eeMENTOR SERIES Worldwide Photo Treks Prepare to capture scenes of breathtaking beauty in Acadia National Park. Here, breezes from the Atlantic glide across miles of racky Maine snowcapped-mountain backdrops ae just wating to give your postfoio coastline, thick with evergreens; lobster boats bob in gentle harbors; a breath of fresh alpine air. Guiding you alang the way will be Nikon {and whales are acommon sight. With Nikan professional photographers professional photographers Reed Hoffmann and Dave Black. We'll begin Daniel J. Cox and Layne Kennedy create images of nature at its most our trek in mauntain-encircled Lucerne, where the historic architecture Sublime. Late September will allow you to stand at the threshold of peak is astounding—medieval squares, ancient guildhals, frescoed houses, fall folage. On Cadillac Mountain, wisps of clouds stretch above the churches and chapels. A stunning examale of the gemiike green-and- Porcupine Islands and Frenchman's Bay, begging for panoramic framing. blue hues of Switzeriand can be found in luminous Interlaken, Keep In Bass Harbor, fil your lens with fishing boats or focus on your camera ready along the Hoheweg Promenade, a busy walking strip Tobster traps stacked along the worn wooden pier Board a private vessel that provides excking Views of Jungfrau Mountain. At Grindelwald, fil to photograph the eagles, gulls and seals and sail past the Bass Haroor your frame with the skyscraping north face of Eiger Mountain, one of Lighthouse in the evening light. Experience sunrise near Otter Clif and the si great noth faces of the Alps. The Ice Palace in Jungfraujoch ws a peer through the viewfinder as the surf pounds against the 110-foot- prime opportunity to experiment with artistic compositions, emaloying high precipice, End your day by photographing Bar Harbor at dusk, The the unique interiors and sculptures, all carved from ice, in Zetmat Auaint citys lights reflect against the bay, and your images willelucidate lenses will be treated to a private alpenhor demanswation with the why this town was originally called Eden. Have your camera atthe ready iconic Malterhorn peak as a backdrop. locale to inspite your ceatinty for a whale-watching excursion. Broaden your skills and invigorate your and beautty your portfolio—you'l find it all in the Mentor Series trek to passion for photography—surely an opportunity you don’t want to miss. land. Sigh Up today forthe photography adventute ofa lifetime! izerland, where exnansive senery, shimmering lakes and) REGISTER ONLINE AT I E, For more information, call toll-free 888-676-6468. nidvidethe Mentor Series has taken photo enthusiasts to destinations across the country and around the world. With top Nikon professional photographers accompanying pat ipants every day and teaching them how and ‘what to shoot, there's nothing like a Mentor Series trek. You and your photography will never be the same! Join the Mentor Series as we travel to the chotogranher’ paradise that is Kava, a shimmering jewel in Hawais crown of islands, prized fr its lush greenery, pristine beaches and lively culture, With Nikon professional photographers David Tejada and Lucas Giman at your side, Create memorable images of this stunning tropical world, Lmaful Gardens is a must-see spot for anyone hoping to capture the allure ofthis verdant island. Enjoy trailing surfers at sunset on Hanalei Beach. Zero in on Hanakapiai Beach and Hanakapiai Fall, a magnificent sight of cascading water from 100 feet high. Discover a bit of adventure on the zipine tour hile creating images of the enveloping valleys, streams and rainforest, Take part in'a Polynesian luau dinner, cornplete with traditional food, singing, storgteling and hula dancers. if you choose, a helicopter tour will give yOu a oirds-eye view of some of Kauals best features, including Waimea Canyon and Manawaiopuna Fal. Wind down the day with @ sunset dianer ruse along the Na Pali Coast. Poipu Beach offers a chance 1 further perfect your beachscape photos and possbly even catch shots of green sea turtles and monk seals, Take advantage of this once-in-2 lifetime opportunity to enhance your portfolio and your ski set—all ami a setting of unparalleled natural beauty A lively land of desert, dreams and dollar signs, Nevada’ Las Vegas feritory is the ideal place to energize your portfolio with breathtaking landscapes and fold archtecture. Journey alongside Nikon professional Photographers Mark Alverhasky and Michael Clark as they show you all the tips and techniques you'l need, from the brightly it sidewalks of Sin City tothe dusty oad: of the surrounding desert lands and beyond, [At the Belagio Botanical Gardens, be prepared to focus your lens on fan array of brilliant floras, gazebos, bridges and ponds all thoughitully arranged according to season. Next & a chance to create dynamic mages Of cowboys ata ranch using the rustic setting as your background, Shifting (ears after sundown, wel take to the steets that make up the Las Vegas Sirip to capture the vibrancy of this metropolis from the ground up. At the Bellagio Fountain, your camera will witness a spectacular choreography of water and lights. A Red Rock Canyon, take advantage of the goklen hour ta craft photos o famous rock formations bathed in radiant light. Offering the perfect contrast of natural splendor and urban zest, the Mentor Series trek to the Las Vegas Teritory wil enliven yaur photography and heighten your sll. Sign up today! 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The Bug family are available in the Pro-Light G 1 and Ultra-Light Collections ina variety of sizes Rod Former information vstrwwwhatbages Mas BGO () Kata™ il sosoFeatures 30 The Sky Is Falling An oral history of September 11, 2001, by the photograp VIE JOEL JOHN: OER 48 The Fine Art of Anarchy For a decade, Morrison Hotel Gallery has connected fans to fine art photos of rock's renegade royalty. 6” MICHELLEDUNN MARS! 58 Selling It on the Street Street-fashion photography and the Internet, have thrown the world of haute couture on its ear, Here's why. | 62 Coal Comfort Legendary street photographer Danny Lyon's quest to document Shans, China and the On the Cover ‘Yoni Brook's portrait of a lone firefighter, silhouetted against the rubble of the World ‘Trade Center. See page 30 for the full story. 1s who documented it. MATT BUCHANAN AND SCOTT Contents SEPTEMBER/OCTOBER 2011 11 AMERICANPHOTOMAG.COM 8Contents TEMBER/OCTOBER 2014 Departments Focus ‘The PEN Gets Mightier Soldiering On ‘Olympus PEN E-P3, which ups Gina LeVay documents the strength, perseverance ‘the ante for packing DSLR-style Crossing Over ‘The Marshall Plan Trans ity cage rt potopurhr Ie Newb 2S Bee ta sre Se Maral 20 BOOKS. BY SCOTT ALEXANDER Magazine of Record Ssunning photojournalism from Tho Now York Times Magazin, plus notable work by Stove McC Dennis Hopper and David Drobin. nv sack cx 24 on THE WALL Master Classes ‘Three major exhibitions celebrate giants of 20th- contury photography: Rdward Woston, Helmut Newton and Alfred Stieglitz, ny sack cnacr 26 picrraL pomaiy Alone in a Crowd ‘Toxtors who wont viral, Snapsood lots you fool your photos, one goofy gdet. ny sack ceace Gear 69 EDITOR's CHOICE The Triumph of the Adorable ‘The miniature marvel that is the Pentax Q, the smallest interchangeable-lens compact ever made, 70 New srurr The Goods Snazzy new gear, from compacts to rucksack, wide-angle lenses to film-simulating sofware. 4 AMERICANPHOTOMAG.COM SEPTEMH OBER 20Get in close or step on back, now you call the shots. ‘The new Tokina 16-28mm lens is the fst in ‘anew generation of full frame (FX) lenses designed for the professional Nikon and Canon lial SLR cameras This lens hasan ulrawide starting point of 16mm and fast £/28 making it ‘at for photojournalism or event photography ‘hile a zoom range out to 28mm giving the professional photographer a number of cropping 4 composing options, Tokina 1 FX REPRO DET arom 135 are 2en 8 THK PHOTO PRODUCTS, INC. Tokina HOYA % SLIK NEW Sllent DC Motor with GMR Sensor The'6 lens us that allows the en than previous a ‘Aspherical & Super-ow Dispersion glass elements les the: this atop rated lens by magazines worldwide, A new large sie (S6nm) aspherical las element s incorporatedint te font «roup, and two adetional asphesc elements in the rear group, Aso, tee SD super-iow dlspersion glass e rated throughout the optical maximum resolution, even brightness and ds ortection. f you ae considering lens, maybe It's ime to look at Tokina ind rive Huntington Beach, Ti or VISIT WWW.THKPHOTO.COMie .\ " i é Ree Teer : en SS ec SCC oat eo a aD AT au or art ees VC ae Moa ra en y; EXCEED YOUR VISIONEDITOR'S NOTE I was on the subway... _swhen the towers fell. Approximately five minutes before the horrific events of 9/11 moved across lower Manhattan, my train traveled under it, I ad only lived in tho city eight yours when it happoned, but from that day forwand, when people asked whore I was from, my answer was "New York” To my mind, the attack on the World Trade Center in 2001 is the most significant event for American photography since the civil rights movement. Thore was nover really a question sto what the dominant feature ofthis issue would be. As we put the 9/11 feature together, we wore unable to avoid the intense emotional impact of the images ‘captured that day. Early on, I selected for this column the picture you see above, by the ineredible Bob Gruen. It’s from our story about the 10th anniversary of the ‘Morrison Hotel Gallery. Founded in New York in the fall of 2004, within weeks of the attacks, the Morrison is not only an excellent gallery in its own right, but its success has boon a stick in the eye te anyone who counted this ety out. I flt this photo pootically connected our themes, It was New Yorke (Coney Island, Debbio Harry) it was rebirth (tho Morrison), and it was the anxioty-inducing journey (ho, ahom, roller-coaster) that we've all boen on ever since a small band of misguided zealots tried and failed to break this thing we call America. And out, All set. Cut it and print it, Until, just before we put this issue vo bed, I met ‘a photographer named John Botte, Besides being a man of astonishing integrity and courage, John told me a story that connects the themes of this issue—9/1L and rook and roll photagraphy-—better than any fool magazine editar could ever hope to. His story (and ono of his incredible photos) is our Parting Shot for this issue. You'll find it on the back page. 