FEATURE SHOOT: 101 Photo Industry Professionals You Should Follow on Twitter

Do you want to keep up with what’s happening in the Photo Industry? Then this list of 101 Photo Industry Professionals is for you. I'm honored to be included at #54 with such a heady group!

Feature Shoot included "feeds that are informative, entertaining, and most importantly that offer us a window into the interests and inspirations of some of the most creative people in the photo world. Whether at the pinnacle of their careers or just starting out, the overriding common thread of those that made the list is that they all share a passion for photography and want to share their knowledge and findings with their followers."

The list is in no particular order.

1. Donald R. Winslow / @donaldrwinslow Editor at News Photographer magazine for NPPA. Teaches at John Cabot University & John Felice Rome Center.  2. David Campbell / @davidc7 Visual storytelling, politics, social media. Secretary to World Press Photo 2014 contest jury.  3. Kathy Ryan / @ryan_kathy  Director of Photography at The New York Times Magazine.  4. Ken Geiger / @kengeiger Deputy Director of Photography at National Geographic Magazine and Pulitzer Prize-winning photographer.  5. Michael Wichita / @MichaelWichita Director of Photography for AARP Media in DC.  6. Vaughn Wallace / @vaughnwallace Deputy Photo Editor at Al Jazeera America.  7. Kira Pollack / @KiraPollack Director of Photography and Visual Enterprise at TIME and Executive Producer of Red Border Films. 8. Alessia Glaviano / @AlessiaGlaviano  Senior Photo Editor at Vogue Italia and L’Uomo Vogue.  9. Patrick Witty / @patrickwitty Director of Photography at WIRED.  10. Judith Wesch / @judith_photo Photo Editor at Le Figaro. 11. Yumi Goto / @Yumi_Goto Independent photo documentary/reportage project researcher, coordinator, consultant, editor and curator. 12. Rodrigo Orrantia / @rodrigoorrantia Photography curator, focusing on art photography publication and exhibition projects at DMB and Lucid-ly.  13. Santiago Lyon / @slyon66 Vice President and Director of Photography at The Associated Press.  14. Helen Trompeteler / @htrompeteler Assistant Curator of Photographs at The National Portrait Gallery. 15. Charles Guice / @CharlesGuice  Founder of Charles Guice Contemporary, which features modern and contemporary art, film/video and new media by nationally and internationally recognized visual artists.  16. Fiona Rogers / @Fiona_Rogers  Cultural and Education Manager, Magnum Photos London, and Founder of Firecracker, an online platform supporting European women photographers.  17. Patrick Baz  / @Patrick_Baz MENA Photo Manager for Agence France-Presse; has covered all major Mideast conflicts and crises—Bosnia, Somalia and Afghanistan.  18. Wayne Ford / @wayneford Designer/Creative Director—visual identity and communication.  19. SMBHmag / @BarryWHughes Editor at online photography magazine, SMBHmag (SuperMassiveBlackHole).  20. Emma Bowkett / @emmalbowkett Photo Editor at the Financial Times FT Weekend Magazine.  21. Elizabeth Orcutt / @PixEditor Deputy Picture Editor at The Times, academic artist (photography), PhD student and lecturer at Falmouth University.  22. Brad Smith / @BradSmithSI Director of Photography for Sports Illustrated.  23. Rebecca Mcclelland / @rlmcclelland Group Photo Editor at New Statesman, PCP Associate Lecturer Photo UCA, and Creative Director Ian Parry Scholarship.   24. Matthew Leifheit / @matte_mag Photo Editor at VICE and Editor-in-Chief of MATTE Magazine.    25. Ángel Luis González / @bohoe Founder and Director of PhotoIreland and The Library Project.  26. Stuart Pilkington / @stupilkington Art photography curator and curator of ‘The Swap.’  27. Matt M. McKnight / @mattmillsphoto Photo editor, news junkie, and freelance photojournalist.  28. Scott Braut / @scottbraut VP of Content for Shutterstock and Offset.   29. Louise Clements / @mazmanian  Artistic Director of QUAD & FORMAT International Photo Festival.   30. Cheryl Newman / @cherylnewman1 Photo Director at Telegraph magazine. 31. Jennie Ricketts / @jennieric  Picture editor for the Observer Magazine c.1996-2004. Launched jenniericketts.com photography gallery in 2006.  32. Prison Photography / @brookpete Freelance scrawler, photography, prisons, and social justice. Writer for Raw File blog, WIRED photo blog, and BagNews Notes.  33. Sacha Lecca / @sachalecca Senior Photo Editor at Rolling Stone.   34. Emily Shornick / @EmilyShornick Photo Editor at NY Mag’s The Cut.  35. Conor Risch / @c_risch Senior Editor for PDNonline.   36. Manuela Oprea / @Takeoff  Photo Editor at Bloomberg Markets Magazine. 37. Katrin Eismann / @SVADigitalPhoto Artist, author, educator, digital photography fiend.  38. Geordie Wood / @geordiewood Photographer and Photo Editor at The FADER.   39. Olivier Laurent/ @olivierclaurent Associate Editor at the British Journal of Photography and new TIME LightBox Editor.  40. Bruno Decock / @brunodecock Documentary photographer and International Photo Editor for Medecins Sans Frontieres/Doctors without Borders (MSF).  41. Clint Alwahab/ @calwahab Photo editor at CNN and photographer.  42. Becky Senf / @RebeccaSenf Photography curator at Phoenix Art Museum.  43. Leslie K. Brown / @LeslieLKB Curator, photo historian, educator, PhD candidate in History of Photography.  44. David Griffin / @dgriffin56 Visuals Editor of The Washington Post, former Director of Photography of National Geographic Magazine.  