pe LCL EOPLE’S RU , STANTON’S ee es PHENOMENON, HAS A MILLION FACEBOOK FANS. Sa Sas Oe eae PHOTOGRAPHY?MENTOR SERIES Ultimate Photo Adventure Join the Mentor Series this summer as we light up New York Gity! Understand how luminosity can shape the mood and color of 9 ‘the photographs you create, 2s Nikon professional photogranhers preserved for thousands of years. In 5 r we return to the Big Lucas Gilman and David Tejada assist you in finding the best Sky Country of Montana to explore the scenic wonders of one of our anoles, interpreting natural light sources, utilizing reflectors, and nation’s mast cherished national parks. join Mentor Series and Nikon Undersianding how to control light to convey a desired atmosph professicna) photographers Reed Hoffmann, Wolfgang Kaehler and all while capturing unique New York City images in both controled and Layne Kennedy to learn the ultimate photo tips and! techniques for Spontaneous shooting situations, Beautiful iconic Central Park will serve capturing al the beauty that Montania and Glacier National Park has a5 the perfect venue to learn haw to use natutal light and consider ight offer. Master the art of sunrise photography when you experience the modifies to enhance your portraits. Under the Brooklyn Bridge will frst colots of the day reflected in the waters of Two Medicine Lake. provide us a shooting location from twilight to dark, as we throw light on The "ah" moment willbe that iconic shat of tiny Wild Go ‘Dur subject and allow the city skyline to shinein the background. We will St. Mary Lake, a breathtaking scene at sunrise, We will travel a fsa take to the streets in Times Square to create images that convey Going-To-The-Sun Road, an enginee the hustle and bustle of "The Crossroads of the World” at night. The key stop will be Logan Pass, neon will illuminate your frame as you capture the dazzling fast-paced _ promises sightings of marmot, city rightife unfolding in front of your lens. Visual inspiration here From here we'll embark on ah je Lake overloo is endless and the chance to learn this most important skill from these Triple "D Game Farm provides an opportunity 10 ge industry leader i invaluable. Ther best advice and simple explanations, few of the animals in their native environment. Add ‘along with the photo ops afforded in the Big Apple, will clearly take your Flathead Lake Lodge, a classic dude ranch Photography to the next level. Sign up today! for cowboy/horse action. You will not want to miss the grandeur a beauty that Montana and ial Park have to offer, REGISTER ONLINE AT ae an endless landscape sd wildlife has been tinental Divide w is and @ mantrotto Sardisk For more information, call toll-free 888-676-6468. Imagine More .FOR THE PAST 15 YE, ARS, the Mentor Series has taken photo enthusiasts to destinations across the country and around the world. With top Nikon professional photographers accompanying participants every day and teaching them how and thing like a Mentor Series trek. You and your photography ee ee : ‘what to shoot, there’s not will never be the same! Lucas Gilman and Reed Hoffmann to 2 and explore the benefits of using video to 's At Arenal Natura Ecological Park, (e/a 1a ae) From the glint of golden temples to the flash of ety lights and saffron- colored robes, focus your lens on the vibrant colors and iconic scenery of Trailand, Join the Mentor Series and Nikon professional photographers David Tejada and Reed Hoffmann 2s we travel to the majestic cites of Bangkok, Chiang Rai, and Chiang Mai. in Bangkok, we begin cur complex of courtyards, gardens, uidings adored in gold leaf and colored glass, followed by a vist to the giant reclining Buddha at Wat Pho. Photograph local ruil, vegetables, and orchid blossoms from boats the crowded canals of the Floating Market Continue on to Northern Thailand, where the 12 Mekong River, offering views of lush jungle, vilages, and tea plantations in Chiang Rai. Visit 1 city of Chiang Mai, with its characteristic teak and gold Pratograh hide teples ot surst, visit a tiger sanctuary 9 prayer sessions with local Buddhist monks. Spend an temples, afternoon with y- mentors offer tips and techniques for capturing th ose. This year, with Mentor Series at your tural Beauty of Thaland! Cee Sed sponsor:Drawing on the beauty of light SP 24-70mm F/2.8 Di VC USD TAMRON www.tamron-usa.com : :Contents SULWAUGUST 2013 Features Almost Famous ‘What happens when a photographer steps out from behind the lens and into the soenaxio ‘with his celebrated subjects, BY MICHAEL LEWIS The People’s Photographer Brandon Stanton may be the most famous stroet shooter working teday. How did he turn his Humans ‘of New York into a million-fan phenomenon? BY MICHAEL KAPLAN Full nmersion When photographers go in deep, diving into places, coulmares, and experienoes far outside their own, the results can make a carver. Hero are three emerging, pros whose big projects changted their lives. BY LORI FREDRICKSON On the Cover For Humans of "New You, Brandon, Stanton not only photographs strangers, he speaks with themand the quotes he runs with the images, like the one from this ‘woman, ane crucial to the project's Rathbone: a Mursi tribeamnan by Maynard Switzer JULY/AUGUST 2018 AMERIGANPHOTOMAG.COM 8Contents Departments Faces Everywhere Behind the soenes with portrait photographer Patrick James Mille, rv MIRIAM LEUCHTER Focus The Alchemist "Travis Rathbone walks the eutting edge of design ‘with his studio still ifes. ny wRaNIcLAN anEtaeNDEZ River Runs Deep Tn Ethiopia's lower Omo Valley, Maynard Switzer is capturing a calture in peril. ny JACK cRAGER Ends of the Earth Sebastito Salgada's environmental epi, James Houston's fashion fuses, and more. BY JACK CRAGHEE Sexual Evolution astman House explores gender, Ba Ruscha explores L.A, MoMA explores genres. BY LINDSAY COMSTOCK Doe Watch Documentary filmmakers take on some major figures in photography, By sUDrTHt GRLMAN MYERS Gear Beyond Manual ‘The first autofocus lenses from Carl Zeiss mount only on Fujifilm and Sony ILCs, ny Svan konacenic ‘The Goods Hot new tools from Canon, Nikon, Wacom, and more, Big Sensors, Small Cameras With APS-C chips now in more compact, serious hooters enjoy lots of ceioes. bv PREP RYAN PARTING SHOT It's a Man’s World Photographer Jasper White opens a door on Australian hobby sheds. 2 JEL. ¢ 4 AMERICANPHOTOMAG.COM JULYMANFROTTO 290 CARBON FIBER SERIES Support your passion for photography! a ——_____—__—™ corer MK294C3-D3RC2 Easy to cary without any secrifice Durable lg locks are bu for heavy-duty Provides optimum support in-camera stability. se without any reduction in strength for your camera and helps you ‘or patformance over time ‘et great results in every situation5-AXIS IMAGE STABILIZATION ZOOM IN WITHOUT FLIPPING OUT, OLYMPUS apne gs HE WORLD'S FIRST’ 5-AXIS IMAGE STABILIZATION SYSTEM FOUND IN THE OM-D E-M5, camer salsy desiane tocreate images as stunning as ts design. The 5-Axis image stabilization system compensates for vertical, horizontal and rotational ra shale, nsuring sable shooting with any lens at any focal lengh. The E-MB also features an electronic vewinder, @ fps High Deed Sequentil Shooting, 16.6 pixel Live MOS Image Sensor and an aay of lon snugly into ght yet durable body that can withstand ran, dust, getolympus.com/omdamencan PHOTO PHOTO EDTOR ny ey ‘cotmsuraig Irons" ls [EXECUTIVE VICE PRESIDENT EPIC ZINCZE KO CHIEF MARKETING OFFICER Eh unary ‘INTEGRATED CORPORATE SALES MARKET ol TASSOCATEPUOLSHER WAETING cas Gale omens OVEN ME oe DD ASSISTANTS Nara as Filo DeTaci® MANAGERS Eon ty nabs: ‘DIcAL MANAGER ss EVENTS MANAGERS Ec lohan. Boxy Wigeriro PRODUCTION MANAGER ot BONNIER coer exteVTIVE OF SrecuTIVE Ves PRESIDENT 5-Axis Image Stabilization: VICE PRESIDE, CONSUMER ARKETING ner TICE PRESIDENT PRODUCTION sayin CCompensates for vrica, hortontal ‘Vice RESIDENT, CoPORATE COMMUNICATIONS Ds "SONERAL COUNSEL Thorn and retatlonal carera chk, allowing forhanc-hel teleshootng wth ‘super-tle fans such as tha 75-00rrm. a 148-67 ene, ees Aid Me Om-D we Mit uty ane cnr ueFaces Everywhere ‘ouling a bulging garment bag and woar= ing what Thoped was enough makeup bout feared was too much, [arrived at the Tribeca studio that Patrick James Miller was using for our portrait shoot late, overheated, and