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PA gel Alm euaC le meet Wi Portrait Professional 10Contributors 4 JOEL JOHNSON A veteran writer who's reported for Wired, Boing Boing and Gizmodo, Johnson often te whelmed when conducting interviews Is Falling,” (page 30). “Tvo done some crazy things lize what in search of storias," ho says, “but nothi these guys went through that day. To face up to the horror of that and still get the job done is incredible. It’s an honor to report their stories” 2 SCOTT SCHUMAN ‘The changes in the fashion world wrought by the rise of street-lashion photography on the web (Selling It on the Street,” page 58) isa topic close to Schuman's heart, He founded theeartorialst.com to showeaso fashion as practiced by pooplo in their evoryday lives. “The photos I take address the dis- connect between the fashion world and the wonder ful things T see people wearing in real life” he says 3 MATT BUCHANAN Gizmodocom’s deputy editor was also deeply affected by hie eubjeets when conducting his interviews for “Tho Sky Is Falling” “The power of tho words unbelievable and unimaginable have been diminished through casual overuse,” he says, “but there's really no other way to dasoribe the stories of these amaz~ ‘ng journalists who did't just risk life andl limb, but {in some cases lost them.” 4 MICHELLE DUNN MARSH © or editor of over 30 art photo books, ino Art of Anarchy” page 48) knows Asa desi Marsh ¢* hor way around a gallery. “I tako every opportunity ‘to connect significant photographors with a wider g the Morrison and wonder- audianee” sha says, “ea inte founders was inspirational, fully creative ways to showe: 5 DANNY LYON In the 1960s this logondary stroot photographor eat photography.” (oon hove with Lolly, his translator{guidecompanion) documented both an outlaw biker yang and the birth pangs of the civil rights movernont. In recent years hos fooused on China ("Coal Comfort" page 62), “There are no streets loft in Ameriea,” he says. “Tim a street photographer: I had to go somewhere: “{DIDN'T GO INTO ROGK AS A CAREER DESCRIPTION. | WENT INTO IT BEGAUSE | GOT HIRED TO TAKE PICTURES OF A BAND.” Bob Gruen bobgruen.com 40 AMERICANPHOTOMAG.COM SEPTEMBER/OC ‘Three divergent takes on rock and rell photoyraphy from three ofits most legendary practitioners "The Fine Art of Anarchs.” page 48). “WE WERE DOGUMENTING OUR HISTORY WITHOUT REALLY KNOWING IT, JUST DOING OUR JOB. BUT FOR ME IT'S NEVER BEEN JUST A JOB; IT°S BEEN MY LIFE.” dim Marshall (4936-2010) mmarshallphotography.com “IFYOU START THINKING YOU'RE THE FIFTH MEMBER OF LED ZEPPELIN, YOU'VE GOT A BIG, FAT PROBLEM, AND IF YOU DON'T KNOW WHAT THAT PROBLEM 1S YOU SHOULD GET OUT OF THE GODDAMN BUSINESS.” a Neal Preston presmore performance ees to get the shot and with the SandDisk’ line of Extreme cards you'll get that shot every time. 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Her Redux Pictures sugested photographer ‘ongoing series Women of the Amarican Widow Projo Gina LeVay go to Texas to photograph hove: Nicki Bunting puts (womenofawpcom) explores the extraordinary sae- ‘Taryn Davis, whose husband had been killed in the youngest of her wo —_riflees and quotidian realities of these women using Isag, Davis is also the founder of the American sons down for ansp. He photographs and multimedia portraits. As Davis Widow Project, an organization that aims to con- was born after his father, spread word of the project among the community, rect and support the estimated 000 American ‘sian “Bubba” Bunt dozons of widows reached out to LeViy. 3 ‘widows of the US. wars in Afghanistan and lrg. was lle in Afghanistan, “Every woman I've worked with so far is very dif= © ‘During the shoot, the two of them clicked—s0 On the wall is 0 “Fla ferent, in background, schooling, where she's from, ‘much so that her family situation and why her husband went into = Vay was inspired to start an in- addy” poster of Bunting SEPTEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 48,the military." LeVay says. As one of her subjects, = 39-year-old contract manager Mimi Forvitti, puts “Its not just one kind of person that it happons to! Indeed, given the increased number of women do- ployed, LeVay has begun to incluéle widowers in the project, as well as photographing women who served |B ~ ‘along with their husbands, *Ono of the first widows I worked with fled her husbanal’s [fatality] repos LoVay says. Her job was to fle casualties at the end fof the day. Sho came aeross the number and said, “Wait a socond, that's my husband's number” At the other end of the spactrum are widows ‘who had little experience with the military world z bbooause their husbands were reservists or had only Gina Le Vay mn aspiring singer” LeVay iMevy.con says. “Another worked in marketing, A lot of the get ar i recently enlisted. “One ‘women have serious earoers and are very stron, New York independent women I can relate to wards Snir Rroces Fn LeVay strives to capture the texture of these 2006; Discover ‘widows lives and the ways they of their deseased epouses, and she atudiously avoids imposing a narrative. Using a Canon HOS 5D Maxie Tl she takes photographs and records video inver- feel the prosence finals, Phot views, which she combines into multimedia poreraits gooye ‘ in collaboration with video editor Michael Kasino. LeVay also steers away from familiar tropes Teaching Positions # ‘such as visit to Arlington National Cemetery or or tograph family portraits that include framed photos of the ion doceasod, Instaad she asks her subjects to share the places that are meaningful to their memories of - ‘their spouses. She's driven for hours with them to photograph thom whero they wore married or first ‘met their husbands. Ocher times the location fs a8 Tu % close as the basement, where she'll photograph a SPN, Ge " ‘widow in her husbancls favorite chair. LeVay’s re- Inthe Bag Canon r Tucranee to forve the moment doesn't always make 9 easy for her as a photographer, but stil ect, Her aim, chats given to me." LeVay's focus on unique details or un 0 things che widows hav "There are casualties of war, but it’s almost like we're a casualty of another kind,” Ferrieti says. “I think that if [d had something like this when I first became a widow; I wouldn't have felt ‘0 lost and alone that first your, Maybe knowing, and being able to seo and hear about others who have walked down this road would have been yood for mo. I'm four years into my widowhood and I'm still learning how to do it.” AP TEMBER OC AMERICANPHOTOMAG.COM 45Crossing Over Moni onica Lozano's enigmatie and haunting photographs ride the line between tradi tional art photography and reportage. But for this native of FE Paso, Texas, who spew up just gross the borer in Juavez City; Mexioo, blurred boundaries are just part of everyday life. “Having boon raised in a border town really ave me a unique perspective it exposed me to a wide range of experienees from eaxy on" nates the St-year-old photographer, who recently completed 1 Photo Global residency at New York City's School ual Arte (SVA). “There aze huge contrasts in the popul ineredib bout no real soparations. There's an visual mix: the vivid aolors of Mexioan aul ture, and then in the U.S. everything becomes net tral like the colors of the desert. Many people come 46 AMERICANPHOTOMAGCOM F a Lozano’s elegant, politically charged portr its conjure parables of a post-NAFTA world 1» Juarez to ty vo enoas over, and those who don't make it stay there and make a fe there, You're exposed to extreme things thet just seem normal: Juarez is Lozano made her first picture, a Polaroid, at age 9, She studied graphic design and visual arts in Montes , Most in her eareor worked as a graphic artist for a television station in Minneapolis. “It only took a and early ow months before I knew my calling was behind camera," she recalls, Avou Madrid to stu 1B she moved to fashion and commercial photog: raphy, “I was still trying to which avenue to pursue,” she sayy, d myself and decide ‘Thon her path found her. Encouraged by one of her instru -ars to apply for the prestigious Inter national Talent Support (ITS) photo competition,Ue | Se Se er) Ca ny ed Oe Fujifilm has engineered a lens and imaging sensor combination designed to deliver unsurpassed image quality. The FinePix X100 provides smooth tonal rendering, an exceptionally high SIN ratio and outstanding image clarity. With advanced imaging technology encased in a sleek, retro-styled design, the FinePix X100 reinvents photographic inspiration while redefining what a camera can be. >| | a) The Professional’s Choice Chea ae aE addFocus one To watcu Lozano thought of using her native Juarez as a subject. Coincidentally, her mother had recently sent hor a newspaper clipping about a man who hhad attempted to cross the border hidden in a car seat. It was a common story for the region—one of the prime crossing points for illegal immigration into the U.S.—but the haunting newspaper imate of the disassembled oar seat with a man embed: od in the stuffing struck a nerve with Lozano, sand her Borders sevies was born, Compiling her resoarch ovor sevoral months from newspaper items, online stories and even Facebook posts, Lozano beyan contacting her sub jects and persuading them to share their stories: a ‘nan who had hidden inside a mattress, a gis] who'd floated down a river in a car tire. Carefully nestag ‘ng each incident as a spare tableau, Lozano used her Hasselblad H8D with a P25+ digital back to chronicle small details, resulting in bold but elegant ‘mages with a surreal edge. “I wanted to decontex- tualize tho storias from what we've used to seeing, tho usual six o'locke nows replete with sensational ism, drama, fear and violence” she says. “T wanted to dignify my subjects, voice their stories, but in a different way that cut through the fean” The re sulting suite of images took the top ITS photo prize ‘in 2009, garnering Lozano international exposure land exhibitions, including ono—in kooping with the thomo of crossing bordors—at the Munich Airport ‘Now based in New York, Lozano continues to refine her craft, pursuing fino art projects as woll 1s commercial avenues and developing hor al- ‘ready leon instincts, But even from a distance, her hhometoun remains a constant source of inspira- tion. It provided sourve materials for her newest series, Juarez (see photo on preceding page), which ‘was met with acclaim at an SVA/New York Photo Fostival exhibition in 2011, Once a bustling border town, Juarez bas changed drastically over the past Gocade. Its now marked by violence, including the 4 make.believe GIVE US ONE DAY TNS YOU A BETTER Les Lda Leh ay ~~ ge Cad aM cores) 7 ’ eg Beginner VIDEO Workshop rela mg LOR loi cire ol Beyond Beginner PHOTO Workshop Rol coo ELA) Saturday: $89.00 Elie ERAN) digitaldaysphoto.com ddinfobonniercorp.com * 888-243-6464 iFocus Alone in a Crowd A photoseries on cellphone texters strikes a chord online fam captivated by how people interpose technology betwoon themselves and the rest of the world," says Joseph O. Holmes, ‘a New York City-based photographer, of his photo series foaturing dozens of folks texting in public fot a single one of the texters notived me at all” he says, “They were completely precooupied. ‘The set instantly wont viral among the photo ‘community aftor Holmes posted it on Flickr. Afvor setting picked up by several photo blogs, it wert around e-mail, Facebook and Twitter like a series of embarrassing family photos. Ina way, that's ‘what it is: tchnophiles recognize themselves in these shots, Immersed in a techno-bubble connect ing to those far away, its easy to love touch with the reality of what's right in front of ws, “Hoolmes had no idea the sot would be so popular just intended to shine a ight on how the street dhas changted these days” he says. “T captured a fw people texting and the shots had an intensity ‘that intrigued mo. I figured an entire sorios might distill and exaggerate that intensity” The 5Y-year~ ld is not much of a vexter “T've got an old-school phono with a numorie keypad, so texting isa chore. But if you spotted me playing Angry Birds on my ‘Pod Touch, you might sab an interesting photo” ‘See more of Holmes's work at strectnine.com, 26 AMERICANPHOTOMAG.COM SEPTEMBER/OC iOverkill putting a relatively sophisticated device Ei] 2c ‘changed photography forever So it's time to bring the iPhone into the world of high-end photography, right? Not so fast. The folks at Photojojacom vell an iPhone SLR Mount that lets yyou connect a Nikon or Canon lens to an iPhone 4. Why? “This is for people who don't want to ea around the body of their DSLRs—you only need to ‘carry your lens s0 it's more portable,” say's Kiran ‘Umapathy, the sitels PR rep, IEyot think your phone's teeny sensor ean make real use of serious sass, gp ahead and drop $250 on this gadget. ‘Well be using, yknow, cameras. 