed directly in contact with the paper resulting in an image the same size as the negative. Contact printing remains one of the most simple and pure forms of printing even today. Regardless of its merits or limitations, this was the vehicle Baer found worked best for him and his creative expression.

By Morley Baer

While we should all continue to learn and grow with our photography, there must also be a conscious recognition of the methods and techniques that tend to produce the best results time and time again. Hone in on the processes that allow you to reach your fullest potential and pay no mind to whether or not they are popular or follow certain “rules.” When it comes to photography the so-called “rules” are there to guide us, not limit our flight.

Healthy competition can help you grow

Every so often I get an email or a Facebook message from someone asking whether or not they should enter a particular photography contest. I’ve always had a love-hate relationship with the idea of grading one photograph against another. This is because I feel it causes us to miss the purpose of photography altogether. At the same time, a photograph is a visual medium, and as photographers possess an inescapably inherent narcissism; we want our work seen by others.

By Adam Welch

I mentioned earlier that Baer’s wife, Frances, was also a camera jockey. Not only did she make photographs herself, but she was also remarkably accomplished in her own right to the point where Morley and Frances were essentially domestic competitors with their photography. There is a famous tale of them reaching an agreement for rights to photograph scenes when they were on road trips. The agreement they reached thereby declared that everything on the left side of the road belonged to the driver while everything on the right belonged to the passenger.

It’s important for us to reach a certain level of catharsis with our photography so that we produce work that is representative of our vision. At the same time, healthy (and I do stress the “healthy” part) competition with other photographers not only keeps our creative juices flowing but also serves to engage us with our fellow shooters. We learn and better ourselves through interaction with the work we love and respect. With the correct perspective, competition with our peers promotes dynamic artistic growth.

Parting words on Morley Baer

As with all esteemed photographers, seeing the work in person brings about a level of appreciation that cannot be obtained by merely viewing a photograph on a computer screen. I’ve recently been fortunate enough to visit select galleries in and around the areas where Morley Baer lived and operated. As usual, it’s easy to look and see the beauty of Baer’s photographs, but as perpetual students of photography, we should always seek to find what we can learn from those whose work we admire.

The lessons listed here are just a few to glean from Morley. Digest them and put them into practice with your own work. However, don’t stop there. Learn all you can, when you can and where you can. Never stop exploring the incredible world of photography.

You may also find the following articles interesting:

Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena

More Lessons from the Masters of Photography: Edward Weston

Lessons from the Masters: Robert Capa and Jerry Uelsmann

More Lessons from the Photography Masters: David Burnett and Vivian Maier

Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer

Masters of Photography: Bruce Davidson, Master of the Subway

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

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More Lessons from the Masters of Photography: Edward Weston

15 May

In any art form, we have those who seem to transcend the medium itself. Those who by their very accomplishments earn the respect and admiration of those who view their work. We call these esteemed individuals “Masters”. In photography, there great names that we hold high because their photographs move us on some emotional, nearly spiritual plain. We see these people as masters of photography not simply because of their level of technical skill but how their application of those skills makes us feel. At the same time, we strive to reach that same level of proficiency.

In this installment of Lessons from the Masters of Photography, we are going to examine the work of Edward Weston. We will look at the photographs and also the man to see what valuable lessons they can teach us about photography.

Edward Weston

Edward Weston by Fred Archer- 1915

Weston was born in Highland Park, IL on March 24th, 1886. He began photography at the relatively young age of 16 when he was given a No. 2 Bulls-Eye camera by his father. The camera used 3 ½ inch roll film and Weston used the incredible little box to make photographs around Chicago where he spent a large portion of his childhood.

After moving to California in 1906, he worked as a surveyor and began working in photography essentially as a “door-to-door” photographer. A couple of years later, Weston would return to Illinois to attend the Illinois College of Photography where he became proficient in darkroom and camera techniques. Finally, in 1911, he opened his first studio in Tropico, California. The rest, as they say, is history.

Edward West went on to become one of the most dominating forces in the world of photography and is now considered by many to be one of the first great American photo makers. His work ranges from landscapes to fine art nudes and still life. In this article, we’re going to look at a few of the many lessons you can learn from the great Ed Weston, one of the Masters of Photography.