45. aphotoeditor / @aphotoeditor Former Director of Photography at Men’s Journal and Outside Magazine. Publisher/Editor of A Photo Editor.  46. Elizabeth I. Johnson / @elizabethij Senior Photo Editor and typist for CNN Photos.  47. Pamela Chen / @pc Senior Photo Editor at National Geographic Magazine.  48. Mary Vignoles / @MVignoles Photo Editor at Los Angeles Times.  49. JamesEstrin / @JamesEstrin Co-Editor and Senior Staff Photographer at New York Times Lens Blog.  50. Pancho Bernasconi / @DailyLuca Director of Photography at Getty Images.   51. Oliver Lang / @oggsie Mobile photography curator, Instagram commercial and cultural consultant.  52. Sophie Wright / @wrightsophie Cultural and Print Room Director at Magnum Photos.  53. Rebecca Douglas-Home / @BeccaDH Picture Editor, London.  54. Elizabeth Avedon / @elizabethavedon Independent photography curator and writer.  55. Susan Bright / @SusanBrightNYC Curator and writer, NYC.  56. Tony Bell / @bellyboy69 Picture Editor at the Observer.  57. ANTON / @PhotoAnton Photographer, founder of Photographers Dining Club, producer of ‘Analogue Tribes’ short films.  58. Katy Barron / @KBarronPhotos Independent photography curator and consultant, London.  59. Andy Adams / @FlakPhoto Editor, producer, publisher at FlakPhoto.com  60. Anne McNeill / @impgalleryanne Director of Impressions Gallery, not for profit contemporary photography gallery, Bradford.  61. Sarah McDonald / @PhotoFramed Curator at Getty Images and writer specializing in historical and press photography. 62. Mia Diehl / @MiaDiehl Photography director of Fortune Magazine.  63. Larissa Leclair / @LarissaLeclair Founder  64. Luanne Dietz / @LuanneDietz Photo Editor at The San Francisco Chronicle. 65. Jennifer Schwartz / @Crusade4Art  Creator/director of Crusade for Art, a non-profit dedicated to building artists’ capacity to create demand for their work.  66. Andy Greenacre / @andygreenacre Picture Editor at The Telegraph Magazine.  67. David Bram / @dbram Editor of Fraction magazine.  68. Julie Grahame / @aCurator Publisher and editor of aCurator.com, a full-screen online photography magazine.  69. Gerry Brakus / @gerrylb Ex-Deputy Picture Editor of The Independent. Acting Photography Editor of New Statesman.  70. Ryan Grimley / @RLGrimley Currently picture desk intern at Wallpaper* Magazine and holds the fort at Darwin Magazine.  71. Gary Hershorn / @GaryHershorn Photojournalist and Photo Editor freelancing after 29 years working for a global news agency.  72. Daria Scolamacchia / @dariascola Editor at Fabrica.  73. Keith W. Jenkins / @keithwj Director of Photography for National Geographic Digital and former head of multimedia at NPR.  74. Kate Barrett / @kateelisabee Associate Photography Editor at Wallpaper* Magazine.  75. Stellazine / @StellaKramer Photo Editor and creative consultant working with photographers to help their careers.  76. Jon Levy / @FOTO8 Foto8 connects documentary photographers, authors and audiences creating interactive displays, photography exhibitions, books and magazine publications.  77. Brian Storm / @BrianStorm Founder and Executive Producer of MediaStorm.  78. Jen Bekman / @jenbee Founder and CEO of 20×200.  79. Lesley A. Martin / @lamartin Photobooks and other good things. Digi-curious, print passionate.  80. Josh K Lustig / @joshklustig Assignments Editor at Panos Pictures and publisher of Tartaruga Press.  81. Greg Whitmore / @G_Whizzz Picture Editor at The Observer.  82. Delphine Bedel / @delphinebedel  Photographer, lecturer, photobook publisher, curator and Founder of Monospace Press, Amsterdam Art/Book Fair.  83. Christine Santa Ana / @christinecurate  Independent photography curator, Pop-Up Exhibitions with Of The Afternoon.  84. Shawn Waldron / @shawnwald Senior Director, Conde Nast Archive.  85. Jörg M. Colberg / @jmcolberg Writer, photographer, teacher.  86. David Drake / @ffotodavid Curator, writer and producer, Director of ffotogallery.  87. Hamidah Glasgow / @HamidahGlasgow Executive Director of The Center for Fine Art Photography, Colorado.  88. Susan Spiritus / @SusanSpiritus Owner/Director of Susan Spiritus Gallery, representing emerging and mid-career photographers since 1976.  89. Ashley Byford-Bates / @ashb_bates Global Head of Reuters Pictures and Archive Products.  90. Micha Bruinvels / @michabruinvels Manager Contests at World Press Photo.  91. Teru Kuwayama / @terukuwayama Hoover Institution fellow, Senior TED fellow, Ochberg fellow at Dart Center for Journalism & Trauma, and Knight fellow at Stanford.  92. Amy Yenkin / @AmyYenkin Director of the Documentary Photography Project at the Open Society Foundations.  93. Max Houghton / @MaxHoughton8 Senior Lecturer in Photography at London College of Communication.  94. Chiara Palazzo / @cvpalazzo Assistant Picture Editor at The Telegraph.  95. Eric Baradat / @Ebaradat Photo Editor-in-Chief of Agence France-Presse.  96. Donna Cohen / @donnatova Photo Editor at Bloomberg Businessweek magazine.   97. Lars Boering / @larsboering Managing Director of FotografenFederatie of the Netherlands, art dealer at Lux Photo Gallery, teacher and consultant.  98. Chelsea Matiash / @cmatiash Photo Editor at Wall Street Journal.  99. Jordan G. Teicher / @teicherj Covers photography for Slate. 100. Tom Gifford / @graphitegrey Senior Creative Artworker at Table19.  101. Tabish Khan / @LondonArtCritic Reviewer of art and museum exhibits for Londonist, and weekly top 5 on FAD.