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When Tamron launched MyPhotoExhibits March 2011, they kicked ito D utira-zoam will et CSplure til any sujet n Exhibit Phot and witdife repertoire Tarn MyPhotoExtbits [PE aunque onine visual venue 1 traditional static imtertace, and simply upload your favorite a can choose from a variety of gellery “My prize Tamron {wall and floor textures, ight Seas oa a pastes AgzTommmMCPZD ple is tan an rere acl peed and high clor accuracy tis ight, compact zoom will let me travel esiteaty too ly and pre thie that my pre Tamron 18-270mm app, Facebook ar ather sacial media, ar just oper itt the publi we way to share your creativity,PHOTO To create your own 3D exhibit, visit www.MyPhotoExhibits.comWe Wa eect BEE er le ME SDR Pe eae MATT BUCHANAN AND SCOTT ALEXANDERThe Sky Is Falling ae Av RICANPHOTOMAG.COM SEP’ On Soptomber 11, 2001, terrorist attasea in Now York ity; Washington, D.C, and rural Pennine rocked the national consciousness. In New York, as most fled the destruction, police fremn andl emengenes workers ‘pushed headlong ino its maw. A brave few followed in their wake, carrying cameras to document history. ‘Suzanne Plunkett: I was covoring Fushion Wook: for the AP, Thad shot the Mare Jacobs show the night before and was scheduled to cover Donna Karan maternity wear that morning, I awoke to my pager beeping “91.” That meant call the photo desk immediatoly, but I couldn't got through. I turned on. ‘the television and the first plane had hit. I seram- Died to get downtown without talking to the office, ‘Todd Maisel: I was working for the Daily News. 1 ‘was supposed to shoot Governor Pataki at a hospi- tal but the radio was saying a plane had hit one of the towers. Then an ESU eame racing by me, s0 1 sot in behind it and followed it down. John Botte: I was a devective second grade with the NYPD assigned to Police Commisioner Kerik's per sonal detail. What I did thar morning is classified ‘Spencer Platt: I had been at Getty six months. I ‘was at home in Brooklyn, WNYC was reporting that ‘plane had gone into the towers, My girlfriend (now ‘wile) said, “Get your ass out of bed and chock it out.” ‘Yoni Brook: I was starting my school year at NYU. Going to class I passed some dudes listening to the radio saying that a plane hit a building downtown. 1 ‘was lke, “whatever” and kept walking, ‘Stove MeCurzy: I'd gotion back from a month in ‘Tibet the previous evening, Someone called to tell ‘me the Trude Center was on fire. I grabbed my ‘camera bag and went up to the root. ‘Thomas Dallal: I covered Gaza and the first Pal- cetinian Intifada. But Id decided | was no longer @ fearless, twentysomething, run-toward-the-sunfire type of reporter. I didn't want to do the bang-bang stuff anymore. I was sitting at my desk checking my ‘e-mail when I felt the concussion. The first thing ‘that I flashod to was sotting rocked out of bod at 6 ‘em. in Gaza in tho mid-'90s by a suicide bomber. ‘My phone rings and it's Sue Brisk from my agency, SIPA. “Tom, a plane flew into the Trade Center. We {don’t have anybody down there. Can you go?” Allan Tannenbaum: | live six blocks north of the ‘towers. My wifo and Iwere in our bedroom and we hhoard the roar of a jet, as loud as if you wore stand- {ng on the tarmae of an airport. We looked out the ‘window and we saw the explosion on the World ‘Trade Center north tower.Gulnara Samoilovat I vs at home sleeping. Iwas ‘woken up by the fit plane crashing, Carmen Taylor: I worked in a photoxraphy store in Arkansas. I was in New York on vacation. That morning I took the ferry to the Statue of Liberty. ‘Tho first plane hit on the other sido from us, So we didn’t see much at frst just a litte bit of flame in the tower. The people around me thought ruaybe an office copy machine had blown up. ‘Mario Tama: Ie wanted to move to Now York for years. I would come up to Getty every six months ‘and show my book and bug them. Finally someone fall for it. T starved on July 2, 2001. The morning of September ff, Jim Lowney, one of our editors, called me: “A plane hit the World Trade Center” Tm thinking is a Cossna, I'm getting ready to so own there, when Mish Whalen, another editor, calls. She'd seon the plane gp into the building and she’ frantic. I'm still thinking Cessna. Then Jim calls again. This is a hard-nosed, seen-it-all avy, ‘and he's freaked: “It was a 767. Get down here.” David Handsebub I was workking for the Daily ‘Nowa, [was on the Wost Side Highway when my police and fire radio started yelling about a plane hitting the World Trade Center. [looked up and ‘could seo the smoke. A fire department company ‘came down behind me, southbound in the north- ‘bound lane. I drove over the center divider and followed them down, [dl been covering the fire ser vice for more than 20 years in New York City, 80 Uknew some of the guys in the truck. They were waving out the back door to me, They had no idea. they were going to their own funeral, ‘Spencer Platt: My editor was trying to call me, ‘but there was so much cellphone traffie that the lines were getting crossed. T could hear other people talking, I couldn't hear him, but I could hear someone else on my phone saying, “The tower's burning” then it went dead. And I ran, I forgot one camera body, ran out with [ust my one. Taidn't even havo my wallot. Ivan to the base of the Brooklyn Bridge and looked up and—my God— I didn't expoct all that smoke coming out. Carmen Taylor: I cook: a fow pictures when the fret tower started smoking, I saw a litle speck of an airplane and fqured it was a TV or police plane taking pietures. I didn't think about what size it was. I thought, “Is going to circle, then itll come right in front of the south tower: I'l ‘et up this shot so I yet the plane right in front” Toe just trying to wateh it out of the corner of ry eye as it got into position for me to elick with, my little Sony Mavica, because on those cameras you got one try. (a) MISH WHALEN GALLS, FRANTIC. SHE’D SEEN THE PLANE GO INTO THE BUILDING. I'M STILL THINKING IT’S A GESSNA, THEN JIM LOWNEY GALLS AGAIN. THIS 1S A HARD-NOSED, SEEN- T-ALL GUY AND HE'S FREAKED: “IT WAS A 767. GET DOWN HERE. Clockwise from bottom left: suract over lowee Manket~ sander contruction. A pan former skyline, (@) Carmen Taylor’ woll-timed “one ty SEPTEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 88The Sky Is Falling Spencer Platt: All these cars had stopped. The taxi drivers and their passengers were all out, everyone staring. across the river. I put my camera up to tako some more framos and then it just hit. got the whole fireball (b). I probably got 10 frames of it, but it felt like it went on for minutes. ‘Then I started running over the Brooklyn Bridge. ‘Mario Tama: When I yot to the corner of Chrys- tie and Delancey, I could finally see it, There was just this massive jagged hole in the north tower, [I never forget that moment. I thought, this is war. ‘Todd Maisel: When I passed Canal Street, I saw the second plane hit. The whole complexion of the job changed. We were under attack. It was seary. ‘Throughout tho day when I would hoa things sbovo us, 1 think we wore going to got hit again. ‘Thomas Dallal: All che people are coming the thor way; but I'm going downtown, There's ‘another Image bang, The second plane had gone in, bout I couldn't see it. As I kept moving, this guy s0es that I have a bunch of eameras around me, He grabs me by the shoulders, starts shaking me and says, “It’s a terrorist attack! Go! Go!” David Handsohub: It was « horrible fire burning 60, 70 floors up, but I was certain the frefightans ‘would put it out and everything would be OK. ‘was standing in front of the south tower when it sot hit by the second plane and realized that what hhad happened was intentional. Allen Tannenbaum: As I moved toward the south ‘ower, ths hugo fireball came out of the north side of it. thought, "This might be my last picture.” ‘You have to overcome your sense of disheliof that this is happening right hore in front of you in Now York City. And you havo to keep yourself safo. And {n all chis chaos you have to remember all your ‘camora techniques. Iwas just trying to shoot what 1 saw, one thing after another. Gulnara Samoilova: When the second plane ccrashod, I hoard it at the samo time I saw it on TV. grabbed my film end my camera and I went. ‘Mario Tama: I saw my first real victim at the plaza at the east edie of Ground Zero, He had blood ‘84 AMBRICANPHOTOMAG.COM SEPTEMBER OC coming out of both of his ears and glass in his hair, ‘That was when T connected with what happened. Before that it was just a big building in flames. Sponeer Platt: When I got nearer the towers 1 ‘bumped into Mario Tama, another Getty. Mario and I were trying to get into the towers. We never Imagined these things could collapse. Mario Tama: Sponcor and I talked for a minuto, then I left with another photographer who said he knew a way around where the cops had barricaded 80 we could get up close to the towers Allen Tannenbaum: You abvays want to get closer, ‘The FBI was keeping people away from the plaza, Tr-was vory dangerous, things wore falling, poople ‘wore falling. T photographed « lot of injured people, ‘burned people, and people trying to get out. Then a cop said, “You should move back. t's dangerous” ‘Thomas Dallal: Tho cops were all trying to turn ‘me around, I just kept moving south. As I st closer i's bit more freaky. Smoke and the sound of break= Ing glass and paper in the alr: Two blocks north of ‘Trade Center plaza I came across what looked like 1 pioce of landing year or an engine—I don't know what it was—this smoldering heap of metal. 