nervous. Pm not used to posing for a camera. But ‘my art department colleagues and I had decided was long overdue for a new headshot for this column, and I wanted an excuse to go behind the scones with this up-and-coming pro whose work admire, So here I was, as ready as I'd ever be. Miller started out as a painter and graphic designer, but a college summer-abroad program in Grenada, Spain, opened his eyes to another talent—he came back with 40 rolls of film and 1 passion for photography. “It fot natural,” he recalls, “T wnnted to learn all about it” That was decade ago. Back at UC-Santa Barbara, he studied with photographer Richard Ross and as sisted Brad Swonety a busy Southern California ‘ro; more assisting gigs followed. (He interviewed another mentor and former boss, Misha Gravenor, for our April 2018 Amerioan Photo on Campus; find i at AmericanPhotoMag.con/miller-mentor,) He ‘moved to New York nearly three years ago, and he's been shooting editorial and commercial portraits pretty much nonstop since then. Most of the time Miller shoots on looation, of- ten with no idea what that location will loole like ‘until he s0es it. He finds that challenge—in fact, ‘most photographie challonge—oxciting. Recount- ing the time he hed less than two hours? notice to photograph Robert DeNiro and Bradley Cooper, and only a few minutes with each of them, he relives the adrenaline rush. But, he adds, “every job always brings some clement of adventure.” Why portraits? “People fascinate me,” Miller Left: Miriam Leuchter on the photo studio sot, by Patrick James Mille the photographer's self ts EDITOR'S NOTE says, "Mecting interesting people and seeing hhow they live—learning their stories and what they think about—I feel very fortunate to get ‘to do this for work” He's not alone. As we were putting together alll of the stories in this issue of the magazine, I saw a distinct trend emerge: You're holding a Por~ ‘erat Issue, From Humans of New York creator Brandon Stanton to celebrity shooter Michael Lewis to the three emerging pros who found ‘their calling in projects that took them deep into other cultures, all of our featured photographers this summer train their cameras on people and their environments, Even in the departments, portraits predominate, Back at the studio, Miller put me under a trio of lights, including « 6-foot softhox. Cndeed, his ‘way with light was one reason I wanted vo work ‘with him, ) He immediately put me at ease—as he told me later, more important than the lighting “is to have that connection with the subject and et their trust in you and what you're trying to accomplish.” You can see just how much fun I had on the shoot in the photograph on the opposite page. As for my new headshot, we'll unveil it in ‘this space in the next issue of the magazine. Wiroan, Leselsder JULY/AUGUS? 2013 AMERICANPHOTOMAG COM .®1&1 MY WEBSITE THE BEST WAY TO GET YOUR BUSINESS ONLINE PREPAY FOR 1 YEAR SAVE UP TO Ad 181 Web Apps with one click a to make your website interactive STARTING AT$6.99 PER MONTH Create your own professional web presence! High-quality customizable designs Choose from hundreds of professional designs — create a business website that stands out from the crow Get found online Attract more visitors on search engines and engage customers with social media wo Like | WTweet Quick and easy Edit content, text and images. Make changes online at any time nv com domain included for free -com2% 199 glist mash-ups, shot for 4 ‘THE PEOPLE BEHIND THE PICS WORK IN PROGRESS ‘290 9 Focus ON-THE WALL22 DIGIDAL DOMAIN The Alchemist With an eye for cutting-edge treatments, Travis Rath till-life photographer Travis Rathbone has established a signature style by redefining the limita of objects, His visual exporim push commonplace items into new realms: submerged in foreign substances, frozen in motion, exploded into larger-than-life compositions. The 28-year-old New York City transplant, already in demand only a few _years into his eaneer, has litte time to reboot and refresh between projects. After two weeks of intense shooting in San Francisco for client Jawbone through the agency fuseproject, he’s just gotten off a red-« one rethinks t art ofthe stil fey nanttan secanpez back to the Bast Coast, the latest leg of a studio ‘marathon with barely a breather in sight. “It's been a crazy two years” Rathbone says, "but I won't ‘complain about it.” Thon aguin, it’s this type of all-consuming focus ‘verging on hubris—that. prompted the California native to strike out on his own and start an ind pendent studio at the ripe age of 21. "T was working, ‘ab a digital imaging lab, but promoting my own ‘work as much as possible,” Rathbone recalls Another photographer had backed out of “a tiny JLWAUGUSY 2013 AMERICANPHOTOMAG,COM 44still in, So [called in the another t planning, T stupidly went ba lab and quit on the spot.” ut Rathbone did have a few aces up his om Santa Barbara's Brook: shoot last-minute, and Twas asked to fill k to work. I shot the image: liked it and shortly thereafter offered me 4, Without much mo woek pro to my by 48 AMERICANPHOTOMAG.COM JL ‘Travis Rathbone's pe his vii plished name David I in New with early on astisting est including 1d Craig Cutler asked for s was to use the studio facilities on oleed,” he says. “T Chapelle in Los Angele One of the few thin wen'tb work, ould show i¢ to anyone asn't great but itRi Sn aS ee ee eer oat at el‘The diligence eventually paid off. Rathbone cites as one big break w January 2012 cover for ‘Money magazine. "You don’t see a lot of still lifes ‘on national covers anymore,” he says. "L always ‘wondered if that was something I would ever get ‘to do.” Sixteen cover shoots in 2012 alone settles that question, Rathbone's ever-growing roster of clients includes Glamour and New York magazines and Macy's, Adidas, and Vietoria’s Secret Behind his suocess lies a novel approach, Rathbone transforms his studio into a testing, laboratory where he ean explore materials with the assiduity of a seulptor. “I love stuff” he says, “but simply taking a beautiful picture is not that Impressive. I'm always looking for different effects. Twas at a dinner once, and we ordered some sort of fancy dessert, which was prepared tableside using liquid nitrogen for all of us to see. [left that inner thinking, ‘What on earth ean I do with, liquid nitrogen?” Rathbone took to the studio for a battery of tests on various substances; it ‘culminated in a personal series of frozen make up. “Since then magazines like Men's Journal and Womon’ Health have had me replicate the tech nique for different stories." he says. Rathbone's inquisitiveness remains a driv- Ing force. “One of my art directors brought this weird chemical to my attention” he says. “Tes a hydrophobie substance and I just saw a bunch of YouTube videos of what it ean do, It wasn't par tioulaxly beautiful, but i¢-was unique. There must be something I ean do with this.” AP 44 AMERICANPHOTOMAG,COM JULY/AUGU From top: Rathbone work, 2007 Travis Rathbone saisrathhona.cam, «Coty ves tn ‘Stugiad at Clants Include iss, Barnes { Noble, 9800, Field & Stree Inthe Bag Hasso andl series: “Thay horse cameras that been put to the test he aye, "also use the lamiya Leaf pt-2 60M dgtal ba Now Too! "Somethin that sare calla Helcon ther and saves aretoucher rom having todoThe moment when you no longer take pictures, you make them. This is the moment we work for. // FREEDOM MADE BY ZEISS Carl Zeiss SUR lenses Sel yourself ree, Free ofthe ws wrt ess comiphotofreedon We make it visible,Focus work In PROGRESS River Runs Deep In eastern Africa, Maynard Switzer discovers a cla for apprenticing with the legendary Richard Avedon, Maynard Switzer set up shop as a commercial photogrupher. “I was shooting fashion and beauty.” he says, “but T always found myself, if we went to shoot someplace, more interested in the culture of the people than any- thing else.” Switzer was also an avid bieyclist, and in_ the late '90s he had a cycling accident that resulted ina serious head injury. “Phat sort of kept me out of the studio,” he recalls, becanse my doctors sg- ested that I'not work around flashing lights for 8 year, So due to # combination of things—good and bbad—that was it Iealled my agent and said, “No ‘more fashion; no