FLASH FORWARD FESTIVAL BOSTON: May 1-4 Celebrating Emerging Photographers

 FLASH FORWARD FESTIVAL, Boston May 1–4, 2014

FESTIVAL: Based out of the Fairmont Battery Wharf, the FlashForward Festival offers an in-depth experience through organized networking events and educational programming that brings internationally respected industry professionals together to share their knowledge. Programming includes curated indoor and outdoor exhibitions, galleries throughout Boston, a Harbor-Walk exhibition, lectures, panel discussions, and nightly events. FlashForward Festival

PANEL: The Long & Winding Road
What it Takes to Choose and Sustain a Long-Term Photography Project

Moderator: Stella Kramer, Pulitzer Prize-winning Photo Editor and Creative Strategist. Panel: Edie Bresler, Photographer and Artist;  Michael Sharkey, Portrait Photographer and Filmmaker; and Manjari Sharma, Fine Art Photographer. (Photograph © Manjari Sharma)

From the series Flying Henry by Rachel Hulin

TALK: Imagined Worlds and Personal Narrative with Rachel Hulin

PANEL: Publish Your [Photo] Book: Go Mainstream or Self-Publish

Moderator: Elizabeth Avedon, Independent Curator and Book Designer. Panel: Janette Beckman, Editor, Author and Photographer; Craig Cohen, Executive Publisher of powerHouse Books; and Robert Herman, Fine Art Street Photography and recent Author.

16 Photographs At Ohrdruf: Documentary by Matthew Nash

TALK: How I Learned To Love Accountant and Fight Lawyer

TALK: Innovations in Multi-Platform Visual Storytelling

with Sadie Quarrier, Senior Photo Editor, National Geographic Magazine

Flash Forward Festival, Boston

Set within the Boston cityscape, the four-day festival is based out of the Fairmont Battery Wharf, offering an in-depth experience through organized networking events and educational programming that brings internationally respected industry professionals together to share their knowledge. Programming includes curated indoor and outdoor exhibitions, galleries throughout Boston, a Harbor-Walk exhibition series featuring work from local galleries, along with lectures, panel discussions, and nightly events.

The Magenta Foundation: Established in 2004, The Magenta Foundation is Canada’s pioneering non-profit arts publishing house. Magenta was created to organize promotional opportunities for artists, in an international context, through circulated exhibitions and publications. Projects mounted by Magenta are supported by credible international media coverage and critical reviews in all mainstream-media formats (radio, television and print). Magenta works with respected individuals and international organizations to help increase recognition for artists while uniting the global photography community.

Through its successful emerging photographers program, Flash Forward, Magenta’s expansion into Boston has allowed the organization to set a standard for community collaboration while developing both a domestic and international presence vital to the success of artists. Magenta’s diversification and growth will continue through engaging programming slated for Pittsburgh and the United Kingdom.

FLASH FORWARD FESTIVAL 

 May 1–4, 2014
Complete schedule of Events here

Fairmont Battery Wharf, Boston

Many thanks to MaryAnn Camilleri, Founder of The Magenta Foundation; Director of The Flash Forward Festival and her Team....

CRUSADE FOR YOUR ART: The Must-Have Book for Fine Art Photographers

CLICK HERE TO PURCHASE

“Jennifer Schwartz is a guardian angel for photographers. Crusade for Your Art is a passionate call to arms for image-makers around the world to get your work out there and in front of people like me. This is how you do it. Don’t let anyone else tell you otherwise.” – Michael Foley, Michael Foley Gallery, New York

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The fine art photography world can feel impenetrable, and without a roadmap, the process of getting your work in front of the right people is daunting. Making the work is just the first part of the equation. Artists need to think strategically about who their target audience is and how to attract them. They need to create a strong, consistent, professional brand through social media and their website. They need to develop a plan and timeline to thoughtfully launch new work that involves strategically reaching out to appropriate galleries, publishers, and online outlets. It sounds like a lot of work. It is.

Crusade For Your Art: Best Practices For Fine Art Photographers helps you navigate the fine art photography world and determine the best course for your work. With insight and instruction on every aspect of the fine art photography world, as well as contributions by over twenty-five top industry curators, gallerists, editors, and photographers, this guide gives you all the tools you need to make your mark on the art world.

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“In “Crusade For Your Art: Best Practices For Fine Art Photographers, Jennifer Schwartz has written one of the most comprehensive guides to date for both the professional and emerging fine art photographer to navigate the current world of Photography. With contributions from leading photography museum, gallery and photo directors, the expert advice given is instrumental in creating what every photographer needs to know to navigate the current art market. I absolutely love this guide. It covers all bases! I whole-heartedly recommend this masterful guide to the photographic community.” – Elizabeth Avedon

“Jennifer Schwartz demystifies the steps towards a long and invested career as a photographer. An overdue and necessary resource for us all.” – Brian Ulrich, Photographer 

“Crusade For Your Art: Best Practices For Fine Art Photographers is a must-read for anyone who works in the fine art photography realm. Photographers at all stages of their careers and practice will be well-served to read this guide cover-to-cover, and photography collectors and enthusiasts can also learn a lot within these pages that will help them better understand an artist’s business. Jennifer Schwartz answers hundreds of the most common questions and hundreds more that people are probably scared to ask. Who would think to write out a step-by-step guide on how an artist can best use Twitter? Jennifer Schwartz did. The contributing authors offer advice based upon years of experience and countless hours of observation.  Jennifer Schwartz takes the mystery out of the fine art photography world by outlining the business and taking the photographer through the entire process of creating and sharing photographs. As the author says, it’s a lot of work, but this book removes one of the biggest tasks of all — identifying what needs to be done.” – Bevin Bering Dubrowski, Executive Director, Houston Center for Photography; and Editor of Spot Magazine, Houston, TX

Jennifer Schwartz, Executive Director of Crusade for Art, is educating photographers to higher levels of professional development through her new book, Crusade For Your Art: Best Practices For Fine Art Photographers. 100% of the profits from this publication will go to Crusade for Art, a non-profit organization whose mission is to build artists’ capacity to create demand for their work.