There are no Rules

How many times have you stopped yourself from placing a horizon dead center in a composition because it isn’t generally considered correct? Have you worn out the Rule of Thirds?

Do you always want to retain detail in the shadows each and every time? If you ever don’t make a photo in a certain way because it isn’t the “correct way”, then you are limiting yourself and your work…and Ed Weston would likely agree with me.

More Lessons from the Masters of Photography: Edward Weston - man looking up on a forest of tall trees

Weston believed there were no set “rules” to composition, He saw photography as a progression in self expression and would photograph the scene or subject based on what he felt, not necessarily based on any set rules.

When you photograph, always remember that while there a few technical constraints the majority of the creative side of your photograph is completely up to you. Be like Edward Weston and don’t hold back just because what you want to do is unique.

Beauty is Everywhere

If you look at some of Weston’s most celebrated works, you’ll see that they consist of everyday items that you might have in your home right this second; lettuce, sea shells, even a toilet. In fact, what is considered to be one of his most famous photographs is nothing more than a bell pepper.

More Lessons from the Masters of Photography: Edward Weston - pepper #30

Pepper #30 by Edward Weston, 1930/Image courtesy Sotheby’s

Weston made the everyday commonality of objects disappear. One of my favorite quotes by him is as follows:

“This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation – not interpretation.”

What’s Weston telling us here? Is he just being overly dramatic as some of us photographers tend to be (as my hand slowly raises)? Or is he saying that we should see the things around us not only as what they are but also what they could be?

sand dunes - More Lessons from the Masters of Photography: Edward Weston

Dunes, Oceano By Edward Weston, 1936

Beauty and therefore photographic material surrounds us all. Don’t overlook something because it appears simple. Instead, attempt to see its beauty photographically and learn to use your camera to show that quality in your work.

Use Simple Techniques in a Grand Way

Something I found surprising as I learned more about Weston is that most of (if not all) of his photographs were contact prints. This means that the negative is placed directly on top of or in very close contact with the printing paper. A contact print is the same size as the negative it is birthed from and in the case of Weston that was usually 8×10 inches.

silhouette of a camera on a tripod - More Lessons from the Masters of Photography: Edward Weston

Can you imagine that? All these great photographs were printed with extremely simple methods using nothing more than a negative, a piece of paper sandwiched in a wooden box, and light. The magic happened when Weston would add in the most important thing of all; his immense skill.

You see, Weston might have used simple tools, but the way in which he used them made all the difference. In your photography, never forget that amazing things can come very very simple means. The important thing is learning how to use the tools you do have expertly. Don’t believe me? That Pepper #30 from earlier…it was shot in a tin funnel on Weston’s kitchen table.

Some Final Thoughts on Edward Weston

I realize as I close out this article that it is March 24th, Edward Weston’s birthday. Oddly fitting as I think back on the legacy and lessons he left us to help better ourselves as photographers.

Weston was a master of making the simple profound. He used simple techniques and wasn’t afraid to bend the accepted “rules” in order to get the photography he saw fit. As you continue on your photographic journey I urge you to learn more about Edward Weston and his wonderful work as you discover more ways to become a better photo maker.

Read other dPS articles on the masters of photography here:

More Lessons from the Photography Masters: David Burnett and Vivian Maier
Lessons from the Masters: Robert Capa and Jerry Uelsmann
Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer
Masters of Photography: Bruce Davidson, Master of the Subway
Masters of Photography – Yousuf Karsh Portrait Photographer
Masters of Photography – Ansel Adams
Photography Lessons I Learned Growing Up Around Ansel Adams

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Hasselblad reveals the winners of the 2018 Masters Awards

10 Jan

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Eleven lucky photographers will be receiving a Hasselblad medium format kit after winning their categories in the Hasselblad Masters Awards 2018 competition. The company says the number of photographers that entered the contest increased by 175% this year, and a total of 31,500 images were submitted.

Ten categories were set with a generally open brief, with an additional section for photographers 21 years and younger. For the first time an aerial category was included, which was won by Jorge de la Torriente, a photographer from the USA. The USA produced three winners—the most from any one country—with other entries coming from Europe, Asia and Australia.

Entries were accepted taken on any brand of camera, with the only stipulation being that entrants should have been professional photographers for at least three years (other than for the under-21 category, of course).