more beatty.” Tn 1999 Suitzer followed his muse to take up travel and documentary photography, using natural light to shoot beauty of a different sort throughout the world—trom Centeal Asia to China, from Cuba to Africa. Though he divides his time between New ‘York City and ‘Toronto, he's often on the noud—and 46 JULYAUGUST ‘9 AMERICANPHOTOMAG.COM ash of cultures ‘Switzer's images from the lower Omo Valles, members ‘of the Hamer tribe perform ‘adance called Evangadi faa pat of the ball-jumping ‘ual that weleotses a boy into manhood. -—and a serious threat to one of them my sack cracen especially drawn to eultsines whose way of life is on the brink of extinction. “A lot of theve places are isappearing around the world, quite fast," he says. Switzer discovered one such vanishing culture in 2012 while doing research before a trip to Ethiopia, ‘which is split and fed by the mighty Omo River. “In. the lower Omo Vulley, the Ethiopian government is building a giant dam called the Gibe IIL and foreing all these tribes in that area olf their land,” Switzer says. “They're leasing out huge tracts of land to ‘companies—Malaysian, Indian, Italian, Korean—for massive farms to grow eash crops such as palm cil and cotton. These need a tremendous amount of irvigation,s0 they want to dam up the Omo River. ‘And for the Ethiopian tribes who live there—more ‘than 200,000 peoplo—the river is their life source: ‘The natives rely on it to flood every yeur so they can grow their own food and feed their eattle: Further, Switzer learned, many of these tribes ‘have called this land home for centuries, Accordingto Survival International, @ group that advocates for the rights of tribal people worldwide, the Ethio- pian government "has started to evict Bodi, Kwvegu, ‘and Mursi people from their land into resettlement ‘areas The organization reports beatings and jail ings of people who have fought beck and even rapes ‘and killings by military patrols. ‘Such reports intensified Switzer's interest in the ‘Ome Valley. Baslicr this year, he spent’a month documenting the region's indigenous tribes, and he plans to return in Oetaber, "My goal is to capture a vanishing culture,’ ho says, “and to bring some light, to what's going to be lost if all this takes place. I think as you got into the polities, your work evolves Into things that you might not have thought about” ‘Yot most of Switzer’s Omo Valley portraits do not depict confrontations. “Tm not a war photogra~ phe,” he notes. “There are enough people who do ‘hat. Pve been in some dicey situations, but Tm not looking to get my head blown off” Above left: A y ‘woman and her ehild| ut made of branches, hls children gather his cattle to take into the flelds for grazing, F Stil, the tension between the tribes and government soldiers—and between rival tribes themselves—eveates the need for safety precautions “In some of the places ‘we stay, we huve to pay for a guy to guard our tent with an AK-#7" says Switzer. “Some of the tribes are a little Dit more aggressive; it depends on where you go” He also hires local guides to facilitate travels and ‘communication. “I think portraits are much better if ‘they show people in their environment, rather than, say, a set-up shot,” he says. “There should be something, sahout who this person is and the way they live. I ike to| capture people doing their natural things, oblivious of me, So a guide wil talleto them snd explain” ‘Switzer hopes to help tilt the geopolitical balance in. the region: A public outery has actually slowed the prog ess of the Gibe ITI dam's construction. Survival Inter ‘ational reports that, although more than 90 pereent of the dam has been built, several banks and governments have withdrawn funding in recent years. Switzer says the region’ fate “is sort of in limbo right now. Human- rights groups are screaming and yelling about this, too, «0 I don’t know what's going to happen. But it means an enormous amount of money to the Ethiopian govern: ‘ment—they have to get the water to irrigate these lands, In doing it, they’re losing this tremendous eulture CLOSE-UP Maynard Switzer Lives In Now York and Toront ‘Studied At Art Genter College of q Design Pasadena, cA Mentors Guy Bourdi, chard eden: “From Avedon eared nage and havin clase rapport with whomever you work wt ‘lon include Ara Inthe Bag Two Nikon D600 bodias; Nk 6mm, 81, Sam, SOnim, 85mm) and zooms (H-24mm, 24-TOmm, 7 ith te 0 external drives; Nikon Spee 4 SB-B00 lashes. “Available ight is my favorite,” Switze ayy "but there ar times | use flash anal try to make t blend wit the tural light don't often wse tripod becuse I move around lot This think comes from shooting fasion: ike to have people Y/AUGUSIT 2013 AMERICANPHOTOMAG,COM 47Foaus Ends of the Earth Sebastido Salgado’s black-and-white survey of a world before modernity leaves it behind sy sack cracks GENESIS By Sebastido Salgado Nazraoll Taschen Widely hailed as a master photographer, Salgado ‘has also been criticized for aestheticizing human suffering in his many finely wrought images of starving refugees, manmade disasters, and the like. In Genesis, though, his painterly style addresses ‘more sublime scenery: pristine corners of the ‘world that are virtually untouched by modernity. “Lwanted to examine how humanity and nature have long ooexisted in what we nov eall ecological balance,” Salgado writes in his foreword, Cuslminat~ inggan eight-year global exploration, this book is what Salgndo terms “a visual ode to the majesty ‘and fragility of Barth.” But, he adds, “it is also a warning of all hat we risk losing” ‘Much of the survey focuses on landscapes and wildlife rather than humans. It ranges feom iew 48 AMERICANPHOTOMAG.COM JULY/AUC £2004, from the “Planet of Salgads bergs and penguins in Antaretica to voleanos and. cearihou in the Aretic, from wind-seulpted African deserts to dense foliage Viewers may recognize many shots—of wildebeests land zebras, sea lions and whales~that Salgado has published and shown. Yet behind this 520-page tome isa grand ambition: to cover the remaining natural Barth comprehensively; much of it from the ain. The lmuman cultures we do see retain ancient ‘ways of life, In isolated lands like New Guinea, Salgado documents indigenous tribes in ritual ‘ceremonies, hunter-gatherer lifestyles, and mini- mal attire. In the Aretie, he follows handy sledders herding reindeer on the frozen tundra, “T wanted to capture a vanishing world, a part of humanity that ison the verge of disappearing” he explains, “yet in many ways ail lives in harmony with nature” And hae sucveeds, in glorious black and white, n Amazon rain fonestsSe UP CLOSE - PERSONAL RRR Tan) SEMINARS & WORKSHOPS: With Canon Live Learning, receive top-level Eee een ny instruction, gain technical knowledge and check out the latest EOS gear EMC nee ssn eas firsthand, Our intimate seminars and workshops are held in a number of We'te here to help you develop your ene a eee Ce SCC Sc skills, build your network and fuel vain nase CANON AT YOUR FINGERTIPS: The Canon Digital Learning Center isa free online resource for enthusiasts and professionals alike. Instructional content includes tutorials, downloadable guides and interviews with the pros. ITN ON OUT TC tr ee OUTNATURAL BEAUTY By James Houston Damar $80 In this project commercial pho- “ tographer Houston combines two abiding interests: gorgeous people and the environment, Drawing © WHITEWASH on his Rolodex, the beauty and By Nicholas Alan Cope powerHouse $65 fashion shooter depiets models Cope's study of Los Angeles architecture zeroes in on the and celebrities including Emma Watson, Chrisiy stark geometric patterns of the city’s modernist str Turlington, Adrian Grenier, and Elle Macpherson, tures, Marshaling intense SoCal sunlight and hyper~ To raise awareness and funds for environmental contrast black and white, he turns the buildings’ bokd issues he will donate proceeds to Global Green lines and shapes into otherworldly art—as sterile and USA. His images blend radiant skin tones with devoid of human life as architectural models. “This is surprising backdrops and bursts of color-some sort of idealized survey of the city” he notes. “Whitewash more naturalistic than others. is Los Angeles at its most stripped down and honest. AMETSUCHI: PHOTOGRAPHS BY RINKO KAWAUCH! «=U Aperture $80 l ' A fine-art photographer whose work often explores f the minutine of everyday life, Kawauchi broadens her canvas here; the title Amerauoht is a Japanese . character amalgam of “heaven and earth.” Many of her landscapes depict zigzagting fire patterns from yakthata farming, a traditional controlled: burn method—that are more deliberate than they ‘seem. Some shots depict tiny human figures dwarfed by vast natural backdrops. Other images show distant constella- tions, Buddhist rituals, cavernous ‘mountain lakes, symmetrical ‘and amorphous patterns found in nature—all indicating a ‘search for order and beauty in chaotic, mysterious world, Houston's Natu ‘Nicholas Alan Cope's 20 AMERICANPHOTOMAG.COM JGUSE 26ee ee eee ee ee a panoramic of Bryce Canyon from the winter of 2010. This print is Peer ole pn ed Ca ee ea eae Tore eee nen rer this high gloss print on metal for my gallery at Aperture Academny* Poesy 4 SC uN Ae oe elo cst Cu Ae What’s Your Vision? Poe rk ad bayphot get Request format bayphotocom. WE'RE HERE FOR YOU!Sexual Evolution A visual survey of gender studie: the paradigms are a~changing ‘Gingharm Dress with than 170-years, the sk ‘work by lesen (George estan ous acest MY sn 8 Sent. 29 PP 003, ty including Julia Margaret Cameron, Baward castrantausn.r Britis non, Richard Avedon, Robert Frank, Andy As gender roles have evolved over time, the way we $ ol, and Cindy Conger alin advancing the art of portraiture. The ‘who have been think of male, fomale, and androgynous Sharacteristics has also been transformed, This not only evolving nesthetis but group exhibition (which inclides this magazine's also the ever-changing cultural landscape. And it features editor, Debbie Grossman) traces the char depiets many famous faces—such as Sarah Bern- ing portrayal of gender identities in photography, hardt, Marlene Diewich, Douglas Fairbank from traditional depict . Joan Crawford, Greta Garbo, Marilyn Monroe, and of rebellion, With 120 photographs spanning more Paul Newman-muking for one sexy surv 22 AME| JOLOMAG.STAYING STILL IS NO eS ae CURT sR CRs Dede tne RM uN a eel since | started shooting Hybrid products with my Lumix.” Be oy Sees uC acts ig No longer satisfied with just “pictures,” your clients expect content that includes a mixture of stils, video and audio. DOR ee Cm or ee aC from stills to video on the fly. Advanced AF tracking and pro-level rack focusing let you easily follow the action while SU RR ee es ae a CO CR a Econ oe Get your career in motion with Lumix G— the ultimate in Hybrid photography. Vb ae4 xi: 19 NEW ACQUISITIONS IN PHOTOGRAPHY Mescum of Maer Art, ow Yor, MY trough dan, 204 mms. In an industay of constant reinvention and technological innova ‘ion, photographers continually vie to see and to freeze moments Jn a way that no one has attempted before. In that spirit, this {group exhibition explores some of the most novel concepts in photography today. The sprawling show fills five galleries in the ‘museum and features photographs by 19 contemporary artists Primarily multifaceted or serial works, the imagery spans genera ‘ions, cultures, media, and genres, from darkroom experiments such a8 photograms and photomentages to politieal ommentary ‘on labor history and globalization. Among the artists are famil- jar American pioneers—Robert Frank, Stephen Shore, Tarya Simon—and a multinational cadre of conoeptualists, inchidingg ‘Yio Barvada, Birgit Jargenssen, Béla Kolagovs, and Osear Munoz. Comprising racent MoMA acquisitions not previously displayed at the museum, this exhibition spotlights the burgeoning role of photography in contemporary art. Also Showing A Different Kind of Order: The ICP ‘Triennial > iret tof etry ¥ ED RUSCHA overt no rd tM inp rage 9 ‘oun ‘The work of interdisciplinary artist Ed Ruscha conjures the time ‘This triennial highlights the work of Mad Mon int Ct of Anges Rusch epitomiats the Pop ebaetswhase rete ant Art movement in his pining desing, and fms he has azo Mursgurert erations os created highly graphic photo series and lange-format art books Ina state of flux. With an emphasis on digital image-making and online social (Bef them made between 1963 and 1078) hat aneinfuencel in newer he eboney peony a, thet on ight His pictues sou commonplace vel ofthe LA. won oseve ma, cityscape—apartment buildings, gas stations, a strip of the Pacific Coast Highway—with a combination of humor and beld simplicity, Dawoud Bey ormaina ceomivay ane ‘t ‘Masur of Contemporary Art North Mam North Man FL trough eo: transforming seemingly prosaic imagery into a distinctive style, a signature of mid-oontury American photography. — is 4 Photogeap (Chicago-based photographer Bay has devoted his portraiture and docu ae ‘mentary work to exploring the lives of youn people and marginalized ‘members of socety. This survay of the artist's oeuvre includes his seminal series Hariom Uta fve-year study ofthe New York neghborhood and ts charactors—as wollasathorstroot photography and formal portraltur, Common Ground: New American Street Photography ‘DAK, Los Anges, CA, Jy 6-27 drrn.com Featured here are five photographers whose eyes are fed on the street: Richard Bram, who shoots in a classic style with his Lelca rangefinder; Chuck Patch, whose black-and-white work centers on New Orteans; Bryan Form- hls, who uses medium format and blogs about strest photography; and «Jack Simon and Andrew Blake, who flavor their images with comedic irony. What they share is an emphasis of found imagery over stylized creations. Photogravure: Master Prints from the Collection Philadia Museum of rt, Philadel, P, thru A 1 oilamism.ord ‘This exhibition culls $5 prints from a period between the 1650s and 180s, ‘when the process of photogravure—a tye of printmaking combining photography and enéraving-—was being honed by pitorialst photogra~ hers, as wellas prints from the 1830sby such artists as Man Ray. aso Includes prints by contemporary photographers, including Lorna Simpson, ‘who have revved the vintage medium. series Fish Story, Chapter One, April 1992, he Getty Museu, od, Amarillo, Texa 24 AMERICANPHOTOMAG.C ML IUmt Se Beeman ete od THE DIFFERENCE |S INSIDE a come retTERTONE AB 4 SAVE 15% through 9/1/2013 @ www.GetSeV.com/AMPHOTOFocus picirat Domain Doc Watch Recent films reveal the people and stories behind the greatest contemporary images Photograph protago ar Window to Blo Now. More recent documentaries of real-life photo legends reveal the actual imagination and skill that go into captur great pictures. For lessons in craft and courag (GREGORY GREWDSON: BRIEF ENCOUNTERS Directed by Ben Shapiro Zoitgost Fl (OVD) When Gregory Crewdson's marriage started to fall ‘apart, he began to have dreams in which he was floating; these nighttime images prompted a series of overhead photographs shot from a crane. The son of a psychoanalyst, Crewdson is attuned to the relationship between his art and his subcon- seious—a theme deftly explored by Ben Shapiro in Brief Encounters. Shapiro met Crewdson while shooting a PBS documentary on his early work land became so enamored of the photographer's M.O. that he followed him around for the next 10, years, What emengos is a portrait of a man com: ‘mitted to cbsessive contrel over the exterior and utter surrender to the int \WHICH WAY 1S THE FRONT LINE FROM HERE? THE LIFE AND TIME OF TIM HETHERINGTON Directed by Sebastian Junger 180 Documentary Films (available on H80 GO) Image maker and humanitarian Tim Hetherington epitomized the role of concerned war photographer “We forget the people imaged are individuals, with their own stories and individual lives" he explains. As he revealed their ravaged lives with his Rellei- flex during his 10 years in the field, Hetheringron ot to know his Liberian subjects’ stories so well that he even put down his camera to serve as their teacher and mentor, After he resumed shooting, he land authordlinector Sebastian Junger spent a year in Afghanistan with « platoon of American soldier their resulting film, Restrepo, was nominated for fan Academy Award. Six weeks after attending the Oscar ceremonies, Hetherington was killed by mortar fire in Libya, Which Way is Junger's deeply {lt tribute to his documentary partner, 26 AMERICANPHOTOMAG.COM