TOM P. ASHE: Color Management + Quality Output from Camera to Display to Print

"Working with Color from Camera to Display to Print" 

Color Management + Quality Output (Focal Press)

"Working with Color from Camera to Display to Print"

Photographers - Put this on your book list now!

"We have all felt the frustration of wasting time, paper, and effort when our prints or web images don’t match the images we see on our monitors. Fortunately, you’re holding the resource that will help solve these problems. This book guides you through the hardware settings and software steps you’ll need to post professional images and make stunning prints that showcase your artistic vision. In Color Management & Quality Output, Tom P. Ashe, a color expert and gifted teacher, shows you how to color manage your files from input all the way through output, by clearly explaining how color works in our minds, on our monitors and computers, and through our printers."

Tom’s background as a photographer, fine art digital print-maker, and product development specialist for Eastman Kodak, Monaco Systems, and Polaroid, gives him a unique understanding of the aesthetic and technical issues in digital photography today.

This book is part of The Digital Imaging Masters Series, which features cutting-edge information from the most sought-after and qualified professionals and instructors in the photography field. Based on the progressive curriculum of the Masters of Professional Studies in Digital Photography created by Katrin Eismann at the School of Visual Arts in NYC, these books are the next best thing to being in the classroom with the Digital Photography Masters themselves.

Book Signing with Tom Ashe

"Color Management & Quality Output" 

February 27, 2014  5:30-7:30

Calumet, 22 West 22, NYC

Tom P. Ashe, the Associate Chair of the Masters of Professional Studies in Digital Photography at the School of Visual Arts in NYC, is an internationally recognized educator and consultant in digital photography and color management. He received his Bachelor of Science in Photography from the Rochester Institute of Technology in Rochester, NY, and his Masters of Applied Science in Photography from RMIT University in Melbourne, Australia.
 
Series Editor, Katrin Eismann, is the Chair of the Masters of Professional Studies in Digital Photography at the School of Visual Arts in NYC. Known as the Photoshop Diva, Katrin is an internationally respected artist, teacher, and author. She specializes in creative digital photography and the impact of emerging technologies upon professional photographers, artists, and educators.

Also at Calument

Photography Exhibition: "Natural Selection"

Sponsors SVA NYC + Calumet

Text courtesy Focal Press

SHELBY LEE ADAMS: Appalachian Portraits + Ear Heart Music's Aeolus Quartet Feb 18th

Girls in Onion Patch, 2004 

Photograph © Shelby Lee Adams

Peggy and Albert behind the Aeolus Quartet

Projected Photograph © Shelby Lee Adams

Composer Stephen Snowden wrote a 7 minute piece inspired by the photography of Shelby Lee Adams. The Aeolus Quartet will perform it along with 2 other pieces sequenced to Adams photographs projected behind the musicians. Shelby Lee Adams will be in attendance at this performance and will speak about his work. His new book, salt & truth, will be available for purchase and signing. Don't miss this unique evening!

Ear Heart Music presents
Aeolus Quartet – Appalachian Portraits
featuring the portrait photography of Shelby Lee Adams

February 18, 8:00pm at Roulette

Roulette, 509 Atlantic Ave (at 3rd Ave.) in Brooklyn

 $15 general / $10 members, students, seniors

Close to the Atlantic terminal, 2/3/4/5/A/C/G/D/M/N/R/B/Q + LIRR

Listen to the Aeolus Quartet * here
Inspired by Shelby Lee Adams Portraits

JEAN-JACQUES NAUDET: an Exclusive Interview

Shiva and Jean-Jacques

Jean-Jacques Naudet Talks To Elizabeth Avedon

“Photography has never been as fashionable as now. In fact Photography IS the communication now.” – Jean-Jacques Naudet

Jean-Jacques Naudet has championed the careers of countless photographers throughout decades, first as Editor-in-Chief of French PHOTO Magazine during it’s heyday in the 1970′s and ’80′s and later as editor at large for American PHOTO, working for Hachette Filipacchi Media for forty years. A prominent figure in the overall History of Photography, Naudet moved on to found his own publications, starting with the former “Le Journal de la Photographie," and currently with the new “L’Oeil de laPhotographie," promoting legendary icons of the past along side a generation of emerging photographers. 
 
Elizabeth Avedon: How did you first become involved in photography?

Jean-Jacques Naudet: Totally by pure coincidence. When I was a young journalist I started working at Vogue on movie reviews. It was very very badly paid. One day Shiva announced she was pregnant. We wanted to stop being extremely poor. Vogue was great because although I was not very well paid, we were invited everywhere, from cocktails to receptions, all kinds of social events. But it was not possible to bring a small baby to openings and cocktails, so I had to decide to work in another magazine and by pure coincidence I was at French PHOTO.

I didn’t know anything about photography when I started. I discovered photography and photography became a passion. Roger Thérond - who was, who is my mentor, and was the Director of Match, the Director of PHOTO, in fact he was the Director of the Hachette Filipacchi Publishing Company; for the second piece I had to write for PHOTO, Roger sent me to go and meet Romeo Martinez and make an issue about the History of Photography. So I went to see Romeo. I was really really impressed and Romeo gave me all the information I wanted and then he said, “What do you know about Atget?” I said, ”Atget. Great photographer, loved by the Surrealists and the one who made us remember the old Paris.”

He said, “Tell me about Atget and the prostitutes?” and I didn’t know anything about Atget and the prostitutes. “So, maybe one day we will meet again, but next time try to know better about Atget and the prostitutes. If you don’t know about Atget and the prostitutes, you will never know anything about photography. During the next five years I never met Romeo, then one day by chance I bumped into him at an opening and I said, “You know, I know better about Atget and the prostitutes.” So I gave him proof and that was the beginning of a beautiful friendship. After Roger, he was my second mentor in photography.

EA:  What progression took you to be Editor-in-Chief of French PHOTO?

JJN: I arrived at the French PHOTO in ’71 and I took the magazine in 1977. I discovered a totally new world. Remember in the ‘70’s very little was known about photography and photographers. We had the extreme formidable luck to discover and at the same time to make discovery of all these people.