'vo lsgrned to trust my instincts, and thay ware saying, ‘This ia way, way off. You shouldnt be here. This much more aggressive cop tried to push me away and T thought: Het right. I started heading across town. ‘Mario Tama: I don't even know what we thought ‘we wore going, to do if we got inside. But the photo- journalist's mantra is “You're not close enough.” ‘There were cops around all over, but as you ot close in to the site they bocame really intense, got ting poople back and keeping people away. They saved a lot of photographers livs that day. David Handsehuh: Thore’s a ton of debris coming down, so Tm constantly looking up. You're trying to keep an eye to the sky on what was coming down, plus your eye ever your shoulder and in front of you, tzyin to look for the best picture, Gulnara Samoilova: [ssw a lot of people jumping, ‘but T couldn't take pictures of that. I just couldn’ lift my camera, Hxactly a year before that I was ontop of the World Tradle Center for the fist time. T remember looking down, how seary it was. I pic tured people looking down, like I was looking down through their eyes, I couldn't believe that people hhad the strength to jump. ‘Todd Maisels There wore bodias hitting the ‘ground, but we didn’t realize it until Danny Suhe aa erngine 2 ge le by one The boty exaded | Sosa sMLiae Tes bon oreeguneonee i dope almoet my one cree {noma ! shoot everthing But nes Ts thas es Huge: When lasted up above where tho just started crying, pplane hit the North Tewor there were all those ‘people hanging out of the windows and all these ‘other poople falling out. ¢ was really horrifying ‘and upsetting to soa, I snapped the doubler on land started shooting pictures. With the doubler 1 effectively had a 400mm on, but I'm shooting 400 speed color film, I didn't have anything slower But as a news photographer I just shot it and she i and shot it. When the Times published one of (6) a woman got in touch because she thought she eould see her sons in the middle, Dont Paling Man } ‘86 AMERICANPHOTOMAG.COM SEPTEMBER/OCTOBER 2011The Sky Is Falling “FOR THE SECOND TIME THAT DAY, | THOUGHT THAT THIS MIGHT BE MY LAST PICTURE.” ‘Two guys standing on adjacent windows looking at ‘each other. At the resolution I got with a 400mm couldn't imagine anyone surviving that. ‘on 400-speed film, she couldn't quite make it out. From photos Jeff Christenson took from a diffor- ‘Te Maisel: All ofa sudddon, boom—tho eky ‘ent angle, she was able to identify them, though. opens up black; all you see is something very evil ‘They were her sons. Run, you say, you're way too close, I ran to 90 West Street and dove into the lobby. The building hic ‘Steve MeCurry: I figured I'd shoot from my roof the ground as I was in midair. The flash snapped for 20 minutos, then go down to the base. And __off my camera, concrete and steel rained down then they just fell (4). was in a stato of disbelief, all over the place, and the whole room filed with Ie didn't seem possible. Bvon though Thad seen dust. You couldn't soe. It was completely black, ‘them implode, it was not in the realm of possiblity for the towers to be gone. Suzanne Plunkett: I got out of the Fulton Street subway about five minutes before the first tower Gulnara Samoilova: When the first tower eol- carne down. When it went, I just freze and started lapsed [lifted my camera and snapped one photo, takeing pietures (£9, Then I ran, I thought, How saw the building coming down through my arn I going to outrun a 100-plus story bulding? 1 viewfinder (@). Somebody sereamed, “Run!” As 1 ended up in an office lobby full of panicked and tana Samallova eaptarea id, Hooked back and saw this huge cloud of dust. crying people. One Wall Streot type was clutching Now Yorlecrs sonsting to When it hit us, I thought Thad died. Teouldn't his dry-cleaning and shouting, “We are all going to he fires in the World Trade hear anything, see anything, or broathe. dio; thero is poisonous gas out there.” Contes towers. ‘Todd Maisel: I took: a couple of pictures of the cross of a Greek chureh with the Trade Center in the background and put my eamera down. When I looked up, the building was coming toward me. ‘Thomas Dallal: I'm gotting really rattlod and Thhear these vromen behind me wailing Ttarn ‘around and there are these two African-American, ‘women 10 feet behind me, sobbing and hugting ‘each other like it's the end of the world. I shoot ‘a couple of frames of them, then I feel the earth tremble, So I spin around and look up, The south, ‘ower is falling into the hovel Speneer Platt: I took one or two frames of the south tower coming down and then I was running ‘with everyone else. It was like a tsunami of debris ‘coming at us. I thought that was it, Lights out. ‘Mario Tama: The top third just went, then the ‘tower started to pancake, At that moment, you go from being an observer to just another New Yorker running for his life. [ll never forget the sound: a ‘staccato shythm, like when someone pulls down tho grate on a storefront. Fvaryone just startod to run in terror. One of my eameras got knocked off of me. Everyone's just sprinting down Greenwich Stroot and the thing is coming down. ‘SEPTEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 8?The Sky Is Falling “AFTER A MINUTE OR TWO YOU COULD START TO HEAR VOICES AND SHUFFLING FEET. IT WAS LIKE GHOSTS WERE WALKING PAST.” SEPTEMBERVOCTOBER 2011 AMERICANPHOTOMAG.COM 98David Handschuh: For more than 203 adaily basis I documented firefighters resouing people, That day they rescued me, Iwas in front of the south tower and got trapped under the oollaps ing building, My leg was shattered and my mouth ‘was filled wi h pondered conerete. Engine C 247 pulled me out, then went to take care of ‘Todd Maisel: dust. [pulled out a bottle of water and cleared my The street wns dark and fall of ‘throat, put a bandana around my face and Twas ready to 40 a were out of focus, because there was nothing to {focus on, It was just pure blackness, I heard some: body sereaming for ns The first few pictures I took but I didn't know where Theaded into the debris feld and found firefighter Kevin Shea. He had a off and screamed for help. A coup ambulanoa cama, ae well as Richie Nogan from Ladder 113 and a police offices I found a backboard in an overturned ambulaneo andl we put him on it. Ke sent him outside to take pietures He broke his n because he went out to take a picture roken neck, I brushed him lost his entire compang. His eaptain had ‘of the building, snd lost a thumb, but he lived David Handschuh: My coworker Todd Mi ‘me getting carried by a couple of firemen. T gave as and disks. I wasn’: going to the ol sax hhim my can 42, AMERICANPHOTOMAG.COM SEPTEMBER office that day. I Twagn't able to soo what ‘Todd Maisel his disks to keep shooting ‘onal. Ho just got unlucky, os good that Td lost my lasso. happened to my lox, David's gear, and we went (h). [needed His work was phenom: ‘ren the wrong way and wrt, Ie damned shame David Handsehuh: Weil just gotten into the deli ‘when the second tower ‘ame down, A cop, JimThe Sky Is Falling “FOR MORE THAN 20 YEARS, ON A DAILY BASIS | PHOTOGRAPHED FIREFIGHTERS RESCUING PEOPLE, THAT DAY THEY RESCUED ME.” peop thatsaw body parts all ovor tho place. The horror of that day must not be diminished John Botte: I took my first trip out onto the pile at about 5:0. I carried a Leica almost evory day of my ccarear and Commissioner Kerik knew my wars, Hs just said, “Do your thing with that camera” I had ‘a complex, elassifiod assignment, but whenever I could, T would look for that 60th of a seoond where I could compose a shot that would have an impact. Stove MeCurry: Wo shot until nine et night, thon I walled home, Speneer Platt: The frst day it was chaos, so you could get through to the sit. But by the second or 44 AMERICANPHOTOMAG.COM SEPTEMBER Above: () Two New York (City police officers weep thind day, they'd locked it down pretty well. And hen they brought in the National Guard. ‘Yoni Brook: Around midnight I wont back ‘through Chinatown, sneaking past checkpoints I made it into 2 World Financial Center, which overlooks Ground Zero, and spent the night there, Im the morning I shot sunrise coming up over ‘he pile through these shattered windows. It was Incredibly beautiful. I was alone in ths little room until 9 am. when this photographer came with a strange flash bracket and an assistant, I ras, like, ‘who ie this gay? It was Steve MeCursy. Steve MeCurry: I couldn't sleep that night. T ot up at 8:30 a.m. and walked back down thereKen Radigan recovers in was ured as a relief area By Marlo Tama. KERIK KNEW MY WORK. HE JUST SAID, “DO YOUR THING WITH THAT CAMERA” "Thone was serious security, but it was clear to me ‘hia neoded to be documented, I did whatever I hhad to do to yet back down there. I found a way to ‘sneak in by cutting through a fence. It allowed me to spend the morning of September 12 on the John Botte: I spent almost 1400 hours on thet pile Dbotwoon Soptomber 11 and December 81. In three ‘and a half months, Lonly shot 56 rolls of film, most of them in the firs 48 hours, when that smoke ‘was thick and heavy and 2,000-degree vapor was PTEMBER/OCTOBER 2011 AMERI pouring from the pile. The beams were so hot you couldn't stand in one place or the rubber on your boots would seart to mele Steve MeCurry: T eventually got removed by the police. Emotions were running very high. One fire ‘man threatened to beat my brains in with a shovel. understood his position completely. From their point of view we were tourists or spectators, when really we were there to record history, to create a ‘record of this evil deed. The record of photography is what allows ts to understand the world. This was something that absolutely had to be documented. Yoni Brook: After my all-nighter there, the next night Post photographers, my idols, started arviv- ing from D.C, I showed them where the check~ points were and how to get around them. I don't think I slept for three days. John Botte: I was throe poople at one time: public sorvant, photographic artist and human being, It's too much, If you want to help people and eapture compositions that will last (), you don't have ‘room for the human being part. A lot of my friends died. Poople I was talking to an hour before. But Thad a job to do, gathering classified information ‘that’s going, to be delivered as high as the president. you folt emotion, you bottor bo protty good at keeping it inside. You have to be a machine. ‘Todd Maisol: I havo pictures of the people I lost on 9/11 on my dashboard. Thoy give me strongth, Thay ride into battle with me every day. I went to war booauso of this. I had always been a street photos rapherfires, homicides, the inner eity. After that 1 vas an embed in Iraq with the First Marine Expe- ditionary Force, with a Seabees unit. As photojour= nalists we have a mission to koep history alive. If you don't learn from history, you repaat it. And God Iknows, I would never in my whole life want to ever Ihave to go chrough 9/41 again. Never. But iit did Jhappen—Ti be there. That's just my mission, AP CANPHOTOMAG.COM 45\ TLPUNTO eee)FINE ART OF ANARCHY Atoast to 10 years of turning it up to 11 at the Morrison Hotel Gallery BY MICHELLE DUNN MARSH PS eed So ete eee NEEL)THE FINE ART OF ANARCHY hon Henry Dilte first picked up a camera, in 1966, ho wasn't thinking ebout solling prints, let alono owning a photo gallery ‘na band, the Modern Folk Quartet, and we ‘were on toun” Diltz says. “We stopped for gas in the middle of nowhere, and the place had used eameras for sale. One of the guys in the band sai, ‘Hey, Pm ping to get acamera, and everyone else seemed to think that wns a good idea. We each got one, Only aftor the pievures wore developed id Diltz learn he'd been using slide film. Any Gisappointment faded, though, the first time he saw his photos projected. “Tt was magical,” ho says, “and an opportunity to gather with my friends and celebrate the moments in the pictures." Those friends included musicians like Joni Mitchell, Graham Nash and the Doors, and the photographs hhe made during the '60s and "70s ended up on the cavers of more than 200 albums. ‘Today his prints fill the walls of the Morrison Hotel Gallery, which celebrates its 10th anni- veruary this month, Diltz cofounded the Morrison ith entrepreneur Rich Horowitz and “blue sky guy” Peter Blachley, a record executive and producer, in 2001. Since then it has carved out a niche between the refined echeleon of fine art and he fast and loose world of musie memorabilia. ‘ho Morrison lots musie lovers connect with, unforgettable photographs of logondary musicians and, for the right price, live with them Blachley first mot Diltz in Los Angoles the lato 1970s when they wore both working in the musio industry. “I was vory inspired by Henry's work, having lived with and treasured his photographs on the covers of my favorite albums,” Blachley says. “I wanted to find a way to bring his images where they would