JULY/AUGUST 2 Brief Encounters and ia tased in the poster art fo HOW TO MAKE A BOOK WITH STEIDL Directed ty Gereon Wetzel and Joerg Adolph Kino Lorbar $23 (DVD) ‘The title conjures images of printing presses, Dinderies, and vats of ink—but in this intriguing doe, Seidl refers not to the publishing company but to the man. Gerhard Steidl is revealed through hhis relationships with the master photographers ‘whose work he brings to the world, We see Steidl quizaing Robert Frank (in German) about his ‘early days with Alexey Brodovitch; forcing Gunter Grass to perfect his hand-drawn cover art for the 50th anniversary of Tin Drum; debating Ba Ruscha ‘over whether to compromise on On the Raad (they didn't). We even gpt a revealing demonstration of hhow Joel Sternfeld used an illegal iPhone app to get the forbidden shots used in his book ‘Dubai ‘THE MEXICAN SUITCASE Directed by Tsha Zit 2128er\in Films $10 (available on Netfix and iTunes) Artifacts beget questions: Who made them? What do they signify? Once found, to whom do they right fully belong? ‘The artifucts in The Mexican Suitoase included some 4500 negatives of the Spanish Civil ‘War macle by Rohert Capa, David “Chim” Seymour, and Gerda Taro. ‘Thought to have disappeared, they're now at the International Center of Photog- raphy, thanks in part to director ‘Trisha Ziff But Ziff ventures beyond the story of the negatives! journey to New York to explore their significance ‘5 historical documents, especially for the men and women exiled during the war. In doing so, she ad- dbesses the contribution that a single photogeaph— Jet alone thousands—can malke to the quest for ‘knowledge and, through that, justice.SIGMA LENS for DIGITAL NEW RELEASE Ba~ F4,5-5.6 11DG HSMWhen I started working commercially my it with all my shoots, celebrities or not. And people 80 AMERICANPHOTOMAG.COM JULY/AUGUST 20: Interesting Man, at ‘and Books, New York City Cigar Aficionado, 2010, Fey at Roseland Ballroom, Bequire, 2004. ith the pho! Entertainment dhave mostly been OK with it, Over the started to quickly explain, “Hey, I do this with all my shoots.” But I do feel very self-conscious, as if I'm ‘wasting their time. I realize that they know it's just for me, this thing I do, and they don't mind. Stil, cut it off after two or three shots out of respect for the person's time. don't really know how other photographers deal with celebrities. I never really assisted anybody who did what I do. Many of my subjects thank me Dbocause apparently T give lot of direction. T wall. ‘them through the shoot. I'm very quick, too, even for the 15 minutes you typieally get with a celebrity But if they dig you, you can push that 15 minutes toT just constantly push; I think every photogra- pher must say “just one more” at Least 100 times But there's @ poine where you realize you've bled subjects tey’se done, IU got litle number of frames you shoot. There's this m when [feel like the subje asshole have it yet? How many shots are you to take here?” And I just sense them pulling back. I think every photographer must feel that moment. People have been puishing me toward integrat ing my jumping into the frame in my editorial portraits into my self-portraits, which axe a. long term, personal project and actually the work Pm really proud of. In a way, the jumping-in pictures are at least as realistic us my mundane-lookings self-portraits. The self-portraits are the most p ignant; you really see a regular guy who was single for a very long time, They're so ordinary, but he's flso alone. And it mak an see some similarit self-portraits and my edi the one intent of each is very different, The o are for fun; they're like getting The self-portraits I consider a serious body of work, and I'm thinking they'll stay separate, even though as my life has changed, I've inchided my partner and our son in them, Aesthetically it's all just me; I don’t know any ther way. Put it this way: Pm always amazed when you go into a coffee shop and they have bad coffee land your cookies suck. That ‘nat you de, you'd better absolute dedication. [chink about my work. This,On the Job ‘what To, and I do it in a certain way, according to what Ike and the ideus I developed all the way bback in grad school (I studied fine art at the San Francisco Art Institute). If you look at my self portraits and my editorial portraits, they share a certain feoling. And over time they've changed. The photographs of Questlove and the Worla’s Most Interesting Man are similar, but the latter I think are more relaxed, have a different kind of eneray {that I've acquired in recent years, Styles come and go. I finally have beon doing this long enough that I'm starting to see many eyele through again. Like the crazy digital oversharpen- ing—how Photoshopped thing look. That's kind of come and gone. Right now things are very bright, poppy. People don’t think of me when they think of that as much, You just have to do what you de well. ‘There's a part of me that idealistically wants to be authentic. But that also realistic: If you're not anthentio—wow, man, there's a lot of talented. people out there, Se its good business to be authen- tio. And basically just be proud of your pictures Bob Dylan wrote a few albums when he was ‘youngerhis whole eareer is stellar, but there was ‘a stretch around 1985, "6, when he made his most powerful albums in a very short period of time. ‘And he was asked once, “Does it upset you to think that you'll never be able to write Blonda on Blonddo and Highway 61 Revisited again?” And he said some~ thing like, “Well, ou ean't do something forever. Tid it once: I ean do other things now” You ean only do what feels rue to you at the time, I vend not to shoot celebrities any differently than Ido anyone else, and I think that can help build rapport and in the end get a good picture, Early on in my career, when I was first in LA, you were judged a lot (and still are) by who you've photographed, and I think I resisted that, The self portraits helped me level the playing field, too, be- cause I was photographing myself in ways that did not do me any favors. When I was doing online dat~ ing, girls would say, "Hey, if you're a photographer, you must have a website” My mother was mortified fat some of the pictures had on there, especially the curl ones. [would really let my belly just hang cout. But I was very proud of these pictures, They helped me see just how much everybody is the same. Jack Black was one of my first shoots when I was new to L.A. Iwas working, but I was news Jack Black was a pretty new guy, too. Beyond Tenacious, D he hadn't done much yet. He came over to my apartment for a shoot for Detour magazine, which gave me great aovess to people and great photo spreads but had no money. So [always shot in my little one-bedroom apartment. I lived in Beoch~ ‘wood, below the Hollywood sign, where there was ‘This spread: Questlove (The Roots, Lato Night with Jimmy Fallon bandleader) at Mama's, JULY/AUGUST 2019 AMERICANPHOTOMAG.COM 88On the Jobgiven time, He didn’t want that picture to run, T gave him wasn’t happy with that, He wanted the negative And I'm like, "Dude, I'm giving yeu my word” Labvays stick with my word. Then a couple day later Rolling Stone comes out: Tenacious D on all ‘ng: @ diaper getting spanked with a gui tar by Kyle Gass (the other guy in ‘Tenacious D). I coulkin't believe it may word that I wouldn nd he fours w Cut to about eight years later, Jack Black's on top of his game und I'm ealled in to shoot him for the cover of Entertainment Weekly, So I printed that photoggraph and brought it to the shoot. And they liked it lot. Everybody felt good that day. We all had stepped up in our careers Tina Fey was vervifie to work with. She was the ‘deal subject: smart, witty, totally into it, The whole shoot was very collaborative. She came up with cone shot where she's writing in lipstick on the men's oom mirvor It meant a lot to her at the time After 12 to LA. about fears in New York, we just moved back sight months ago—with a old. So things have been different from when Iwas shooting Jack Black in my apartment. Ironically recently I've been shooting a let for the New York ‘Times. They put very good people in front of my camera. And they're throwing me everybody r. always