I discovered the power of photography, but I discovered what I liked even better than photography, were photographers. Photographers are really the last cowboys of the art scene in the 20th century. After photography, all the art experience or all these communication was collective - there were movies, there was television - but the last individual adventure was photography.

EA: It was a very exciting time for photojournalism at Paris MATCH and French PHOTO. Would you talk about some of the photographers from that period?

JJN: Of course I remember the giants. Henri Cartier-Bresson. Robert Doisneau. The first time I met Henri, he said you have to tell me “tu”. Can you imagine you meet Henri Cartier-Bresson for the first time and he’s forty years older than you, and he asks, “Tu dois me dire tu.” Oh, God!

All these dinosaurs, these mythical legends were alive at this time. There was of course Dick Avedon, Irving Penn and in fashion there was Guy Bourdin. I remember my first trip in America in 1975. The city was in bad shape. There was the famous New York Daily News headline from President Gerald Ford to New York City, "Ford to City: Drop Dead." On that first trip I met Avedon, Penn, Lee Friedlander, Garry Winogrand, all these people. Every day there was a discovery.

Every day in France, every day in Europe, every day in America we were able to discover someone we didn’t know or someone who was totally unknown. There was the discovery of Jacques Henri Lartigue, there was the discovery of Jeanloup Sieff, and there was even the discovery of W. Eugene Smith. There was the discovery of the History of Photography, the discovery of the 19th century and the discovery of the beginning of the 20th century with all these prolific photographers from Martin Munkácsi to Man Ray. That’s why the French PHOTO was magical at this time, because not only did we enjoy our daily profession, but also we made other people enjoy, and for this we were well paid.
 
EA:  Tell us about Roger Thérond and working with him.

JJN: Roger was the boss of everything and everyone. He was even more than a mentor. I was spending every day with someone who has an incredible eye, an incredible sense of journalism, who was also hugely passionate about photography. At that time, he started to collect 19th century and the beginning of the 20th century photography, so he was everything in one.

In ’74, Roger sent me to London for a charity auction for The Photographers Gallery. So I arrive in Sotheby’s Belgravia. The auctioneer was Philippe Garner, who I didn’t know at that time, and there were probably fifty or sixty people inside the room.  In the middle of this crowd, an incredible good looking guy, dressed all in black, kept his hand above his head for the entire auction. He won half of the auction. Suddenly the last lot was an Irving Penn huge vintage print of Colette. And this guy in black won the bid at £ 700 and everyone booed him at this time. What is this jerk buying a Penn for £ 700? And the guy was Sam Wagstaff.

That night we had dinner with Sam and Philippe. It was the beginning of a beautiful friendship. That was the kind of encounter you could have in this time.

(left) Jean-Jacques Naudet, Ed-in-Chief L’Oeil de la Photographie; with (center) David Schonauer, Ed-in-Chief American Photography Pro Photo Daily and (right) Philippe Achard, Achard and Assoc.

EA:  What was it like for you when you first arrived in NY?

JJN: The first time I arrived in New York was in 1975, but I remember the day I decided to live in New York. It was Halloween 1984; I decided New York was my dream. MATCH at this time had a marvelous small penthouse apartment on 77th Street, just in front of the Mark Hotel. I arrived on the day of Halloween; I put my suitcase in the apartment, and went back out to the street. Just when I opened the gate, I saw this incredibly gorgeous looking Upper East Side girl, so I stopped to watch her. At the same time a police car came and stopped in front of her. I was 10 meters from the girl. The car swerved off the road onto the sidewalk and stopped the girl. After one or two seconds, this girl is starting to laugh. I thought, what’s going on? So I approach step by step, and guess what? The policemen were wearing pig’s masks! I said, “I definitely want to live here.”

My idea was for Roger to decide to send me to New York, and after 5 years I succeeded, so I arrived and for me it’s still the same magical thing. I just spent seven months in Paris due to the problem with Le Journal. I am as happy as Paradise when I returned two weeks ago. I have the same magical feeling as when I first came to the city.

EA:  Did your wife move to New York at that time?

JJN: My wife, Shiva, let’s say we’ve been living together for 48 years now. Let’s say without her I’m nothing. She’s really - what is that expression - the cement between the stones. She has been the glue of this family.

She was quite a successful stylist and fashion designer. She was at the top when I decided, quite egoist of me, to come and live in New York. For five years she was commuting from Paris to New York every two weeks. After five years, life was quite miserable, so she quit.

EA: You are the author of several books: Marilyn (Assouline, 2003); Marlene Dietrich: Photographs and Memories (Thames & Hudson Ltd, 2001); and Icons of the 20th Century: 200 Men and Women Who Have Made a Difference (Overlook, 1998). What inspired you to interview Marilyn Monroe's most trusted photographers - including Henri Cartier-Bresson, Andre de Dienes, Cecil Beaton, Richard Avedon and Milton Greene - about what it was like to photograph this legend?

JJN: The “Marilyn” was quite exciting. I had just finished a special issue of American PHOTO where I spent two months all around the United States to find all these old guys who photographed Marilyn; Ossie Leviness, George Barris and all of them were in fact still in love with her. The one I remember the most was André De Dienes who showed me his diary and especially the page where he talks about his sexual relationship with Marilyn. That was so surreal to see this very very old guy being the lover of Marilyn Monroe.

Probably one of my best memories is when I discovered that all the Milton Greene pictures had at this time been bought by this kind of strange Greek guy with the complicity of the last Milton mistress; and everything was deeply hidden in storage in Pasadena. So I went there for Match to meet the guy. He called me at the Chateau Marmont and he said, “You have to find a way to come to Pasadena. Let’s meet in a bar.” So I went to the bar and he said, “Are you sure you aren’t followed?” I said, “Of course.” I arrived in the storage and discovered thousands of vintage prints by Milton Greene and probably all the dresses and all the personal objects of Marilyn. Later, Joshua Greene and the family sued the guy and they recuperated everything.