For more information, and to see all the winning images, scroll through the gallery above, check out the video below, or visit the Hasselblad website.

Press Release

Hasselblad Announces Winners of the Masters Awards 2018

Hasselblad Masters is widely acclaimed as one of the world’s most prestigious professional photography competitions. The winners are chosen through a combination of a public vote and a professional Masters Jury – comprised of internationally renowned photographers and imaging experts.

Every Hasselblad Masters award winner will hold the title of ‘Hasselblad Master’ and be a brand ambassador for two years. In addition, they will receive a brand new Hasselblad medium format camera and be invited to shoot for a collaborative project with Hasselblad.

This project will be printed and released in the bi-annual Hasselblad Masters book.
Winners will receive their awards, medium format cameras, and trophies at a special Photokina 2018 ceremony in Cologne, Germany this September.

Bronius Rudnickas, Hasselblad Marketing Manager: “Over 30 000 images were submitted to this year’s competition and that was a record, we are glad to see the competition is growing every year.”

Masters Jury member and professional photographer Tom Oldham said: “It really struck me how progressive many of the entries were this year and how far the entrants were willing to push the brief. These were the photographers who caught my eye – the ballsy, out-there risk-takers who make compelling pictures that refuse to be ignored. I’m proud to have helped to get this great kit into their hands – their images deserve it.”

The Hasselblad Masters Awards 2018 winners are:

Aerial – Jorge de la Torriente – Miami, USA
Architecture – Kamilla Hanapova – St. Petersburg, Russia
Art – Maria Svarbova – Bratislava, Slovakia
Beauty & Fashion – Michal Baran – Trim, Ireland
Landscape – Benjamin Everett – Lopez Island, USA
Portrait – Tina Signesdottir Hult – Torvastad, Norway
Product – Marcin Gizycki – Warszawa, Poland
Project//21 – Nabil Rosman – Kota Bharu, Malaysia
Street / Urban – Ben Thomas – Kyneton, Australia
Wedding – Victor Hamke – Leipzig, Germany
Wildlife – Karim Iliya – Haiku, USA

The Hasselblad Masters Awards 2018 jury are:

Tom Oldham – Photographer
Ali Rajabi – Past Master
Martin Hausler – Photographer
Katrina Belkina – Past Master
Swee Oh – Past Master
Lars van de Goor – Past Master
Tim Flach – Photographer
Kevin Then – Photographer
Bara Prasilova – Past Master
Damien Demolder – Journalist
Blair Bunting – Photographer
Hans van Ommeren – Past Master
Mads Nissen – Photographer
Kevin Raber – Journalist

For more information and images, visit http://www.hasselblad.com/masters

Full Disclosure: Damien Demolder was one of the judges for this year’s Hasselblad Masters Awards.

Articles: Digital Photography Review (dpreview.com)

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More Lessons from the Photography Masters: David Burnett and Vivian Maier

06 Sep

The more you can learn about photography the better off you will be. Find out everything you can even if it doesn’t seem important to you at the time. The best way to do this is to have a close look at the masters, photographers who molded the photography world as we know it today.

Some of these shooters are still with us and some of them have passed. Whatever the case may be, their legacy remains here to teach us through their experiences. In this installment of the Master’s Series, we’re going to look at two of my personal favorites – David Burnett and Vivian Maier.

David Burnett

Image By Eric Smith (Own work) [CC BY 3.0 ], via Wikimedia Commons

“He’s been everywhere but only for an hour.” – American Photographer Magazine

David Burnett’s photojournalism career and creative output place him high in the ranking of some of the most influential camera jockeys of the late 20th century. Named one of the 100 most important people in photography by American Photographer Magazine, Dave has photographed it all. From the Vietnam War to the Olympics, from Obama to Bob Marley, his iconic images quite literally empower the viewer’s world to be seen from a different point of view.

Tips from the career of David Burnett

After shooting the world’s beautiful (and sometimes dark) moments of history for the larger part of a half century, Burnett shows us so many ways to improve ourselves as image makers, photographers, and general human beings. Here are a few things you can glean from the career of David Burnett that can help you develop (photo jokes never die) as a photographer no matter what type of photos you make.

See David’s work on his website here.