important to me that my art school bud- proud of the editorial photos I make. It was dies would look at my website and think, "Man, Lewis is still malcing totally ooo fucking pictures” T always wanted to kind of keep it cool, And it is an ing thing for me, looking back, to still be photographing these portraits and realizing that no, Ihaven'e sold out, Ag told to Meg Ryan He JULY/AUGUST 2013 AMERICANPHOTOMAG.COM 85Pt , The People’s Brandon Stanton’s mix of images, text, empathy, and Stanton estimates that he walks six miles per social media has made him the most famous street day and one mile per subject, His pace quickens photographer working today—and his Humans of New Ss Ss S08 Si ees Te appeonchos York a pop-culture phenomenon. sy micHaEL KAPLAN: them gently, collapses his lanky six-foot-four-inch tis coal May fterncon in Manbatans helen negibornot Brandon Staton the stot plotgeaphy phenomenon wo int tro ands fife as dst millon flower bscon Fass a Tumblr Ns ino Now York proj, rows tet of Wes {th Stet, Dees in beat-p chino anda gry he tl shins Caton FO3SD Mark Cosh Som P12 Tons) thet in his hae, bo mars ut Sts Ch th Caring th worl mht prs. sled thor else Seaton 2c arte Stace lols fx dot have pater? he ys "But ifyou oul cimver pater rebut Hider el poont”witha bunch eotnos teen between, 88 AMERICANPHOTOMAG.COM JULY iG frame, and morphs into an innocent New Yorker ‘who's looking for a quick exchange of positive energy and easy collaboration, ‘Once they agree to be photographed, he subtly positions them on a stoop, crouches down, reels off'a few shots. Next comes the critical task of letting a quote that will necompany the photo ‘when it appears online, He begins with an obyi~ ous quostion: What's the worst thing, yous ever ‘saw happen in the Kitchen? “A guy's face caught tn fire,” Next comes the not-~so-obvious follow-up. Stanton wonders whether they laughed. “We did,” one ehef volunteers, “after he went to the hospital land we knew he was OK.” Since 2010, Stanton has posted some 5,000Photographer photos to his website, He's appeared on the Today show and has « Humane of New York book coming out from St, Martin's Press in the fall. ‘That publication is probably the least interesting and most traditional ‘medium for Stanton’s work. With Humans of New York, he has done nothing less than create a fresh form of photography that capitalizes on the eonnec~ tive possibilities of social media. In doing so he may ‘represent the future of photography itsell. He is his own editor, curator, and publisher, and his audience is langer than any traditional medium could allow. ‘Stanton’s wide-reaching success heralds a new era ‘when what: matters to the viewer is having. a direct connection with the artist and his work. His audience doesn’t care about credentials or eredits, or the fact that he only started shooting regularly & few years back. Thanks to his prolife digital output, he's quickly evolved into one of the world’s more popular photog- raphers, corralling nearly three times the Facebook likes of, for instance, Annie Leibovitz been a well-known ‘one of the full captions for ok for them on yorkcom, Among the schoolkids of Gotham he maintains rock-star status—as evidenced by the dozen or 0 teenagers I see approaching him, including one boy in a red sweatshirt who shakily asks, “Can T hug you?” Stanton’s analog humanity in a world gone madly digital has clearly struck a nerve. ‘Stanton’s daily quest to chronicle five or six interesting lives began as a hobby in 2010, when he ‘was trading options in Chicago. The job became a ‘grind and he unwound on the weekends by talking pictures downtown. After getting Inia off, Stanton ociced to focus on the singlo thing he loved doing: photographing interesting strangers on the street. ‘Tho surprising but revelatory eaptions—such as one from a hookab-smoking fellow who declared, “Fgypt is ike 2 mango"—grew out of conversations with his subjects, His aha moment came after he posted an image of a green-haired woman dressed in green. “Te wasn't a great photo; the lighting wasn't good ‘and I botched the composition,” he recalls, "But she LY/AUGUST 2013 AMERICANPHOTOMAG.COM 37said to me, ‘I used to be a different calor every day Then one day [tried green and it was a really good day. ve been green every day for 15 years’ I put the photo up, added the caption, and it became the ‘most popular photo T ever posted.” Quotes became integral, visits to the sito inereased dramatically, and Stanton’s confidence lifted. “The first thousand fans you gain by the quality of your work,” he says, adding that he wont from zero to 8,000 in one yer and 9,000 to 300,000 in the next. “You reach a point where people give you a chance because so many other people are following you. Once T started getting. 10 or 15 new fans per day, I knew I'd go to a 98 anmmicanpsomomace: y Haslem.” Stanton says, “She ot. "The older the eubje cto stand the ° rullion, Pim a hard-ass worker, I know I eould ‘work harder than anyone else These days he routinely receives (and declines) corporate jigs, and offers for promotional deals roll in (he turned down Canon's social-media arm because they wanted him to promote a camera he doesn't use). He did one gratis deal for Facebook — the company Stanton says played a major rele in HONY's existence, “Faeehook changed my lif” he explains, adding that discussing it actually males hhim emotional. “Everything has been possible for HONY because sociai-media platforms showed an interest in this new artform and found an audi- ence for it, HONY would have a hurd time flourishing under search engine optimization, which helps you find things you know you are looking for Social media helps you find things you didn’t know you were looking fon” Scubbornly independent, Stanton says that he hhas no problems with making money. But it has to be on his terms, He gold some print to for Hurricane Sandy relief. After DKNY used his images without permission, Stanton passed 40 AMERICANPHOTOMAG.COM JULY/AUGUST 201up the opportunity to sue oF settle and received ‘good guy status for life by having the company ‘make a $25,000 donation to the YMCA in Brook- yn’s Bedford-Stuyvesant neighborhood, where he ‘works out every day. ‘Stanton hopes that he's creating his own genre of photographyy—he didn’t even know who Di- ane Arbus and Garry Winogrand were before he started shooting, When he thinles about success, he thinks about spending half the year traveling to world capitals and photographing his Humans there, “T want the money to facilitate what Tam doing; I don't want what Tam doing to facilitate the accumulation of money,” he says. “T have very livtle overhead, I love taking these pictures, and it's what T would do if Thad all the money in the worl. So why do I need the money In Chelsea, Stanton spots an old man in a red windbreaker standing unsteadily next to a traflle light. Stanton charms him into posing, then asks ‘him to name his greatest struggle, “Getting across ‘this road is going to he pretty tough” he says ‘That's when Stanton lies down in the street and photographs the man malking it to the other side Stanton quickly finds his next subject: a bearded man holding a walking stick. After his shot, the photographer bounds back and reports, “He asked ® me if wanted to hear the world’s greatest hail ‘Then Stanton adds something that eneapsulates the small wuths of Humans of New York, "It was solid. But all that mattered is that he thought it, was the greatest.” APThe People’s Photographer Clockwise from top ly cool a the background of ti Humans of “"" Other Places ats thelr Fashion Woe HONY is so popular, it's no surpise that copycats around the globe have sprung up. 1 was walking on the Upper Hast Side, and 1 Maybe Brandon Stanton makes it look too easy. Or saw a fw ons 00ftep, else people fallin love with his efforts to eonvey a Tsupped the photo gity’ character through portraits ofits people and ofits PEGE Jong to bo a part of ft any way they ean. Whatever ncn ws the case, his Humans of New York hs inspired ‘over a dozen other Humans sites, stretching from ‘Generally, Philadelphia to New Delhi to Melbourne. While grandparents on the Stanton is ab best ambivalent about the copyeats, ‘he appreciates that his work has inspired them. “Artistically, | want