be appreviated” ‘A mutual friend introduced Blachley and Dilte to Horowitz, a businessman and collector who ‘owned several record stores in San Diogo. In the carly 190s Horowitz staged temporary exhibitions to sell John Lennon lithographs, and with the support of the Lennon estate he developed a sales tour that continues to this day. He felt a similar approach could work for Diltz. Familiar with the joys and rigors of the road, Dilt2 was happy to resume that lifestyle with his photography. “Rich knew how to work the media and how to set up the show,” he Po ‘with poople easily. And I just showed my pictures and told my stories. It was like barnstorming ‘the county all over again.” They drew modia atvention and print buyers everywhere they went. ‘When Blachley moved from Los Angeles to New York in the fall of 2001, he looked into retail spaces where they could sustain the momentum around Dilte’s photography. “The rents [in SoHo} ‘wore oxpensive, but spaces ware empty,” ho said, offered an amount far below the asking price and said we'd move out as soon as they found a bbocame friends real tenant." Their strategy meant moving four 50 AMERICANPHOTOMAG.COM SEPTEMBE times in their first your, but it worked. Millions bad ‘een these photo slecves, and man ‘suo0es9 told Blashley and Horowite the demand ‘was there, but they needed to diversify their inventory. When they broached the subject with Diltz, he immediately suggested Jim Marshall. Marshall, a godfather of the rock photouraphy ‘scono, had attracted art world attention early in his caroor and alroady had gallery representation through Fuhey/Klein in Los Angolos as well as a published monograph years before the hotel tours Dogan. A friend of Diltz since the "80s, he asrood to hs in magazines or on album of them were drawn in. ThatTHE FINE ART OF ANARCHY 4 joint exhibition. With Diltz and Marshall onboard, the gallery's roster grew exponentially. Today it ‘works with mare than 70 photographors, including Bob Gruon, Ethan Russell, Lynn Goldsmith, Neal Preston, Mick Rock and mary more. ‘The Morrison did not pionoer rock photography as art. Galleries such as Fahey? Klein and Peter Fetterman in Los Angeles and Steven Kashor in New York: championed photographs by Marshall, Herman Leonard, Bob Gruen and others decades before the Morrison ‘opened. These places continue to promote these artists’ work to curators and facilitate sales to important private and institutional collections "The mainstream art world’s current comfort with rock photo work is, ‘of museum exhibitions over the past three years, from one-off shows at regional museums to national touring exhibitions such as Who Shot Rock and Roll, curated by photo historian Gail Bueldand for the Brooklyn Museum, and Taking im, curated by photographer and musician Graham Nash (also represented by the Morrison) for the Experience Musio Project in Seattle. ‘The Morrison benefits from the mainstream acceptance of rock photography and can foous simply on eveating emotional connections for the people who walk into ang of its three Now York locations, With a friendly, knowledgeable staff, musie playing on the stereo and, of course, incvodible images everywhere, visitors are immodiately transported. Bob Gruen, who has ‘worked with the Morrison sinoe its early days in SoHo, ageeos that what distinguishes the gallery is its owners’ knowledge of and passion for music, “The can give people the background,” he says "Other ugalleries can talk about the photography, but not necessarily about the music history “Our staff knows the stories behind i al, Blachley says, “And we're not about selling you Elvis's shoes, just the best fine art music photography from musie photoxraphers” The Morrison has fostered demand hy tapping into a rich supply of incredible photographs, not going for the hard sell: "We don tell people to buy Docauso it's a good investment,” Horowitz says. . go wrong if you buy what you like.” It doosn’t hurt, though, that many of the photographs sold through the Morrison increase im value, keeping paco with tho rest of tho photography markt. "Though Horowitz acknowledges that interest from younger auclienees occasionally brings requests for current bands, the toprselling photographs are distinguished by the authenticity ir imaggory, not just tho Popularity of the musicians foatured. Thoir most sought-after pictures continue to be from the 1960s and 70s, an era when trust and friendship ‘existed betwoen the photographer and the widened by the proliferation understand d ‘whole genre and 58 AMERICANPHOTOMAG.COM SEPTEMBERO*‘will always be outrageous arena-reck stars and coul-baring singor-songweitors, and thore will sways be attontiPromotion SONY. di | it a ® cigtaldays Kimberly Maggard Oceuption Foesonl photographer Werkshop: Orando, FL An auld pictuce-takng mom with a passion for photography, Kim Maggerd realized she needed a better camera when her kids got inta high school sparts, and she acquired a digtal SLR. When other parents saw her ‘work they implored her to take pictures of thee families, so she started a small business ‘that's lassomed ito a potesion, "im nowy 2 fulltime pro and loving it” she exults, “and the Digital Days experience has been the decisive factor in launching my career Right now I'm concentrating on seniors, ‘engagements and weddings—plus boudoir, ‘which lets me use mi talent to make women ‘ofall ages and sizes feel beautiful playful and sexy but with dignity and elegance.” “The Digital Days experience hhas been the decisive factor in launching my career.” “Ihad always used my camera in Auto mode” Maggard recall, “aut once | attended 2 Digtal Days workshop, Iwas able to take {ull contro, Friendly instructors explain complex concepts such as depth of field and portralt perspectives using simple examples, {and you learn an amazing arnount very ‘qucly The immediate hands-on experience ‘of sing what you just learned means you don't have time to forget! Shooting mod- ‘els in controlled lighting tuations and with constructive critiques help you take your im ages to the next level. was amazed at how much better my work was at the end ofthe ‘workshop, and that's what motivated me to ‘urn pro. definitly signing up forthe next Digital Days in my area There's no end to the learing process, and the passion and ca- maraderie make ta unique, fun experience.” RMON RONAN MUSE digitaldaysphoto.comTHE FINE ART OF ANARCHY r photography have changod, outside the sons ‘thomselves, nothing represonts music better than a well-made photo. And well take a gallery ‘quality print over a low-res YouTube lip any day. ‘Despite the notoriously fickle nature of the music and photography industries, for 10 vyoars the Morrison Hotel Gallery has been a athering place for music photographers, the reliquary of the joonie moments they eaptare and a destination for the audience enraptured ‘with both, We hope it will abide for many more decades to come. AP 56 AMERICANPHOTOMAG.COM From top: Madonna by Mick Rock, Hollis, Queens, shot hy Janottput uA SHOOT IDAY + BEAUTIFUL MODELS + BUILD YOUR PORTFOLIO Come join American Photo magazine for the ultimate model shoot. Learn from professional photographers as you fill your portfolio with beautiful photos. We provide models, sets and lighting so all you need is your camera and Corman AUGUST 20 CHICAGO AUGUST 27 WASHINGTON, D.C. OCTOBER1 BOSTON Riles 0) 8 by NEW YORK CITY NOVEMBERS SANFRANCISCO SON EO) O) DECEMBER10 LOSANGELES Poretety | enced GF American Photo Model shoot Come and try out the new line of Sigma lenses! All camera brands are welcome. Ly SIGN UP TODAY! ted Ta AmericanPhotoMag.com/ModelShoot CeStreet Fashion SELLING Street-fashion photography and the Internet have fundamentally flipped the world of haute couture. IT ON THE ‘was raised in Indiana, where I suffered STREET a [liked nothing better than immersing ‘myself in their fantastical worlds, Unfortunately, ‘when you're a 12-year-old in the middle of the you don’t understand just how fantastical they are. I naturally assumed that in the big city, people actually dressed the way those models di. ‘When I finaly grew up and moved to New York, I ‘was ready for a fashion overload that never came. Who wore all these normal people? And whore counts: ‘was the stuff T thought was eouture? Te was there, as it turns out; it just happened to live only in the heads and hearts of an elite few incredibly talented designers, photographers and editors. What just happened? BY SCOTT SCHUMAN Yark Timos since the 1970s. He was one of the few photographers in the 1960s and 1970s to document ‘the immense divide betwoon the strect (amid the sexual revolution and the equal-rights movement) and the upper echelons of fashion. Cunningham's sd people in the fashion community to pay attention. But like ‘many visionaries, he spent: most of his career as the exception rather than the rule. ‘Today, however, strect fashion is mainstream. ‘Thanks to the democratic universe of the Internet (and its infinite, inexpensive space) along with the ccagy availability of high-quality digital cameras, stroet-fashion sites abound. Estoomed and authoritative magazines like Vogue will always exist, insistent yet unaffected voice fo ‘They had been creating that entire dream world Opposite: Anna Dello but blogs and websites now offer another point of of fashion out of whole cloth. Russo, photographed in _view and an altogether different fashion landseape. ‘Not that I was discouraued. My love of that dream world continues unabated, But time has not boon kind to it. For the past fow yours, in fact, the rarefied world of fashion has been under siege by a strain of stylish realism that I find ‘equally faseinaxing, Streot-fashion photography tas combined fonees with the near-frietionless distribution medium of the Internet to turn the fashion world on its well-coiffed head, Strect-fashion photography didn't just sprout out of nowhare 10 yoars ago. In the early 1900s in France, Jacques Henri Lartigue shot well-dressed ‘upper-class Parisian women, Then there's the brilliant Bill Cunningham, who's shot for the New photographed in Milan, And they/ve changed the fashion world forever Consumers and style watchers oan now soe street fashion from all over the world quickly ‘and ously in a way thats both relatablo and ‘inspirational. Even ifa particular outfit is outside someone's buclget, they ean still take cues from its cnt, silhouette or combination of eolors—whatever they happen to respond to—just by virtue of seeing it worn by a real person. Likewise, designers ean soe their clothes worn in a zealistic context that ‘contracts sharply from their styled editorial spreads in magazines. They soo how actual people put their looks together, how they mix and match pieces in a ‘way that’s functional and, most important, real OCTOBER 2011 AMERICANPHOTOMAGCOM 88Street Fashion Another significant shift is the minting of ‘a now kind of style icon, Call it the triumph of the tastomakors. Today the world’s attention is loss on the models walking the runway than on the front-row fixtures watching them, Women, such as Anna Dello Russo, Giovanna Battaglia and Carine Roitfeld are fashion editors and stylists who have always been known within their respective worlds to have style. Today, howaver, they are as watched at the shows they attend as any celebrity there. These women are suddenly living, breathing extensions of their publications’ aosthotios, with street-fashion photo-bloggors perversely providing