EA:  In "Marlene Dietrich: Photographs and Memories" there were almost 300 photographs from her collection. How did you get involved?

JJN: The beautiful souvenir I have of the Marlene Dietrich book - I’m quite friendly with Peter Riva, the son of Marlene Dietrich’s daughter Maria Riva, the grandson of Marlene. Peter called me and said, “Jean-Jacques, are you interested in spending one week in Berlin, the east part of Berlin (this was after ’89) and you will select in the archives of Marlene what you want for a book?” I spent one week, probably 18 hours a day, looking at all the personal archives of Marlene.

The thing I must confess, if the work of looking through archives, digging for pictures was very well paid, I would have preferred to look for pictures, than to publish pictures.

EA: You created a list for American PHOTO of over 30 photographers that had not received recognition or had been underrated. Would you describe that era of Photography?

JJN: I’m always fascinated by how quick some great great photographers disappear. More and more frequently the disappearance is quick now. Almost everyone forgot about people like Chris von Wangenheim, Bill King, and Mike Reinhardt (grandson of the famous film Director Max Reinhardt). Plus all these very famous French guys from the ‘70’s who were the Kings of Fashion: Alex Chatelain, Pierre Houles, Guy Le Baube. Who knows about all these guys?

That is the one thing I’m trying to restore with L’Oeill, is to bring together these two worlds of photography; the world of the dinosaur like you and me - people who are passionate and have the knowledge and the culture of photography - and the world of these millions and millions of young kids addicted to photography through Flickr, Instagram and Facebook, but maybe lacking the background, the culture and the knowledge.

 Jean-Jacques with Grandchildren, Chloe and Julien 

EA:  You’ve written a few controversial pieces now and then.

JJN: It’s not really controversy. But one thing I have noticed, in fact I made an issue of American PHOTO about; that the’70’s and 80’s were far more permissive than today. Being "politically correct" at this present time is absolutely boring.  For someone who loves New York as I do, to see New York so totally sanitized - the meat market looking like Avenue Montaigne in Paris - it’s boring. If I can dare to say it, I miss the transvestites, I miss the prostitutes, I miss the peep shows in Times Sq. I remember when Jean-Paul Goode met Grace Jones. Grace was absolutely fascinated by all the Times Sq. shops. One night we went from peep show to peep show because Grace wanted to make a private thing for Jean-Paul.

EA:  What pieces were of notable success for you in the past?

JJN: I’m particularly proud of a couple of things. Avedon’s Interview’s were quite strong.  Avedon was not really fond of French PHOTO and same for Penn. They found it was a girly magazine. The magazine was important enough so they wanted to be in it in a way, so each time I wanted to have a portfolio, he would say, “Yes, but who is going to do the text?” So I would suggest a couple of names. Each time he said, “No, no. Naudet, if you want my portfolio, I want Roland Barthes.” And because of Richard Avedon I became quite friends with Roland Barthes. Three times I call Barthes and say, “Avedon is giving us a huge gorgeous portfolio, but you have to write the text.” So we used to meet with Barthes at his favorite place at the bar of the Hotel Port-Royal.

The fourth time, Avedon was publishing the fashion book (AVEDON: Photographs 1947-1977. Farrar, Straus, Giroux). I called Barthes and said, “Roland, I have a new Avedon portfolio,” and the day after I received a beautiful note from Roland Barthes. He said, “Dear Naudet, I received the book. The book is gorgeous. Avedon is gorgeous, as usual. This book is full of women and you know women are not my cup of tea.”

Then around ‘95, Roger called me one night. “Jean Jacques, Catherine Deneuve has been elected the most gorgeous French woman. Call Avedon and ask him about the pictures of Catherine because he photographed her like no one? We need this picture. “ I said, “Remember Roger, our relationship with Avedon is not so good. Last time with MATCH they didn’t respect the contract.” He said, “Don’t worry, don’t worry Jean-Jacques, this time we are going to respect.”

So I called Avedon, it was probably 8pm. At 7AM, Avedon called and said, “Come to the Studio, I have something for you.” He gave me four spreads, eight pages he designed himself, plus the cover with his written indication “Avedon as big as Deneuve.” Of course, Roger did not respect the contract and of course he changed the layout. Avedon was absolutely furious.

Six months later arrived one of the most important fashion pieces that I have seen in the History of Fashion in the New Yorker, 32 pages of incredible pictures. Roger called and said, “Jean-Jacques, we need to publish these pictures in MATCH.” I say, “Roger, don’t forget last time. Avedon is not going to forgive you.“ He said, “I don’t care. Try.”

I called Avedon, and it was great. He said, “Ah, Roger is interested. If MATCH publishes these 32 pictures, it’s free.  If MATCH publishes 24 pages, it’s $30,000. If they publish 16 pages, it’s  $40,000. If Match publishes 8 pages, it’s $50,000.” MATCH was not able to publish 32 pictures. They published 8 pages and they paid $50,000. That was his sweet revenge.

And in terms of things that I published and I wouldn’t have published – I’m not going to answer to that. Probably a lot.

EA:  In 2010, you started the very successful "Le Journal de la Photographie." Did you imagine Le Journal would be so well received with so many followers?

JJN: No. No. I was deeply surprised. Of course I was proud. People say behind a success you always have a concept. That’s true, but that’s not so true. Behind a success you always have a team and that’s the most important.

EA: What was your original intent and what happened with Le Journal?

JJN: As you know, I worked for the same company for almost forty years. In 2009, Hachette Filipacchi was sold to Hearst. I was too young to retire or too passionate to retire. I really wanted to continue in photography because it’s the only thing I know.  I was totally fascinated by this new technology, this new form of expression, so I had this idea to make a daily publication talking about of all the things that were going on in photography all around the world. I was lucky enough to find a capitalist business angel who was extremely successful at this time, who didn’t ask anything and didn’t want a business model, just the opportunity to have this Journal.