to encourage everybody” he says. "It’s against the spirit and ethos of this proj- ‘ect to prevent people from doing what they Stanton doesn’t endorse any of the other Humans sites and says he doesn't look at them these days. Here are some of the more interesting imitators, Each of them has a Facebook following. Portraits of Boston This sorios stays true to the HONY style with interviews and questions, and its photographer averages several posts a day. Souls of San Franelseo The Souls site has ifferent name but a similar format, and it features close-up portraits more than environmentals, ‘Humans of Stuy This smaller group focuses on students at Manhattan's Stuyvesant High School, ‘where Stanton is beloved, ‘Humans of Tel Aviv This spinoff shows off the Israeli city’s diversity and reality on the streets, ‘lumans of Tehran Open for submissions, this Humans site gives viewers a glimpse into the everyday lives of Tranians. With 14,268 likes, i¢ emerged after Stanton traveled to Iran himself Facebook: is blocked there; Stanton has 25,000 Iranian fans anyway. {ULAVAUGUST 201? AMERICANPHOTOMAG.COM 48ome od 5 ere Opposite: Gold Mine, Lead, Pte reece) cons 7 44 AMERICANPHOTOMAG.COM JULY/AUGUST 2Full Immersion When a photographer plunges deep into a subject, the result can be a stunning, career-making body of work. We found three such projects by people whose names we think will soon become familiar. These shooters go above and beyond to show us worlds that, without these pictures, we would never have otherwise known. BY LORI FREDRICKSONBryan Schutmaat During a your in Roseman, Montana, Bryan Schut- ‘maat, now based in Brooklyn, New Yorks, became fascinated by the nearby mining town of Butte; he hhas captured the area on and off throughout the six vears sinee. His Grays the Mountain Send, begun in late 2010, was influenced by literature set in the re- gion by Richard Ford, William Kittredge, Raymond Carver, and especially post Richard Hugo. "Hugo's poems were often inspined by real-life towns he called ‘triggering towns; and so I began visiting them, searching for material just as he did,” Schut- -maat says. Like the poet, he would look for im= rages based on what Hugo tormed the “truth of his feclings"—a sense that continued as he went farther north and south of Hugo's known territory. Schutmant searched for places with an industri- al history, loosely planning routes from one mining town to the next. But- most of the time he just set off on the road, stopping ut sites that spoke to him, “T wandered in and out of these towns in & con stant state of observation,” he says. He also stopped, 46 AMERICANPHOTOMAG.COM JULY/AUGUS' in countless bars and diners, and his conversations with strangers increasingly led him to make por~ traits, both on the spot and in miners” homes lis most memorable visit was with a former ‘miner named Chuck. “We ended up sharing a bottle of whiskey as he told me about his years mining, and driving a bulldozer in Butte, about drinking and getting into trouble” Schutmaat says. Chucle also told Schutmaat about the loss of his son, killed in a construction accident. It reminded Schutmast of his own loss: "During the whole time I was shoot ing the project I found myself thinking of my father, and his dreams, and the way he would have gotten along ith so many of the uve Iwas meeting” ‘While he remains in touch with a few of his sub- jects, including Chuck, most ware b fa journey oovering thousands of miles and span- ning more than 50 towns and as many wilderness areas. His photos will be on view at the Catherine Edelman gallery in Chicago this fall and the New space Centar for Photography in Portland, Oregon, in the spring of 2014, However far his work ranges, Schutmat is still inspired by his initial here, “Rich- tard Hugo was, in a sense, my eopilot." he says, jaf moments inFull Immer Montana (2010), National For Montana ¢Full Immersion Brandon Thibodeaux Brandon Thibodeaux had a more than glancing un- that aside, the Delta was the quietest place I could derstanding of the Mississippi Delte’s complicated think of to ride my bike, meet people, and do what history when he began photographing it. He grew I did on a daily basis back home.” up in a nearby part of Texas, and as a journalism ‘Then a now acquunintance invited him to Sunday student at the University of North Texas in 2006 Iunch at the home of the Coffey family in the town, he focused on agricultural economies. But he didn’t of Dunean. This became the crux of a long-torm travel there until 2008, And though by then he photography project and sparked what, Thibodeaux ‘wus a freelance photographer, hel come simply to now considers some of his most important rela~ escape Dallas for a while, “In one way Twas looking tionships. The Coffeys are well known throughout to apply my knowledge from school,” he suys. “But the neighboring towns, and Thibodeaux found 49 AMERICANPHOTOMAG.COM JULY/AUGI 3 “Above: A murmuration of black birds swarms over Mound Bayou, Missisalppt 2010).‘them incredil that he hadn't yet experienced muuch in Dallas. “Their ccandidiness, and their openness for me to be there, warm and weleoming in aw ne family, was almost astonish that particular time i was incredibly meaningful to me" (Over that hunch and the ones that followed, the Tike [was part of € ingly immediate” he says. “At photographer opened up in conversations at music, religion, and relationships, He became a sort of confidant even as he remained an outsider to the ‘community. He photographed the family the day they met, and his camera has sinee come along on many Sunday lunches, during which the Coffeys have introduced him to friends. As he turned this growing portfolio into a longer documentary proj- ‘ect, mentioning the Coffey name helped him meet ator and Bo Bo, es, When the Morning Comes, strangers in towns such as All The resulting ser took root over four years he is now developing it into a bools, He hopes that by introducing’ the faces and names of those who live in the Delta's 1 towns human lives ight ‘ordeals, Most of all, his work is a tribute to the demographics—he might hi years Thibodeaux has spen who, whe alking with strangers he needed it, weleomed him in, c AMERICANP OTOMAG.COM 49Erika Larsen “My original plan was to photograph nomadic communities in South America,” Larsen says. Having had an interest in human migration since the beginning of hor photography enroer, she dovided nine years ago to commit herself long term to a project that would allow her to experi= fence how these cultures really live But Larsen’s early ventures into the Southern Hemisphere weren't the right fit, in part due to Ianguage barriers and the need for guides. Then, while researching nomadic groups elsewhere, she Above: T learned of the Sami people, of the arctic region ris from Kantoleino from northern Scandinavia to northern Raxssia, __‘No#wars dressed for While historioally known for herding reindeer, in the past few decades the group has langely been urbanized into Soandinavian culture, About 10 per~ cont still live within Saamis (villages where b crs live in season), bringing earibou back and forth botwoon winter and summer pastures each year. Larsen's introduction came by way of «family from Saltoluokta, Sweden, in 2 stay with dat family, she realized this was a sub- ject she wanted to explore more deeply. And having wer a few weeks! c AMERL COMBAFull Imme: ion lahways been a believer in complete immersion, she moved to Kautokeino, Norway, where she lived as a family’s housekeeper for more than two yeurs. She looks buck on her easlicr images, many of ‘which are collected in her book Sami: Walking With Reindeer (published in partnership with Emphasis), ‘as come of the most valuable for their detached view ‘asa spectator. “Everything, at the beginning, was fresh and unfamilian” she says. Larsen was in Kautokeino for nearly a year bofore she had earned enough money to sustain a longer visit by selling photos to various publications in the US, At the and of the first year, she received fa Fulbright fellowship to study the Northern Sami language at « local university Learning the language gave her access to older, non-English-speaking Sami. And it allowed her to ‘understand conversations when she