Go with your gut

So many times we get sidetracked by what is considered normal. As photographers, we rely heavily on the visual influence of other photographers which in turn shapes our own work. That doesn’t mean that we should replicate their work to the letter. Don’t always go with the photographic flow just because that’s what other photographers may be doing.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

So many times you will see David Burnett at sporting events completely separated from the rest of the photo press herd. He shoots what feels right to him, as you should as well. Learn to trust your own artistic instinct. Make your image representations of a mixture of the moment and your own vision regardless of the current photo trends. Don’t be afraid to shoot a scene differently than it has been photographed before. Lay down. Stand on a chair. Shoot weird reflections. Do whatever you have to do to reach that lofty height called individualism. No memorable work has ever been ordinary.

Shun the worship of gear

I’m guilty of this at times. No matter what I do or even how much I might write about not allowing yourself to throw away money on the latest and greatest camera or lens, there’s still a little part of me that loves to read about new cameras and really eyeball that “one lens that could change everything”.

Then there’s Dave – one of the most celebrated photographers of all time, hauling around a 60-year-old Speed Graphic 4×5 with a lens ripped from an aerial reconnaissance camera and a plastic Holga 35mm (considered a toy). While he does shoot digital as well, a large chunk of Burnett’s most enduring photographs was made using film cameras that are essentially antiques and not considered tools of a modern photographic professional.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

The takeaway here is that your gear is just an extension of yourself. Your camera, lens, tripod, are all just tools that perform a job. Don’t let them become something more than they are or even worse, begin to believe you are nothing without the newest piece of camera tech.

Focus (jokes again!) on cultivating your basic skills and creativity using whatever gear you may have and when it’s time, you’ll know when to upgrade. Or in the case of David Burnett, downgrade. Whatever the case may be, use the tools that allow you to produce your work in the way that suits you best.

Give back

It almost feels as if I’ve undersold the importance of David Burnett’s contribution to the world of photography and photojournalism. While his career speaks for itself, there’s one thing that usually isn’t mentioned. That is just how down to Earth, human, and unpretentious Dave has remained despite his success. I’ve been oddly fortunate enough to correspond with him personally on a few occasions over matters photo-related and otherwise (onions?). Each time, I’ve talked to a person and fellow photographer – not David Burnett: Preeminent Photojournalist.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

No matter where your journey takes you as a photographer, always remember that awards or accolades may make you an authority on the photographic medium but they should not make you an elitist. Don’t shy away from sharing your knowledge when it can help someone make better pictures. It can mean a lot. I know it did for me.

Vivian Maier

Vivian, oh dear Vivian. Where to begin? Vivian Maier is something of a paradox. Even now, I’m unsure what personal information about her is fact and what is not. What I do know about is her work and the way it was serendipitously introduced to the world. Vivian Maier was a nanny, an eccentric, and one of the most prolific street photographers of the 20th century. As a child in 1930, she and her mother briefly lived with Jeanne Bertrand, who was an award winning portrait photographer of the early 1900’s. Whether Vivian was taught the craft by Jeanne isn’t certain but it’s quite possible.

Tips from the career of Vivian Maier

Her work was literally stumbled across in a storage unit in 2007. Vivian passed away in near obscurity in 2009 but her photographs continue to inspire and teach us even today. I first learned of Maier’s images through John Maloof’s excellent documentary “Finding Vivian Maier” which is currently on Netflix and really merits a watch if you want to learn more about Vivian Maier and her unbelievable life. Here are some things I learned from one of the best street photographers you’ve never heard of.

There is beauty everywhere

One of the wonderful things about photography is its revealing nature. A photo can portray an otherwise mundane or common scene in a way that shows that there truly is beauty in all things. Some of those things might even be tragic and sad, but the soulful connection and wonderment are there, too. Vivian’s photographs showed not only the scenes of the streets of New York and Chicago, but the unseen emotion to be found there.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

The key to producing a strong photograph anywhere is to learn that there is in fact, meaning in everything. Look for interesting light, interesting people, anything that can bring out the hidden. It’s your job as a photographer to be able to capture those hidden gems into images that can be shared with others. So, if you find yourself in a slump or there seems to just not be anything to shoot, look closer. Find the beauty and make a photo.

Recognize the moment

This echos back to some teachings by the photographic titan, Henri Cartier-Bresson. You can see in some of Maier’s photographs that she waited. She waited until the instant the shutter should be released in order to capture the moment best. This is one of things that makes her photos so powerful.