But after two years, his business had quite difficult financial problems and, what can I say, he was less and less an angel. Things started to be extremely complicated especially because he never explained, never talked, payments were late; you know because you were there during this time. One day as an excuse he told me that the team was not good, I was not very good, we have to rethink about everything.

You can do what you want, but you never never accuse the people who are working with you. The following day I skyped with all the team. I said, “I’ve made my decision. I’m going to quit. I’m going to announce it Friday August 30. They all told me, “OK, we will do the same, we stay with you.”

EA: And in November 2013 you began your new publication, "L'Oeil de la Photographie." 34 of the original 36 Le Journal correspondents followed with you.
 
JJN: The thing I’m really proud of is the team now working, writing and collaborating. All of these 34 people coming from all different places, young and old, male and female, from all over the world, each of them different.

EA:  You’ve always been ahead of many in understanding the value of using the latest technology.
 
JJN: Elizabeth, I’m a fraud. I don’t know anything about new technology. I just realized a couple of facts. Photography has never been as fashionable as now. Photography now has replaced the verb in communication. In fact photography IS the communication now.

When all these kids during editorial meetings talk about the technology, they are charming when they explain, but after 2 minutes I’m outside smoking a cigarette because I don’t understand one word. You will see during the next ten days, L’Oeil de la Photographie is reopening the archive, but I don’t understand when they explain how they do this. When you have a team, you have to delegate this kind of thing and you have to trust them.

As I said, success is not only a concept, success is always a team.

L'Oeil de la Photographie.com

CENTER: 2014 International Call For Entries

REVIEW SANTA FE: JUNE 26-29, 2014: Review Santa Fe is designed to facilitate relationships between photographers and leading industry professionals looking for new work. PROJECT LAUNCH GRANT: 2014: Project Launch is presented to an outstanding photographer working in fine art series or documentary project. ENTER NOW!

SAUL LEITER: Painter, Photographer, Artist

 Saul Leiter and Jean Pagliuso

Photograph (c) Elizabeth Paul Avedon

SAUL LEITER

(1923 – November 26, 2013)

NICHOLAS VREELAND: A Monk's Journal in Taiwan

 Life

Photograph (c) Nicholas Vreeland

 New Friends

Photograph (c) Nicholas Vreeland

View from our hostel... once the tallest building in the world

Photograph (c) Nicholas Vreeland

Khyongla Rato Rinpoche and Nicholas Vreeland, Abbot of Rato Dratsang

NicholasVreeland.com

JANET RUSSEK: The Tenuous Stem

 Janet Russek: The Tenuous Stem (Radius Books)
Photographs by Janet Russek. Essay by MaLin Wilson Powell

 Beets on Paper, 1994

 Squash in Bowl, 1993

Twin Porcelain Dolls, 2008

The poignancy and promise of the life cycle informs Janet Russek’s long term photographic project, The Tenuous Stem. She began this work expressing sadness over loss, while noting the possibility of new life carried by a seed or a stem. In 1989, Eliot Porter—her mentor and friend—gave her a monorail camera which was too unwieldy for anything but studio work, and although she has always worked with 4 x 5 cameras, she set up still lifes for the first time.

Using only natural light she started photographing ripe squashes, peaches , and pears, alluding to the fullness of pregnancy. She then worked with vegetables and roots, and finally, the maturing plant, whose lush ripeness harbors will spiral into decomposition and decay. In subsequent years, Russek has expanded the project to include portraits of dolls that explore the darker, more psychological side of childhood and parenting, and a memory series that includes photos of significant personal objects that harken to the past, and take this volume full circle—like the life cycle itself. (Radius Books)

This book is a gorgeous collectors edition; beautifully printed by Janet Russek and classically designed by Radius Books. Look for a copy! – EA

Janet Russek

I attribute my renewed love and appreciation for Photography to Janet Russek and David Scheinbaum. Their educational evenings, generously given in their Gallery on the fine art of printing and the history of photography, were highlighted by the most extraordinary examples of vintage original prints by Eliot Porter, Ansel Adams, Atget, Callahan, Kertesz, among so many other great photographers. Check out the Scheinbaum and Russek Gallery on your next visit to New Mexico. 

JESSICA TAMPAS: Color, Summer, Screen

 JP and Katie 

Photograph (c) Jessica Tampas

Brooke with Doll

Photograph (c) Jessica Tampas 

 Trevor

Photograph (c) Jessica Tampas

"I'm interested in the idea of the barrier. Who or what is in front or behind; who is in the dark and who is far away -- buried, even, behind this decaying screen." –Jessica Tampas

Jessica Tampas' latest series, Color, Summer, Screen, was recently shown at FilterPhoto's 2013 Festival. Building on her prior b&w series, Lucid, Tampas continues to photograph the children vacationing in the lake cottage community in South West Michigan where she and her own family have spent the last five summers. By now, the area's children have grown, and are taking on stronger identities, and we want to know their names. CC, Brooke, Conner, Orly, JP:  no longer small, they confront the viewer languorously, honestly, inquisitively. The additional use of color adds a heightened sense of their presence.

 Unbroken (80 x 60″) Photographer Jessica Tampas 

The Chicago Project V Exhibition, Catherine Edelman Gallery, 2013

Unbroken: "People often want to know the history behind these dolls. Who were their previous owners? How did they come to look the way they do? Do I collect them, alter them? My approach to creating this series is far more subjective. I never set out to become a collector, per se (though by now I've amassed more than 100 early- and mid-century dolls), and I don't alter them in any way. Frankly, I'm not so concerned with these dolls' history, even if I play an important role in it, giving them a longevity they probably never expected to have. For me these little beings are simply heartbreaking creatures, typologies of survival and loss, and, I suppose, ultimately, psychological portraits of something inside myself that I might not otherwise be able to express as an adult. We have all weathered emotional traumas in the transition from childhood to now. By not altering the dolls, I let their faces tell their own story -- one that I feel is ultimately about what it means to be both fragile and a survivor, and…human."