the outlet. For their part, fashion followers are at least as curious to se ‘what these mavens are wearing as they are to see the models. To be sure, though, there's a cercain self-conscfousness that goes with the territory. For better or for worse, these new fashion celebrities now often dress to be photographed. But while stroot-fashion photography is an ‘easy world to join (do you have a camera? Are you on a street?), it's @ tough one to stand out in, First, it's erowded: If 15 shots of Anna Dello Russo emerge from one show, usually 14 will be redundant. Amid all the competition repetition, the sites that stand out, that thrive ‘and that bring viowors back time and again, have two essential ingredionts: immense passion and a. unique point of view. But even if you havo a terrific eye for style ‘and a completely different perspective from most stroct photographers, you've still got to lenow how to take a good photo—and furthermore, hour to take a good street-fashion photo, And that’s not, the same as a yood regular-fashion photo. Street-fashion photography requires a skill set you can't learn in a class or a studio. In addition to finding subjects in the first place, you're dealing ‘with the elements, natural sunlight, howr people stand. Your somewhat unnatural tesk is to make things look sbsokutely natural Continued on page 78 1BY MICHAEL KAPLAN (n busy Omotesando Strectin Tokyo stands Lawson mar kat, the world’s most style-consclous convenience stor. situsted n the middle ofthe fashion-crazec Harajuku onder blue (ight up to her sunglass-frames and the bow rtan-patterned tz rockablly skirt selecting bottles of water and mingling with pigtailed Lolitas. From the photographers lrg thes son you'd think Omotesando isa giant ed carpet. In away, its Harajuku the white-not center of Tokyo street fashion, and dozens of shooters prowl its thoroughfares engaging hale) buying tissues, a man ina scouts Law (60 AMERICANPHOTOMAG.COM SEPTEMBER/OC Jnwhat they call “hunting ope to photograph for strest-fashlon websites suchas Jepanesestreets, FashionSnap end Japan-Fashion searching for interesting called TokyoFasivon, is Kira, who keeps his Ganon handy ‘and an eye out for suitable prey.“ ook for" he says, not bothering to goafter a couple of oth gris with plastic sholtons hangin trom ther oars Fashionable peopl here have thelr um way of belng stylish. Sometimes thay take something standard and wear It backwards or upside down. Continued on page 80 jess is whatPUOTOMAG. COM:On the JobOver the course of four atta gel sy isy re aeM Onin Urct cine hol eS lS dois ie eee on ay oe determined to photograph rom the be- sinning of my China work I had wanted to get into ‘coal mine, In addition to the large legal mines Im Shanxi, there wore hundreds of small ilegal cones, all bringing up the valuable black rock, anthracite, that powered much of China. These ‘mines could be as small sa hole in the ground and, because they were so dangerous, the govern ‘mont in Beijing: has boon trying to close them. The Yovornmant has admittod that almost 6,000 miners dled in aoeidents in 2008, ‘mast of them in illegal mines, many in Shana 1 had often driven to illegal mines, but they were always shut down, On an eatlier trip, 1 had drivon right into the huge Datong Mine and ‘walled into the buildings ‘unnanotnoed. It tooke SEPTEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 68On the Job ‘about five minutes for someone to notice me and ‘ask mo to leave. This timo wo pulled up beneath the Wu Guantiin Mine, which hed high, pink painted walls all around it. A dozen empty trucks ‘were lined up on the hill, waiting to get inside. T began by making pictures of the truck drivers— and, by doing so, slowly worked my way up the slope toward the entrance to the mine, Every’ thing was covered in coal; the roadbed itself was ‘made of small pioces of compacted coal. ‘At the very top of the slope was @ crumbling ‘concrete staircase heading up to the tier above us and beyond whore the lange buildings above the rine stood. I began to slowly ascend tho stairs swith Weitengs behind. At the top of the stains, « Below left: Fspotted this Thought they were pick working on the railroad, lls and no ‘was keeping tine by obstacle, step around it, keep moving. if someone engages you in conversation, either ignore him or carry on the convarsation as you walk, maintain ing your forward motion. I walleed rapidly into the hallway in which the miner stood and, turn ing right, I saw a group of men jammed up in the hallway about a hundred feet ahead of me. I walked direotly toward them, I passed a large caged area ‘with wooden shelving filed with cubbyholes, each fone either empty or containing a miner's light. As T ‘marched past the miners, one was leaning into the cage, giving his lamp to a woman inside who was ‘making a notation in a logbook. I kept moving past ‘them up the hall, toward the staircase ahead. "Tho stairs lod to ancther corridor, which led single person in a camouflage uniform was sloep- ing against a building, chitching a cellphone. He seemed benign enough, so I slowly turned around and looked straight at the mine. And there they ‘were, about 50 yards away, the men I had come for—right on schedule, helmets still on their heads, ‘coal dust all over thoir uniforms, marching in 8 ‘group of about 10, with a few stragglers. I knew ‘what I was looking at. It was 8 am. The night shift ‘was leaving the mine. ‘Sinoe I had tried this onee bofore end failed, I Jnow what lay ahead. With a single Leica on my arm, [told Weifengt to hide my M4. I stepped over ‘knee-high fonoe and walked across the lawn ‘and onto a path that led toward the miners, who had entered a building 50 yards away. It took just ‘a minute to reach the building and step inside. Down the corridor I could see a single miner in his hholmet and filthy army-green suit standing against the wall. I walked directly toward him. Te was im- portant to keep moving forward. No master what the circumstances, just keep moving; whatever the (@4 AMBRICANPHOTOMAG.COM SEPTEMBER /OCTOBER, Above right: T asked coal mine. They took me to 1 dlatllery instead. I went, bout refused too inside. The Ibroken-up pavement of the road was more interesting. +0 a door; I walked through it and into the lockar oom. A parely dressed miner stared at mo as I passed. Another one, across the room at his lock~ cr, looked up. Ahead was a lange room. I walked through it, Then, turning to the right, I could see before me, across a hallway, the showers and ‘tho baths~all filled with miners. Bright daglight: poured down from the windows and skylights. In my left hand was my M6, with its 35mm lens and an internal light meter. I wanted to use the ‘M4, which has a shorter lens, but that meant tak~ {ing a light reading with my Saleonie meter, which waa on my bolt. It also meant turning to Woif- feng to ask for it. That would take seven or eight seconds—an eternity for a photographer standing, in the showers of a Chinese coal mine. [lifted the (MBG, set the exposure to half a stop under, and ‘made the first picture, Just in case it was to be ‘my last. Thon I stoppod inside tho showor room. (One of the men in the locker room had started to ‘move toward Weifeng, and Tassumed that the two ‘wore talking not far behind me.Gleasiwa, ‘Ton foot into the room Twas standing diveetly over a large wading pool. It was filed with men, My foreground. In the background was a second, ‘smaller pool, also filled with men, A few men were standing along tho sido, taking showers, [was in ‘the perfect spat to make the picture I had come for, s0 I made it twice, or moro. The entire seene filled the frame, Tegan to walk around the side of the pool. By now the men were looking at’ me with amusement ‘90 I wavod at thom, causing one or two to wave ‘back and others to laugh. Now, facing the showers, Tmade another picture, but in the nanosseond I Ihad to study it, T thought it was not as good as the original pictures, which had taken in the entire Above: This “loaning” coal, pling the trains as they roll by. this picture. I was going whch is about 450 cars long. Iva ao long you can't hear the engine. While ‘as thinteing about doing i, the train startod moving. It ‘would have ext me in half Com From “The TAKS w. ae SHEN, ‘eom, So I turned to the smaller pool right below ‘me, where the men were now smiling and looking: directly up at me, Then, standing at the edge of the ‘pool, I had to make a docision. One part of me felt that I had eeoneded in entering the baths with my ‘camera, and that I might be in «friendly environ ‘ment, in which ease I should go back into the locker room and make portraits of the men undressing, perhaps find more men coming in with thelr lan= terns and dirty clothes and faoos and photograph thom. The other part of mo argued that eventu- ally somoone would uso a collphone to eall socurity to tell them thet a foreigner with a camera was inside the building. If we were confronted here in the shower we were trapped, and the chances were SEPTEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 65On the Job excellent that we would lose the pictures I had just made, and also any other exposed film that was inside the second camera or might be stuffed inside my pants pocket. The whole thing happoned quickly that Thad’ both~ ered to take the simple precaution of emptying my pockets of exposed film or starting with fresh rolls in both cameras, 1 waved to the miners again, turned, and walked out of the shower, Wei fong following me. First bback through the locker, then down the stairs, past the lantern room, down another flight of stairs, and then, at-the frst exit: we saw, out into the aglighe—this time, on the othor sido of the building, Wo stepped out onto a rasebush-lined walloway inside the minors’ village. Below us on the main strost wore women, each with their single child, and well-dressed miners walking with their wives and children, a regular Sunday seene. We stepped down into the etzoot and joined ehe families. I turned to Weifons, who was walking next to me. "We did it" T said. ar TEMBER/OCTOBER 2011 AMERICANPHOTOMAG.COM 67HoodLoupei 3.0 for giare free LCD viewing ‘Checking your histogram, composition and focus outdoors s easy wth oodman's HoodLoupe 3.0. Precise X German Gass Optic liver 23 dlopte adjustment. HoodLoupe 3.0 is encased In user fend rubber ‘and fits 3 inch oF smaler LCD sewens. Comfortable neck laryara and com eet storage cate included. PATENT US 7,386,229 82 end 7,034,877 = * Fetframes._ ‘a yourlenses HoodEYEtm Digital Camera Eyecup oodEYEs links ee to camera for improve viewfinder opis. Easy Hoodman Titanium PhotoFrames are gasses bul or photographers. Each ons moves ind= Frame relief for Photographers who wear glasses parade your carora eyepiece in secencs. Five models al Canon and Nkon Dig SLR cameras (excluding 05000). Patented sel locking mount system keeps HoodEEm securely placa wrap around Serumnen, Paros come wi car gue tmplesaled ae Your Optoma Perea reui.teees forts or easy fiting of your Rx lenses. Inspired Photography Tools.. —S ~ | peers eeeEDITOR'S CHOICE Gear WHAT PHOTOGRAPHERS NEED iil? GOODS 70 HANDS ON 7 TRIUMPH OF THE ADORABLE Pentax unveils the smallest, lightest interchangeable-lens compact yet inrorless interchangeable-lons compact (ILC) cameras offer the sensor quality and optical choices of a DSLR without the bulk. But since ILC lenses need to cover the lange APS or Miero Four Thirds formats, they ean only got so small. The