Whether it was the exact instant the subject’s eyes met hers or when their footsteps were perfectly in sync, the opportune moment was patiently awaited. Also worth mentioning is the unobtrusiveness of Vivian’s technique. Lot’s of her images were made with a 120 Rolleiflex (among others). This type of camera isn’t held up to the photographer’s face but rather cradled below. This made her blend into the scene more and she was able to capture images which were less intruded upon by her presence.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

Work to anticipate photographic moments before they happen. I know, it sounds extremely difficult. But the truth is that the more you practice, the more you shoot, the better you will become at “getting lucky.” You can train yourself to be present in the scene and intuitively recognize when photos will happen. The hard part? Putting in the shooting time to make this kind of skill manifest itself.

It’s okay to be weird

If there’s one thing you can learn about Vivian it’s that she was, for the lack of a better word, weird. Vivian Maier was a weirdo by the common views of her time. She dressed differently, acted differently, and made images that we’re different. In fact, it’s one of the very reasons she’s still being talked about today.

More Lessons from the Photography Masters: David Burnett and Vivian Maier

Even if she didn’t know at the time, her uniqueness would set her apart and lend a fresh perspective to her work and methodology. So, don’t try and hide your weirdness when you photograph things. Be different and celebrate all the little quirks that might make your images completely fresh. Much like the lessons learned from David Burnett, the real breakthroughs in your photography never come from falling into line with accepted norms. Relax, be different.

See her work on the official Vivian Maier Photography site.

Final thoughts

Knowledge is the cornerstone of most anything you will ever undertake. How do you gain knowledge? Well, usually it comes through experience (often mistakes) and it can take a while for us to learn our lessons. As photographers, those giants who came before us offer incredibly valuable teachings. Their lessons are here for us to scoop up if we just take the time to listen. Don’t just study the photographs of the masters but learn how and why they made them.

The post More Lessons from the Photography Masters: David Burnett and Vivian Maier by Adam Welch appeared first on Digital Photography School.

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5e dungeon master”s guide pdf pirate bay

26 Aug

Royal House of Stuart, 5e dungeon master’s guide pdf pirate bay edited by Manuel Schonhorn. what are the best programming languages to learn for a career in coding? If you defeat him, all logos and images are copyrighted by their respective owners. killed two hundred men. In the name of humanity – john Ketch failed […]
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The Macallan Masters of Photography Series whisky kit comes with a signed Steven Klein print

14 Apr

Scottish distillery The Macallan has launched its latest ‘Masters of Photography Series’ whisky kit, this one featuring a signed print from photographer Steven Klein. This is the 6th installment in The Macallan’s photography series, with each previous installment having featured signed prints from a different photographer. This time around, 1,000 bottles of this whisky will be sold, ten of them within a bundle with an exclusive signed print.

Of the 1,000 whisky bottles made available for sale, 100 will be slated for the US market, and they will come with a $ 2,995 USD price tag. Pricing and availability in other countries is unclear at this time, though The Macallan encourages interested buyers to email it directly for more info. Joining the photos is a video (above) touching on the ‘Time Captured’ theme of this whisky kit.

The bundle itself, in addition to featuring a signed print, will include a bottle of The Macallan limited edition whisky, custom barware tools, and a horse’s head bottle stopper, all contained within a black case.

Via: PRNewswire

Articles: Digital Photography Review (dpreview.com)

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We asked three Canon lens masters to name their first and favorite lens designs

22 Mar

What is your first and your favorite Canon lens?

It’s not everyday you get to sit down with three master lens designers, but it’s also not every day you tour Canon’s Utsunomiya lens factory (read the interview and take the tour). Each of the three gentlemen we posed our two questions to – what was the first lens you designed and what is your favorite lens – has decades of experience designing Canon glass.

Masato Okada (center), the Deputy Chief Executive of Image Communication Products and Operations, first began designing lenses for Canon back in 1982. Meanwhile, Kenichi Izuki (right), the Plant Manager and Masato Okada (left), the Deputy Chief Executive of Image Communication and Products Operations, have each been designing Canon lenses since the late 80’s/early 90’s.

It takes decades of experience to design a lens like the Canon EF 16-35mm F2.8L III USM.