JESSICA TAMPAS

FILTER PHOTO FESTIVAL 2013: Follow-up!

Kyohei Abe, Director and Curator, Detroit Center for Contemporary Photography • "Mapping" Exhibition Curated by Paula Tognarelli of The Griffin Museum • Panelist Jennifer Schwartz, Owner and Director, Jennifer Schwarts Gallery • Photographer Paul D'Amato "We Shall" Book-Signing • Barbara Tannenbaum, Curator Cleveland Museum of Art • Photographer Debbie Fleming Caffery "The Spirit and The Flesh" Book-Signing • Erin Hoyt, Director of Programming, #FilterFest2013 with Sarah Hadley, Executive Director, Filter Photo Festival • Aline Smithson, Founder and Editor, Lenscratch • Reviewee Photographer Sheri Lynn Behr

Richard Cahan, Publisher, CityFiles Press with Carrie McCarthy, Santa Fe Photographic Workshops • Reviewers Table • Panelist Fred Bidwell, President, Fred and Laura Ruth Bidwell Foundation • Yan Li, Lishu Photo Festival, Founder and Owner of High Noon Culture and Art • Portfolio Walk, Fine Arts Building, Chicago • Reviewers Jennifer Schwartz and Wally Mason, Director and Chief Curator, Haggerty Museum • David Bram, Founder and Editor, Fraction Magazine • Portfolio Walk • Sarah Hadley, Executive Director, Filter Photo Festival

+  +  +

The 2013 Filter Photo Festival was a great success! I really enjoyed all of my Book Design Workshop. Thanks so much to the entire Filter Photo Team who worked tirelessly to organize a wonderful atmosphere behind the scenes. It was an outstanding event with excellent panel's, reviewers, photographers and workshops. A lot of fun was had by all. Don't miss it next year!

FILTER PHOTO FESTIVAL

*Above, a small selection from all the many events over the 5 day festival

PHOTOVILLE: Pete Brook's Depository of Unwanted Photographs (TDOUP)

The Depository Of Unwanted Photographs 

Conceived by Pete Brook | Produced by United Photo Industries

The question “What is your best photo?” is not an unusual one. When asked to pick out a single image they absolutely treasure, people generally don’t hesitate. A snap of their children, a Polaroid of their parents, a formal pose from precious life event, or perhaps even a photograph with the prescribed artistic balance of composition, contrast and exposure; or dictated by emotional memory or technical concerns.

But what about the question, “What is your worst photo?” To put it another way, what photograph of yours is obsolete, worthless, old news or just plain bad? Which single photograph of yours would you like to officially state on the record as unwanted?

Photoville invites you to submit one of your photos to The Depository of Unwanted Photographs, a crowdsourced archive of images and stories. During Photoville, we will welcome walk-in submissions at The Depository Of Unwanted Photographs container which will be equipped with a scanner and computer to download, copy and catalogue your printed photographs and digital files. During Photoville, submissions will be rotated in and out of display for public viewing. When the festival ends, the Photoville team will compile the images and create a reference book of “Unwanted Photographs”.

DETAILS HERE!

Follow Pete on Instagram here

Pete Brook is a freelance writer and curator, lead-blogger for Wired Magazines Raw File, and author/editor of his own Prison Photography journal.

Officially TDOUP / I Broke Pete's Rule "No Dogs"

Having recently purged my iPhoto Library to gain GB's (except for a few "choice" published images) I didn't have much to submit to Pete's brilliant project except one of way too many photos of my dogs - officially declared TDOUP for breaking Pete's rule "No dog photographs".

MANJARI SHARMA | DARSHAN @ClampArt

Lord Vishnu

Maa Laxmi

Lord Ganesha

Darshan

Photographs by Manjari Sharma

ClampArt presents, “Darshan: Photographs by Manjari Sharma,” the artist’s first solo show in New York City.

“Darshan” is a Sanskrit word meaning “vision” or “view,” and is most commonly used in the context of Hindu worship. It can also be translated as an “apparition” or a “glimpse.” One may seek and receive the Darshan of a deity, and upon sight, that Darshan may invoke an immediate connection between that deity and the devotee. A Darshan can ultimately be described as an experience purposed on helping one focus and call out to his or her sense of spirituality.

“Darshan” is a series that aims to photographically recreate various classical images of Gods and Goddesses pivotal to mythological stories in Hinduism. Printed on a massive scale, these photographs are presented at ClampArt in an elaborate installation that closely mimics the experience of a Hindu temple, complete with incense, lamps, and invocations.

Historically, Hindu deities have been depicted endlessly through painting and sculpture. However, portraying these Gods and Goddesses photographically is what makes Sharma’s project so unique. To make imagery for the series, exhaustive research on each character leads to the assemblage of a team of approximately thirty-five Indian craftsmen who create props, sets, prosthetics, make-up, costumes, and jewelry to the artist’s exacting specifications. These shoots rival the production standards of a motion picture film in both complexity and budget. The final photographs are not the product of extensive digital manipulation through Photoshop, but rather are primarily straight images  planned in-camera made with extreme patience, perseverance, and an elaborate vision.

Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai, India, now based in Brooklyn, New York. She has a BA in Visual Communication from S.N.D.T. University, Mumbai, and a BFA in Still Photography from Columbia College of Art and Design in Columbus, Ohio. Her images have appeared in such publications as “Forbes India Magazine,” “Vogue India,” and “Geo Magazine,” and online at NPR, “The New York Times,” The Huffington Post, “PDN,” and “Life Magazine.” Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012, and she was invited as a “Shots and Works” artist for LOOK 3: Festival of the Photograph in 2013. (text courtesy of ClampArt)

This exhibition is generously supported by LTI/Lightside Photographic Services. More about The Darshan Project

ClampArt

September 12 – October 12, 2013
521-531 West 25th Street, NY

Artist’s Reception:
Thursday, September 12, 2013
6:00 to 8:00 p.m.