Episode 230: Sebastião Salgado

Episode 230: Sebastião Salgado

About This Episide

Born in 1944 in Brazil. Educated as an Economist which allowed him to better understand the human condition.  
He photographed people and their conditions. Salgado works on long term, self-assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, Migrations, and Genesis. The latter three are mammoth collections with hundreds of images each from all around the world.  
Salgado is a truly amazing photographer that can teach us a lot about our world and ourselves.  He is a living legend, and I know that I feel a little shame that I never really paid much attention to him and his work.  
What can I say, both Dominick and me were in awe of the movie, and the images.  I think it shows in the conversation.  
Talk to you next week!

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Episode 228: New Adventures

A bit of a recap of 2018 started a business lost a cohost this show went weekly, which can get a little challenging decreased my photography out of necessity and thinking that I need more focus. looking at my 2018 catalog in lightroom i took only 2000 photos which is...

Episode 229: Endre Friedman and Emotion in Photography

Episode 229: Endre Friedman and Emotion in Photography

About This Episide

A little history.  Born as Endre Friedman in Hungary 1913.  His career as a photographer started in 1932, when he was sent to Copenhagen to photograph Leon Trotsky.  In 1933 he was force to leave Germany, and went to Paris, where he met Gerda Pohorylle (later Taro). In 1936 due to scarcity of sales, both invented a glamorous and elusive American photographer Robert Capa.  She would tour newspaper editors and sell his images as Robert Capa.  Very quickly he became famous.
When the ruse was discovered Endre realized that he would have to live up to the standards and reputation of Robert Capa. 
In 1936 he began covering the Spanish Civil war, with Gerda.  This is when his famous photograph of the Spanish Loyalist being fatally shot. There is a bit of controversy surrounding that image, saying its posed or not created in the region it said etc. 
During this coverage Gerda was killed.  Endre never really recovered from his grief, and in 1938 he traveled to China with a dutch filmmaker who was covering the resistance to Japanese invasion. 
After returning to Spain and covering the departure of International Brigades, his images were published in a prestigious photography magazine Picture Post, and was named the greatest war photographer in the world.  
After World War II, Robert Capa, Henri Cartier-Bresson, Chim, George Rodger, and William Vandivert founded Magnum, a cooperative photo agency. Capa devoted his time to the operations of Magnum and enthusiasm for young photographers who he invited to the agency, encouraged them, got them assignments.
During the late 40s he collaborated with literary friends. in 1947 he spent a month traveling the Soviet Union with John Steinbeck. They produced a book “A Russian Journal”, juxtaposed Steinbecks text and Capa’s pictures.
In 1954 he accepted an assigment from magazine “Life”, to Indochina.  He was covering the French war there, and while photographing French soldiers, on may 25 1954, he stepped on a mine and was killed.
John Steinbeck wrote “Capa knew what to look for and what to do with it when he found it.  He knew, for example, that cannot photograph war, because it is largely an emotion.  But he did photograph that emotion by shooting beside it.  He could show the horror of a whole people in the face of a child.  His camera caught and held emotion.
“Most historians agree that the first appearance of the term Generation X” was verbalized in 1953, by war photographer Robert Capa, almost a decade before the actual folks were born and officially christened as Generation X. Capa’s “Generation X” described young people with a fatalistic view of the future. The label read like an aimless particle in space or an unknown variable in an algebraic expression. If one cannot understand it, X is a placeholder until further study can manifest a clearer definition.”
“In order to preserve the photographic heritage of Capa and other photographers, Cornell (his brother) founded the International Fund for Concerned Photography in 1966. To give this collection a permanent home he founded the International Center of Photography in New York City in 1974.”
“In 1995, thousands of negatives to photographs that Capa took during the Spanish Civil War were found in three suitcases bequeathed to a Mexico City film-maker from his aunt. In 1939, after Capa fled Europe for America during World War II, these negatives were left behind in a Paris darkroom and they were assumed lost during the Nazi invasion of Paris. It is not known how the negatives traveled to Mexico, but apparently Capa asked his darkroom manager, a Hungarian photographer Imre Weisz, to save his negatives during 1939 and 1940. Jerald R Green, a professor at Queens College, was informed by a letter from the Mexican film-maker about this discovery. In January 2008, the negatives transferred to the Capa estate, but the Mexican film-maker has asked to remain anonymous.
The International Center of Photography organized a travelling exhibition titled This Is War: Robert Capa at Work which reexamines Capa’s innovations as a photojournalist in the 1930s and 1940s with vintage prints, contact sheets, caption sheets, handwritten observations, personal letters and original magazine layouts from the Spanish Civil War, the Second Sino-Japanese War and World War II. The exhibition has been on display at the Barbican Art Gallery and the International Center of Photography of Milan and was on display at the Museu Nacional d’Art de Catalunya until September 27, 2009. It then moved to the Nederlands Fotomuseum from October 10, 2009 until January 10, 2010.”
Funny thing is… his famous D-Day photo of the soldier on the beach is almost impressionistic. Even though we (“we” meaning “photographers”) know that it was shot with a slow shutter speed which gives it its sense of action and speed, it still registers as an accurate (as much as it is possible) depiction of the morning of the invasion. 