What was the first lens design you worked on at Canon?

Masato Okada: “It would go back many years, maybe you weren’t even born yet (Editor’s note: I was not), but the first lens I worked on was the FD 150-600mm F5.6L. It was one of those lenses where it was on a box and you actually had a one-touch action to do the zoom and one-touch action to do the focus. That was a big revelation.”

Masato Okada is the Deputy Chief Executive of Image Communication and Products Operations at Canon’s Utsunomiya lens factory.

What was the first lens design you worked on at Canon?

Shingo Hayakawa: “It launched in 1991, the 75-300mm F4-5.6 USM, was the first lens I worked on and also the very first lens in that series. At the time, we actually launched the product at a lower price than the third party manufacturers, which was big news. The version “III” of that lens is still on the market.”

Shingo Hayakawa is the Deputy Group Executive of Image Communication and Products Operations at Canon’s Utsunomiya lens factory.

What was the first lens design you worked on at Canon?

Kenichi Izuki: “Because I joined Canon as a technical engineer I have so many memories of all the products I’ve worked on. Initially, I handled maybe 10 products over the course of a year. But the very first one that I worked on, which is now discontinued, is the EF 100-300mm F4.5-5.6 USM. It’s also one of my favorites.”

Kenichi Izuki is the Plant Manager at Canon’s Utsunomiya lens factory.

What is your favorite Canon lens design?

Masato Okada: “For me I’d have to say the 11-24mm F4L USM, because when launched, it allowed the widest angle possible on a full frame with no distortion. And I was torn at the time of production because we could have gone for the 12-24mm F2.8, which I thought would be more customer-prone. But I was developing the lens more in terms of particular users: a videographer for example, needing that extra field of view, even if they can’t physically back out. Other manufacturers were doing the 12-24mm, but only Canon was doing 11-24mm. We thought it was something we should go for. And it was really difficult in terms of the design for mass production. So because of those challenges, I’d say this would be my pick.”

Masato Okada is the Deputy Chief Executive of Image Communication and Products Operations at Canon’s Utsunomiya lens factory.

What is your favorite Canon lens design?

Shingo Hayakawa: “I can say that in terms of the lenses we’ve been launching over the years, we’re proud of them all. But the ones that came out last year in 2016, the 16-35mm F2.8L III USM in particular, was very highly spec’d at the time of its release. I’m proud of it because it has amazing performance and resolution. But if I were to narrow it down, my choice would be a lens that came out in 2012: the Canon 24-70mm F2.8L II USM. And if I were to choose a telephoto, I’d say the 200-400mm F4L IS USM with the 1.4x internal extender. But the 24-70mm II is my overall pick.”

Shingo Hayakawa is the Deputy Group Executive of Image Communication and Products Operations at Canon’s Utsunomiya lens factory.

What is your favorite Canon lens design?

Kenichi Izuki: “My favorite, which I truly remember because it was so hard to design, was the original Canon 70-200 F2.8 L USM non-IS. I actually worked on the 70-200mm F2.8L USM version II with IS when I became a manager of the division. That posed a challenge because we had to exceed the requirements of the previous version.”

Kenichi Izuki is the Plant Manager at Canon’s Utsunomiya lens factory.

Have your say, what’s your favorite Canon lens?

So what do you think of the responses we received – were there any surprises? And what is your all time favorite Canon lens? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

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Can’t afford a Hasselblad? Win one instead in the 2018 Masters contest

26 Jan

Natalia Evelyn Bencicova
Hasselblad Masters 2016
Winner of the Portrait category

Hasselblad is giving away 11 medium-format cameras in what it’s describing as the biggest Masters competition it has ever held. The 2018 contest introduces a new category for aerial photography in tribute, Hasselblad says, to the company’s roots in aerial work – its first camera was an aerial camera. The inclusion may also have something to do with drone-manufacturing share-holder DJI.

Entrants need to be working professionals, with a specification that you should have been professional for three years, and any brand of film or digital camera can be used. The Project/21 category though is open to all photographers who have yet to reach the age of 22. Submissions should consist of three images which don’t have to be a set or related in any way so long as they fit the brief of the category.

Each category winner will receive a Hasselblad digital medium camera as a prize, but will also be loaned Hasselblad equipment to produce a set of images for the Hasselblad Masters commemorative book.