innovative new Pentax @ solves this by adopting a 1/2.3-inch point-and-shoot Format sensor (about 1/12 and 1/8 the size of APS. and M43, rospoctively). The smaller sensor has allowed them to radically shrink the whole system, Ar 6.5 ounces, the tiny, featherweight Q is smaller (chough heavier and thicker) than an iPhone. Ita high-grade 13-ounce, 4mm equivalent £19 Standard Prime kit lens protrudes only 09 inch and is just 48 inches across. Both that lens and the optional 27.5-83mm. equivalent Standard Zoom feature a fast, quiet AF motor (plus manual focusing), aperture control, a loaf shutter for high-speed flash aync and a neutral density filter. Additional fixed-aperture ‘non-AF lenses inchide a fisheye and two afford- able “toy camera AAs for image quality, Pentax says that the cam= cera’s back-illuminated imager and new processor minimize noise, We'll be interested to see if they've achieved a jump in quality or if the Q's output will be more lilo that of premium compacts like the Canon G2 or Panasonie LXS. Tn form and function, this camera is a serious instrument, Winning features include ragged magnesium-alloy construction, mode and control dials, dedicated buttons and a four-position pro grammable Quick-Dial. Its high extension pop-up flash reduces red-oye, and a built-in hotshoo ac~ copts full-size strobes, onabling wireloss off-camera lighting. (As a bonus, big flashes make the Q look like & mouse carrying a watermelon; soe right. ‘Tho Q offers numerous DSLR-style assots edvancod expasure controls, RAW capture with post-processing, Full HD video, customization options and a 24-hour intorval timer. And there's more: It also sports a special background defocus mode, a bevy of expressive elfects and fluers and an add-on optical finder (to compensate for the lack of electronic viewfinder). The Pontax Q is relatively pricoy, but itis significantly smaller than other ILCs, ‘more versatile than high-end point-and-shoots—and, just plain cute. It's the first shirt-pocketable ILC; we ‘think it will find many takers. AP * style lenses. NOTEWORTHY SPECS DIMENSIONS 3.923012” 1535.02 wihattery LENGES Standard Prime Standard Zoom, fisheye, Toy wide-angle and Tay telephato IMAGE SENSOR 124 MP 125" ‘eke uminated CMOS SENSITMTY 190 126-5400 [CAPTURE JPEG (uo tops) lus 12-bit RAN (ONG) 43 52,168, i image formats FLASH Pop-up with vith leaf-shutter lenses, 00 fr ful-slze stro cD MONITORS", 460,000-sot, DEO 1080p Fl HD ato, 720p and VOR: AVC 264 MPA BUY IT $600 wt BR 2011 AMERICANPHOTOMAG.COM 69THE GOODS “== Things that make you go click fue mir sc0ies ‘MORE FLASH, LESS CASH Pec Sate Wires Fs ger This powerful yt atfordabl 1 gts smal Rashes RICOH SUAVE AR Mount A on. It aleo allows rit), $360 bd unGear Hanns on THE PEN GETS MIGHTIER Ourtest d he impressive PEN E-P3 from Olympus ia tho new star of the company’s line of mirrorless system cameras, which offer DSLR-calibor assets in a small package. Like its predecessors, the E-P3 evokes the spirit of classic 35mm half-frame Olympus camoras— in a stylish, compact body with a Mioro Four ‘Thirds sonsor and interchangeable lens mount, ‘Tho now PEN also delivers superfast perfor ‘mance, a superb touchscreen display and much ‘more that previous models lacked. On the outside, the updates from the E-P2 are subtle: it's still a rock-solid metal-elad machina ‘but gains a recessed hotshoe and traditional-style shooting mode dial. Bigger improvements start vwith its useful pop-up flash Cinherited from lower 172 AMERICANPHOTOMAG.C! IM SEPTEMBEROC ive of the revamped Olympus PEN E-P3 my JONATHAN RARKEY compatibe with ut Oymous: uth thorn pal 300R (above), Pus, ana ves aswel as ft hidden pop-up flash offers BER 2011 end PEN E-PL modols), which is entirely hidden under the top plate, When deployed, it can wire- lessly control three groups of off-camera strobes. "The B-P2 also gets an LED focus-assist lamp for ow-light shooting, a matte-finish front on black~ body cameras and removable grips that afford ampler hand-feel than previous versions. Liko the older B-P2, the new PEN has twin ‘command dials—a rarity in this class. Its exton~ sive button set—nine total plus a four-way con~ trollor—includes five that are programmable and now ones for video start/stop and live-view/play- back 200m. The real news on the outside is the E-P3's stunning now 614,000-dot, S-inch OLED screen, which we found to be much sharper than the E-P2's 230,000-dot unit. It has better“SONY ARTISANS OF IMAGER) ki. et — \ w CRISTINA MITTERMEIER Bominmontco cine item nas Ja marine biologls before making the momentous decsion in 1996 to become: G fultime environmental photojournalist. Founder and president of the Intemational League of Consenaton Photographers she studied the-a poral at Corcoran Coleg Cf At & Design in Washington, .., ane ner impressively varied portfolio has been widely acclaimed for lis incisive, competing and heart images documenting Indigenous Cultures ond thei crucial oe in preserving the planet. “Iwitnesied tsthond how unastainable procices ae devestcing toblediverty and urimately threaten huon sural” iterator 0poins. “That's why I decicated myself to creating Images that bring dignity fo indigenous cultures, he people who wil actually {get the job done in protecting ou precious ecosystems. ve visted over 89 countries, using the power of photojounasm 10 {Ae trastional people more say in shaping the decisons that determine the Viaoly of thelrancient, sustainable ways of if. My goat in documenting he Kayopo of the Brazilan Amazon Advertorial SSS \ fr the Gliga’ais of British Columbia Is not merely consciousness raising’ but esablsing ecclogicaly sound policies, ensuring that funds are drected and solutions are implemented. The art of ‘communicating effectively Is torgeting the decison makers.'s Jus os important os creating neping. cuthertic images. ond doing both & my abicing passion.” Mitermneier sc proud Sony Artisan, andher genres conserva: tion."Im the Green Asan” she quips “ond Irely on my Sony Alpha 500, 0 sensibly sed 24.6-magapine! DSLR that dative: stunning Image qualty ond huge hives les yet is ight, esponsive,robus. ‘ond amazingly infulve.The SteadyShot INSIDE image stabilization ‘works with any Ions andilatsme capture exquisitely sharp pictures honcheidin iow light. ity to dsqppear info the background ond ‘low Ife fo unfod in font of me, and ihe Alpha S00 ets me do this \while achieving briliant color and detal—even at ISO 3200. My fovorte lonses, the 24-7omm 1/2.8 and 16:35mm 1/2. Cori Zeiss \arioSonnor Tore smply beeathtexdng.and the fost, supershor> Sony Zoom AF 70-200men 1/28 APO complements them perfect Tesla tis succinctly the Sony Aipha 900 stem is the quintesseri tool for my mision* @| SEs SONY. somtyecom Tasteesaturation and very little flicker or noise, offers much better outdoor visibility and is fingorprint-resistant. It's also the first Olympus to offer touchscreon control. With it ‘wo wore ablo to instantly tap-focus and trip th shutter from almost anywhere in the frame, You can also chang the position and magnification of a focusing frame (fusing, slider controls), operate the camera's beginner-oriented Live Guide mode and scroll or 200m playback images. (As a side note, the E-P3's sereen interface and menus also Kot a big makeover: a new font, bright colors and photorealistic backrounds make the PEN’s enoyclopedie customization options much more enjoyable to navigate.) The camera's guts have soon significant changes as woll. The E-P3's new dual core TruePie VI imaging engine now handles image recording and live-view with two separate processing cores, And its revised Live MOS sensor (with the same AEROM SPEED PACK Seem bes footie lrg oo ‘or pean Dual Access Photo Backpacks “Tareac’ exctng new Aero Speed Packs prowde the comfort ofa backpack without sacfiing quick ces 10 amera gear! Tatac's innovative Dual ces System™ allows fs eet to camer vith lene ached hough theside door when the parks rom oer cre oul Eauipment can abo be accessed thvaugh te front panel when the packs ate removed Fora FREE catalog, cal wite2 1-800-662-0717 DEO of the NE eee ero Smeg ek 3 74 AMERICANPHO {AG.COM SEPTEMBER/OCTOBER 2011 Se SP We)! 12,3-mogapixel resolution as other PENNs) incroases its readout speed to 120fps, double the E-P2's. Their com- bined muscle dramatically boosts the ‘camera's responsiveness, giving the E-P3 extremely swift autofocus, a very short (GO-millisecond) shutter lag and a much briefer LCD blackout than that of the E-P2, Wo can't confirm Olympus’ claim to “the world’s fastest A for still-frame shootings” but we did find the E-PS to bbe nearly twice as fast as the E-P2 in fo- cased shot-to-shot, single-AF times. Our results: E-P2 (0,64 shots/see), E-P3 (1A shote/see), Canon Rebel T3i DSLR (166 shote/ec). And with its 3fps capture rato and unlimited JPEG (1i-shot RAW) baat fast action, though still not competitive ‘with high-frame-rato DSLRs. Image quality is also improved Comparing JPEG images shot at high 180s, we saw roughly a half-stop im- provement in noise over the E-P2. And top sensitivity has increased a whole stop, to ISO 12800 (though we stuck to ISO 8200 when possible). Our tests also showed that the E-P3's Advanced Shadow Adjustment Technology en~ Inanoed dark areas in backlit and high- contrast subjects with less noise than the E-P2, (Olympus also touts the processor's improved rendering of subtle colors and fine detail.) Nevertheless, while it's true that the E-P3 offers better image qual= ity than previous PENs, it's still noisier than its Micro Four Thirds competitor, Panasonic's LUMIX DMC G3, whose higher-resolution 16.7-mogapixel sensor also captures more detail. Video-wise, the new Olympus is the first PEN capable of recording in Full HD, which is accessible in most still shooting modes (though you don’t get live exposure control or manual audio). 's good enough for moderately Framo-rate options are limited, but we found the camera's video AF—inchid- ing single, continuous and full-frame trackingimpressively smooth. WhenNo one can put a price on the treasures on your computer. But backing them up automatically is just $59 a year. 