In the summer of 1934, a young woman named Lisette Model took a break from her life in Paris to visit her mother and sister in Nice. While there, she borrowed a 35-millimeter camera from her sister, Olga, and took it to the Promenade des Anglais, an upscale stretch along the Mediterranean seaside that was popular with a moneyed crowd. In the line of Model’s keen (or unforgiving) sight, the men and women lounging in the promenade’s comfortable chairs became so many sitting ducks.
The nascent photographer lifted the camera to her eye and captured them in a series of images that draw out the awkwardness of their well-fed, well-dressed bodies and the fascination of faces modeled by age, which appear almost grotesque, but also striking, even sculptural. “You cannot imagine how fantastically boring it can be to look hour after hour at a beautiful body,” Model once said, referring to a stint studying painting in Paris and working from live models. “But an ugly body can be fascinating.”
During his eight years as the chief official White House photographer for President Barack Obama, Pete Souza, the former director of the White House Photo Office, traveled to all 50 states and more than 60 countries. Those trips added up to more than 1,300 flights on Air Force One and nearly 1.5 million miles.
“My job was to basically tag along with the president and visually capture the professional and personal moments in his life,” said Mr. Souza, 62, who was also the official White House photographer for President Ronald Reagan.
He shot almost two million images during his tenure with Mr. Obama, and his new book, “Obama: An Intimate Portrait,” released in November, has 315 of the most memorable ones. Besides the tension-filled shot of Mr. Obama and his advisers in the Situation Room during the Osama bin Laden mission, there are several pictures from the president’s travels including an image of him with his family in front of the Christ the Redeemer statue in Rio de Janeiro at night in the fog and a picture of him looking at the Great Wall of China.
Below are edited excerpts from an interview with Mr. Souza.
I was recently alerted to stock photo website PixaBay by my photographer friends.
PixaBay offers royalty-free photos from its contributors, that anyone can use, manipulate and distribute without the need for permission or any attribution to the artist.
While I personally cannot fathom the thought of giving away my photos for free, I think PixaBay contributors probably want some exposure or love the thrill of seeing their photos being used instead of just getting “likes” on Instagram.
It sounds like a great deal for those in the advertising and marketing industry who need photos for their promotion collaterals.
You know, when things sound too good to be true, they usually turn out to be false. But in this case, it is actually true.
Over the weekend, Pam Zaring shared the final, retouched images from her recent family photoshoot in St. Louis, which made her family look like — for lack of a better description — soulless, razor-toothed creatures who emerged from the nearby lake.
Zaring said the photoshoot happened back in May, and it’s apparently taken this long for the photographer to figure out how to edit them. After nearly a year, this is what she was sent. Brace yourselves.
Writer Stephanie Brookes shares a heartwarming tale from Bali about a couple of university grads from the Netherlands who are helping special needs children find their voice through photography and art.
Specifically, the Arts & Culture app will take a selfie you shoot and run it through a database of artworks shared by institutions partnered with Google cultural program. Then, it will present you with the top matches, with a percentage that indicates how close a match it thinks you are.
Audubon’s 2018 Photography Awards Contest (the “Contest”) begins on Monday January 8, 2018 at 12:00:00 p.m. Eastern Standard Time (EST), and ends on Monday April 09, 2018 at 11:59:59 p.m. EST (the “Contest Entry Period”). Entry into this Contest constitutes your acceptance of these Official Rules.
GREAT article & why I have turned down assignment offers.
Know your skill level.
I see the posts. You see them, too. A session gone wrong because a photographer didn’t know want to do. And they didn’t know what to do because they hadn’t yet acquired the skills necessary to do that thing they were hired to do. They said “yes” before they knew what they were doing.
I remember one such story. A gal had agreed to photograph a family at a beachfront hotel; a family that hadn’t been together in years. She photographed them on the balcony in the middle of a sunny day. The balcony was in shade. The beach behind them, in bright sunlight. The client wanted to get both them AND the beautiful beach in the pictures. Remember this family hadn’t been together for years and it would be years before they were together again.