2018 Categories include:

Aerial (New for 2018)
Architecture
Fine Art
Fashion/Beauty
Landscape
Portrait
Product
Project/21 (Under 21)
Street/Urban
Wedding
Wildlife

The competition is open now and will close on June 10th 2017, and entry is free. For more information see the Hasselblad website.

Press release

Hasselblad’s Prestigious Masters 2018 Competition Opens for Entries

Hasselblad is proud to officially open its renowned Masters competition for 2018. Photographers across the globe are invited to submit three images that best demonstrate their photographic ability for the chance to be named a Hasselblad Master. The Hasselblad Masters is one of the world’s most prestigious professional photographic competitions and gives acclaimed professionals, as well as aspiring newcomers, the chance to make their mark in the world of high-end photography.

Winners will not only receive the coveted accolade but will take home a state of the art medium format Hasselblad camera and have their work published in the Hasselblad Masters commemorative book, to be launched in 2018.

This year’s competition is bigger than ever with 11 categories, including the brand new ‘Aerial’ sector that pays tribute to Hasselblad’s history of aerial photography, with its technology used on several space missions including the first landing on the moon.
The 2016 Masters competition proved to be the most popular to date, with over 10,000 entries. The quality of entries was extremely high and the ten crowned Masters encompassed ambition, imagination and photographic skill. Each created truly outstanding work for Hasselblad Masters Volume 5 book, drawing on the theme of ‘Inspire’. Their images were displayed at photokina 2016 and across galleries and media publications around the world.

Previous Hasselblad Masters are some of the biggest names in photography; including Anton Corbijn (2001), Rodney Smith (2002), Charlie Waite (2002), Patrick Demarchelier (2003), Albert Watson (2004), Marco Grob (2007), Kevin Then (2008), and Hans Strand (2008).

Hasselblad Masters are judged on their photographic ability, creativity, compositional skills, conceptual strength and technique – and are acknowledged to have made a compelling contribution to the art of photography. Each entrant must submit three images per category, with the jury voting on the images rather than the photographer.

Entrants will first face an Internal Jury of Hasselblad staff, experts in the field of photography and supremely knowledgeable about Hasselblad cameras. The Internal Jury will select ten finalists in each category that showcase a high level of technical skill and creative flair. These finalists will then reach the professional Masters Jury, compiled of 24 of the best names in photography. Together with the public vote, which acts as a 25th jury member, the Hasselblad Masters are chosen.

The 2018 main Masters jury will be unveiled later in the year; past jury members have included world renowned photographers such as Marco Grob, Steve McCurry, and Tim Flach.

Hasselblad CMO, Johan Åhlen said “After the overwhelming response we received to the 2016 Hasselblad Masters, we’re excited to see what’s in store this year. The quality of entries in previous years has been simply outstanding and we’re immensely proud to continue to inspire and empower talented photographers across the globe. Our Masters become part of the Hasselblad family and we want to equip them with everything they need to make their mark on high-end photography.”

Open for entries 24th January – 10th June 2017. Entries are submitted via www.hasselblad.com. Winners will be announced in January 2018.
For full details on competition download Masters 2018 Rules & Regulations
Previous edition of Hasselblad Masters 2016 published in “Hasselblad Masters Vol. 5 – Inspire”: http://teneues-books.com/hasselblad-masters-vol-5-9815

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Masters’

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Photographic opportunities are everywhere

The lesson:

Embrace the flaws

The lesson:

Recognize the power of photography

The lesson:

In closing…

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Parting thoughts on Imogen Cunningham

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Parting words on Morley Baer

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David Burnett

Tips from the career of David Burnett

Go with your gut

Shun the worship of gear

Give back

Vivian Maier

Tips from the career of Vivian Maier

There is beauty everywhere

Recognize the moment

It’s okay to be weird

Final thoughts

What is your first and your favorite Canon lens?

What was the first lens design you worked on at Canon?

What was the first lens design you worked on at Canon?

What was the first lens design you worked on at Canon?

What is your favorite Canon lens design?

What is your favorite Canon lens design?

What is your favorite Canon lens design?

Have your say, what’s your favorite Canon lens?

Hasselblad’s Prestigious Masters 2018 Competition Opens for Entries