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Proopaphs | FranclRecds | centre | Honore ‘ccree Lats feta ahs Cremer Pert BinmesPure ise romans Reopen + Unlimited online backup * Automatic & continuous + Encrypts files for privacy + Installs in minutes ~ PC or Mac + Trusted by more than 1 million customers * Access files from any computer or smartphone mia ales NES er=Te oLo)nli eel) Bee Xo =r ere ee aS emus eae tise CARBONITE: Backitup.Getit back”using compatible lenses, it's virtually silent and gots help from the camera’s in-body image stabilization, We do wish the camera had a standard mic input instead of an optional accossory—becauso whon the mie is mounted we ean use the hotshoo for the E-P3's best-in-class optional EVE, which we prefor for critieal work. Other features include nifty highlight/shadow fine-tuning iAuto mode with Live Guide (which allows novices to change or preview basic exposure and tonal adjust ‘ments using a simplified slider); 10 Art Filters with variations, add-on effocts and bracketing: and 23 scene modes, including one for aligning and saving 3D image pairs. ur favorite now feature is a pair of premium silver-finish prime lenses—a 24mm. Cequivalont) f/20 and a 90mm (equivalent) £/1.8—which offer superb opties, tactile ‘manual focus and very fast AF. ‘This compact duo perfectly complements the camera poi nck shee __ ened contre apy ‘oa encaeg wen” wa athe gs call us at 1.877.852.9423 ‘76 AMERICANPHOTOMAG.COM SEPTEMBER/OCTORER 201 itself, whose portability, comfortable han- dling and responsiveness givo us ample rreasen to shoot with the PEN more often, and leave our heavy DSLRs at home, AP OLYMPUS PEN E-P3 Ros uperfastcontrast-dtecton auto |W Fest pop-up Mah in top-end PEN controls ext {Less than 60-m no ably shorter Fin Pts ‘W5-inch touchscreen for AF-pointsolotion, shut {954,000 dot OLED dsplay is more gare an 20/89 ANCHO; videos enhanced by Bed superior automate npensatin {Wintorchangoable hand: grip choices (w rcc Fite with variations, effets and bracket ‘@ Begrner-orfonted Live Guide oes sl apture mode with algrment assist grade manual focusing {4 rilon-dot optional electronic viwnd onal Bhitooth transmitter, macro lit, mic {No tult-n mioroohone input BUYIT $00 with M4-2nm or tTmm kt ens slver or wht body; obmousaroe: at Pen er te ec eee eee eRe ppholos in morble, fomly portraits in wood. or your favorite Sere eee ecco oes ctl Bese ees ee We've combined Fpilog Loser's unbeatoble engraving eae ke. en ee eee Se eee ee ea Ae ee ee eee] produce more detailed photo engravings than ever feet Emonrncnnr eens | Hein slvr aero geomet ‘iil ui wil iStreet Fashion Continued from page 60 ‘Though that may sound intimidating, it's an inspiring soene to those who are passionate about it. And almost no one gets into this business if they don’t have a gemuine, passionate love for fashion. If there's any nogative to this new direction, it's a lowering of standards, When there were fewer fashion outlets they were all fairly powerful, and it was hander to break into them, Today, if ‘brand can’t soll its particular flavor of nonsenso to one blogor t moves on to the next one and the next one until they find a sucker. Alternately, brands might reach out to unproven street photographers to shoot an ad campaign simply to keep up with the fast-moving times. ‘But these are just the rules that come with a new territory ‘new hidden language for an entirely remade fashion industry. In my youth I was disillusioned by the glossies. Today many are bound to be disillusioned by the blowers, Life as a lover of fashion is fll of disappointment. Its something we loarn to deal with, But these days it's also full of opportunity and creative freedom, Tho kay for streot-fashion photogeaphors is to havo an eye and a voice. Like the industry folk who dress for the cameras and not themselves, it's a challange to maintain one's own perspective. Rather than think about what your competitors would shoot or where the money is, you have to stay true to yourself. Because while the web is vast, it’s also surprisingly durable: Once you do something you reset, it doesn't disappear, AP ‘98 AMERICANPHOTOMAG.COM SF R/OCTOBER 2011 COMMEMORATING 9/11 ON THIS TENTH ANNIVERSARY [Memory Remains: 9/11 Artfact: af Hanger 17 fectutes the cromatic mage: ofrenawned Photographer Fransesc Torres who was granted exclusive access fo photograph objects recovered from the World Trade Center's Ground Zero, temporarily housed at Hangor 17 a JFK Intemational Airport. Combining arresting images with eloquent essays, this femarcoble companion book ties in with exhibits in Europe ond at the Intemational Center for Phatography in New York ‘A Place of Remembrance, the official book o! the Notional September 11 Memorial (91 Imemeria.org), haners those lost and celebrates the spit of hope cei Tels the emotional story of rescue, recovery, and rebuilding on these eight sacred acres in downtown Manhattan. ry nS N Proceeds rom both books help suppor the National September 11 Memoria Welch the exclusive premiere of George W. Bush: The 9/11 Interview on Sunday, August 28 at 10P E/P, part of Remembering 9/11 Week on the National Geographic Channel AVAILABLE WHEREVER BOOKS ARE SOLD. NATIONAL shopng.com/911 GEOGRAPHICIS FINALLY HERE ADSGRAW/PRO IMAGING EXPERIENCED | a eS Ce Professional Staff Tn eae e UROL RSL Oo] = MEET THE PROS AT 42 W 18TH ST NYC 10011 800.223.2500Street Fashion EC eked Continued Som page 60 eT har cote pt two yar hoa br Sarees ent, presents a bislness card, and ass it oreo ae) 0 Markt rut re iutoe ond eae preted oe ferumsarmenavere | Srapsitr ra votes ante Mtoe alinachree. 1 165, after leaving his computor tech jb In Norperomea, yt cone ‘Capable ct hooting cine yoto, he began traveling to Europe and photo- CECE era f z Stylus Pre 9890 We cary the ful ine of imagePROGRAF iPF9100 eee aa Rae aiensa ad 7 80 AMERICANPHOTOMAG.COMheed tobe selected, and they accept that.” ‘ok til publishes Fru, but now he em thrao-git enew to snag th: In Harajuku, catch up wit Rina Asha, a forme ‘rafts subject turned shooter: veteran with the ‘magazine, she has a Canon EOS 7D stashed in es fak-allgtor-siin shoulder bag With one eye on fowalk andthe other on me, s ‘don’t he the genre fashion, We prow the area without lick before shhands ‘mo off oi, another former Fruits subject. Be fore to ong, Nik spots a coupe of bays, one with spiky Davi Sowolook, the othonresombing Joey Ramone ons way home from the gm. "Mik passes them, considering whether to shoot ‘one of them, but by the tne she deskes to dot, the boys are gone. Suddenly jumpy with eneray, she trots down the street to an intersection and Instinetvely tens rg, onto a strip of boutiques. Sure onough, theboys are nsidea shop. Sho wats ‘outside nervously, then approaches the Joey Remone-ooking guy, who, on closer rspection, appears tobe wearing an out cobbled togeth from gray sweatwe Following the Aok' techie, he drops toher ‘Shoots to got te canter ofthe model, and offers ner subject no instruction ("Miss doe ‘mantatlon” ok! es ma). When they're done ask alin gray,” MM says. ‘8 puppy dog." Which confirms something | already ke: While 'am fascinated by Tokyo street fash- fon, rmnot sure! ever tru understandit. AP a aod Buco >? a: a Doser 7 | CV | eee Freee rere] Oa The source forte fest persrenpons besecerebers eu is (OSE acm © Met Rer cg tea crete eers entree neres Re ent peeer ns eae Ceeay Subscribe to the POPPHOTO Newsletter Sign up today for our free weekly e-newsletter! ‘ecu surroRt Go to popphoto.com/newsletter Each week you'll find: Our exclusive Tip of the Week —expert advice to help you become a better photographer. Previews of our authoritative camera and lens lab tests, plus gear and software reviews Sneak peeks at just-posted photo galleries, how-to articles and other web-only features Heads-up on photo contests, ONLINE HOME OF gear giveaways and other special rae fi POPULAR PHOTOGRAPHY AND AMERICAN PHOTOPorter ¢ case Delux ia Camera Case ‘Six imterior options available T vansforms. Protects. Transpor See it in Action at WWW.portercase.com or call 800-356-8348 OMNI-BOUNCE Leather Case SIO-FIN PRODUCTS | 800-538-0730 ‘worwastofen.com | Leather Camera Case FOR YOUR DIGIAL SIR + MADE N USA. www.cameraholster.com ‘Skytop Trading, Estes Park Colorado Phone: 970-577-0892 The Acratech GP Ballhead + Weighs less than! Ib .45kg) * Soldly holds 25 Ibs (1 1kg). * Works as a Ballhead, a Gimbal Head and as a Panoramic head. For Your iPad cd Mode nUSA Phone: $707577-0892 www.skytoptrading.com corer www.acratech. (909) 392-7522 The Last “Can of Air” Le iad i erat eer eryParting Shot The Marshall Plan 9/11 first responder John Botte’s fateful encounter with a rock photography legend ny scorr aumxanprr ohn Botte was trained by professional photographers from the age of 12 “T was a cleanup boy in & dark room. At 14 was & film loader for a commercial photographer, loading 8x10 film. These old-timers taught: mo thoory, how ‘to understand tonality in a nogative, how to previ- sualize I still develop all my own film by hand.” Despite his deep technical knowledge, Botte never aspired to work as @ photographer. Instead he dreamed of becoming a New York City police officer. If you've read “The Sky Is Falling” (paso 20), you know he carried a Leica with him on the jb every day. After the devastation of 9/1, while fulfilling his policework on the pile he would make photos as compositions occurred to him. Then, in y November he got an unexpected day off We'll let Joba take it from here: ‘My partner happened to be at the Javits ‘Cencor. Ho radioed me that PhotoPlus was going ‘on. I didn't have anything planned, so I figured Ta up check it out. [wanted to go to the Leica booth to see if they wor showing anything new. There were ‘a fow poopie mingling around, and this suy wearing a nametag that says Jim Marchall, Leica Camera’ Timall flakked out, with my gun strapped around ry leg, and he says, ‘Oh hey, you're NYPD? What's ‘your name?" I introduce myself and he says, ‘Do you. know who I am?” And [look at his nametag and sas, “You're Jim Marshall from Leica Camera’ He starts laughing, then puts his arm around mo and say just mot my now best friond’ I didn't understand ‘what he was talleing about, but a random uy took: me aside and says, Tes, like, che god of rock and roll photography’ I said, T don't keep tabs on pho~ tographers, The only one I know is Ansel Adams? Jim collected lapel pins, He used to wear sport jnokers and put lapel pins on them, He asked me Thad a lapel pin with the NYPD logo, I keap a ‘box in my ear full of staff Like that to sive out to kids. We walk out to my car and I hand him some pins. In the corner was a binder with the first set of prints Td made from my shots after the attack. Ho srabbod it and said, “What's this? I told him to put it dowm, but he openod it up. "The front page wns the picture with the police officer and the flag [see opposite]. He closed it up and said, "Let's go? I vold him to put the book back in the ear, He gave me the finger. I threatonod to cuff him, but he wouldn't put the book down. Ho said, “When ware you born?” Tsnid, ‘Sixty-six’ He snid, ‘Nope, you wore born today? and takes off into the building. T chase him tw the Leica booth and he walks in and shouts, "You (94 AMERICANPHOTOMAG.COM SEPTEMBER/0 fallen World Trude Cente ‘want to know what photography’s about? Put your oyes on this Just screams it out. Within an hhour there were hundreds of people surround- {ng the booth. Then this guy from Leica wants to talk to me and he offers me a show: in Germany for tho fret anniversary of 9/11, I said why not. Millions of people ended up seeing my work there. Everything happened because of Jim. ‘He wanted a print of that picture immed ately, belove he left town, So I made him a print ‘that night. Whon I make prints [always male 4 few, So T made one for hitn and a few more for the guys who were in the photo. Later, when T ‘wok the photo over to him, he calls David Gah, another major music photographer. They were very close. Jim was the godfather to David's son, and Jim would always go soe David on his way to the airport when he leave tov. Jim calls David land he says, ‘T got this picture of 8/1 that’s going to low your mind? David says, ‘Tes not as good as the photo Thave of 9/1! And they start arguing about it on the phone. “When Jim gets to David's place, they both slap down their pictures and it's the identioal shot. They freak out. Jim tells David his side of the story, and David replies, “You fail to realize that the officer on that ladder raising that flag is your godson? It- was Seth Gahr: Hed given his land never made the connection.” An exhibit of Bote’ work opens atthe Calumet Gal lary in New York on September 3, 2011, aEvery story needs a book. + Share or sell your creations online via our social tools and bookstore,