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Episode 228: New Adventures

Episode 228: New Adventures

A bit of a recap of 2018
  • started a business
  • lost a cohost
  • this show went weekly, which can get a little challenging
  • decreased my photography out of necessity and thinking that I need more focus.
  • looking at my 2018 catalog in lightroom i took only 2000 photos which is about 5 a day, and I’m fine with that
  • finding that sharing my images is not the end all be all, and i haven’t shared a lot last year
  • I haven’t found that work/life balance and it’s not easy to do
  • find myself working at odd hours and odd times which impacts everything
  • because of things happening in my life I’m more grounded, meaning I can’t travel as much as I want to
  • life got a lot busier.  
Which brings us to 2019 and new adventures
  • what new cameras are coming? i don’t care
  • there are new advances in computational photography, I don’t care
  • there are new software titles poping up to rival lightroom and adobe raign on photography… i don’t care
  • so what do I care about? A new concept, idea that I found last year.
  • I don’t like resolutions, because I never keep them
  • it makes you feel like a failure, and just sets a negative tone for the rest of the year
  • next year you do it all over again
I heard about this interesting take on resolutions.  
  • coined by Rachel Olsen co-author of “My One Word: Change Your Life With Just One Word.”  https://www.amazon.com/My-One-Word-Change-Your-ebook/dp/B008EGUFF2
  • so instead of using I’m going to the gym, or I’m skipping donuts with my coffee
  • use a word
  • setting goals for ourselves in our career and at home, the idea of it all coming down to a single word, even if that word becomes a theme rather than just a touchstone, is irresistible.
  • A word can’t be broken. It serves as a reminder; a filter. It’s who you want to be instead of what you regret.
  • and chose a word : growth
Hope you enjoyed this episode, and hopefully things will get better and better in the new year.  I wish you all the best, better pictures, and more time to reflect on your photography!
I will talk to you next week!
Ciao
Episode 227: Catching up with David Szweduik

Episode 227: Catching up with David Szweduik

Dave has been doing a lot of things lately.  First he started new Adventures in Creativity podcast, which is a great show about following your heart in creative endeavours.  Not only photography, but everything that has to do with creativity.
Also Dave just acquired a medium format film camera, (big shout out to Dominick Chiuchiolo) and he has been exploring new adventures in film.  
Since it’s almost the end of another year, do we have any secret plans for 2019?
Listen to find out!
See you all next week!
Episode 226: Visit from a Ghost of Christmas Past

Episode 226: Visit from a Ghost of Christmas Past

It’s nice to be visited by old friends from time to time.  This was a surprise visit from my former host Sidney Blake

We discussed:

  • personal project Flawed Perfection
  • Sid Fuji XT-1 camera woes (I still think it’s just full of sprinkles)
  • Guitar
  • Film photography

Until next week!