took part in the reindeer migration herding, which thes up 10 six weeks each in the fall and spring, These jour- neys gave her some of her most important lessons in how and why to capture certain documentary images. "I would photograph reindeer in close-up, bout I bean to notice that Sami herders were inter~ ested in studying them from far off, to anticipate their migration,” Larsen says, Har observations boegan to shape how she photographed. Larsen concluded her photograph series in 201; she says her relationships with the people she pictured have grown rather than faded in the yenrs sinee, Discussing her experiences, Larsen easily falls into the description of customs and traditions in Sami verms, “I don’t think IL ever get the Sami out of me,” she jokes. ny life now." AP rorle on the: Clockwise from above Snow shoes made of reindeer skin (2009); (2010); Elle Marja Gasp Gaup with hor horse Tarzan (2011); Nils Poder Gap (2040).LIVE THE MOMENT. CAMERAS HAVE COME A LONG WAY, *S TIME YOUR CAMERA STRAP CAUGHT UP. With the introduction of The Original C oe at any i Roe eae BLACKRAPID.HANDS ON GOING BEYOND MANUAL Zeiss releases its first autofocus lenses— and they're for ILCs Zeiss has gone out on a limb with its new Touit lenses, and not just by naming them after a small parrot. The vener able optics maker has for the first time created ‘2 series of autofocus lenses, and they're designed for interchangeable-lens compact cameras with APS: snsors in the Fujifilm X-mount and ‘Sony E-mount systems. (For this review, I shot extonsively with the 12mm {/28 Distagon T* and the 32mm £/18 Planar T* on Sony's Alpha NEX- 7) While there is a lot to like about the lenses, not least the optics themselves, these first entries in the line are certainly not without growing—or maybe shrinkcing—pains For Zeiss, optical performance is clearly the primary focus, The 82mm lens (equivalent te a “normal” 48mm in full-frame terms) is extremely sharp, even when used wide open, It's the kind of sharpness that makes you smile as you admire your subject's eyelashes at 100 percent magnifica tion. The 12mm lens (an ultrawide 18mm full- frame equivalent) is similarly sharp and, while it sll produees some unavoidable distortion, this does not som nearly as aggressive us other lonsos ‘with comparable fields of view: sized Nearly circular diaphragms make for smooth ‘and attractive bokeh—even the eizeular specular highlights look pleasing. From a contrast stand= point, Touit lenses seem a litele flatter than some of their DSLR-lens counterparts, but count that 4s a positive, since they produce a clean digital image that fares extremely well during processing, ‘The limitations of these lenses become immedi ately apparent when you look at autofocus, Focusing is slow, and the 32mm has a tendency to hunt to the point where shooting fast action becomes frustrat~ ‘ng. The 12mm lens is faster to focus, but in many situntions it fnls slower than the camera's standard Ikit lens. The AF motors are loud enough that us ing them during video mode renders the eam ‘onbourd audio recording mostly uscless (it's akways better to use an external mie with video, anyway? And lack of optical imayp stabilization—which would be nice but can reduce sharpness overall—is also a nogative when it. comes to shooting motion. ‘Things do improve substantially in manual focus. The movement is driven by electronics, $0 it can’t perfectly replicate the feel of a traditional MF lens, but the focusing action is responsive and accurate enough, even for fine adjustments, The Foous ring is made of smooth, grippy rubber, which may take a little getting used to, but the overall ‘manual-focus experience is gratifying. While many Zeiss DSLR lenses skew larger than their competition, the Touts are compact and surprisingly light. Their metal bodies feel ns if they'l last for years; their lens hoods, though plas- tie, have an appealing burliness; and the T* coating sinimizes reflections beautifully. These new optics really provide everything you'd expect from Zeiss Jens in a much smaller package. AP JULY/AUGUS" NOTEWORTHY SPECS FOCAL LENGTH 2mm anc 2mm APERTURE RANGE 1/28-22.ane {118-22 respectively MOUNTS Fun X, Sony E LENGTH Up to in. 28 mm) and 20 n.(78mm), respec depending on mount FALTER SIZE 67mm anal 2mm, espactvaly (CLOSE-FOCUSING DISTANCE. Tin. CB enn and 118m sn, respectively [BUY I $1,250 and $000 spective enses.z0iss.com AMERICANPHOTOMAG.COM 85THE GOODS The best new stuff for work—and play photographers, this pricy s BV IT 11800; usa.canon.com rooteran inte portal mode. BUY $000; conv us/montors 56 AMERICANPHOTOMAG.COM JULY/AUGUST 2¢= OLYMPUS PEN oO ANNIVERSARY HOMAGE ‘ympus Pen E-5 For this updatsof ts Pen ne of Micro Four Thirds nt Olympus took a step back-—to the 186. its ste drawn from the orignal Pe Fof 0 years a, Du the naw Pan E-P5 boasts decidedly 2ist-cantury specs. With IMP Live MOS sensor and -uePio VI processing thats in Olympus's excellent OM-DE-MS, the new camera captures bursts of up ‘ames per second (with continuous autofocus of and boasts an aotion-freezing top mechanical: shutter speed of /2000 sec. The pop-up flash can be used to trigger off-camera units, and in auto hangeable-lens compacts, mode the camera allows remote View, focusing, airing va Androld and 10S devioes-W-Fl and GPS are built in. las, no viewfinder; the new 2.38 million- 3S Dallas Jun-22 Chicago Jul-13 Cleveland Aug-10 Phoenix Sep-7 UCTS oo DA a ero) PEC Tt ge Presenting Sponsor SIGMA American Photo Come try out the new tine of Model Shoot: Sigma lenses and Sigma SD| camera! eedGear CAMERAS COMPARED Quick takes on all of the APS-C-sensor compacts—and the one full-framer Camera lens Sensor Pros Cons Buy It bate 162MP —_—‘Thebest priceandmostdiscreet Image quality atits bests only $800. is Gos styletnte category, fastand through 180-400; by 1s0 1600, Fela, ‘@fimm) intutive contr systam nolseinterfores aeso tasmm Image quality extremelyhigh AF sows inlow ightandclose- $1,000 128 Ghiog, —-“UENISO eOO;goodnolse ups; somernddball controls, mmusacim. mm ontraluntNSO S200; tkes _pleay (8800) otal ender ‘8mm 49MP_ The Foveon sensor's three-layer Slow in-camera JPEGprocessing $1000 tna (33MPx design produces smooth transi Sndhuge losis makeltmucre Se {hsm S-layer)” —tlans between colors nallthres Better to shootin RAW ‘Hatoaon Foveon” —_Sigmacameras zm 1e5MP ——estimage quality ofthelot___-NoRAWcaptureatthe highest $1800 2 cmos througr Souaa-SccellentTybrid andlowest SOs nlge becomes Stn, GAsmm) ‘iewtinder builtin ‘problem at 180 1800 ‘com, 35mm 243MP —Fullframesensorandfastlens Expensiveandrelatively big: $2,800 2 fullframe createbest image qualtyand external electronic viewfinder Is smut CMOS. shallower depth a eid costly option a nm jeimp Extremely high image quality No video capture; somewhat ‘$2000 ia MOS through 18080, Image stabi sWdlsh AF slenificantly higher SIME, (Gem) tlonforsiowshutterspeeds rics thanother APS-Cmodals 30mm 46IP Image quality extremely i ‘Same sensor and image proces- $1000 PT toe cee eal [nee as (45mm) X-layer) focusing dualmenusysiem _andconsarethesame son 80mm 4aMP Long focaltength for portraits Telephoto ens can be timings wae sam andttoceane Gvesamere’” other prosfeons same asthe mm) Sao flattering look rest of the DP Merrilis manually and indies anyone trying the Ifyou want to shoot macro or if conditions are sufficiently dim, you can flip a switch on the front of the body and itll change to a 2.36 milliondot EVE Autofocusing proves fast in bright or medium light—as is true of the rest of these cameras. ‘Nikon's Coolpix A has the feel of the most pow erful compact camera you've ever used. In bright light, it foouses quickly, but it slows noticeably {in dim light-and tends to hunt excessively when shooting in macro mode. It boasts two assignable funetion buttons, but there are limits to what ean be assigned to each button (a common drawback in Nikon's lower-level DSLRs). Teiea’s X2 improves upon some of the finer points of the Xt. Focusing is faster, though still abit sluggish compared with most of the other ‘cameras in this category. It's the only compact here to inchide image stabilization, but otherwise it doesn't distinguish itself, handsome design and tos depth of field—usaful for 8 and be there" approach, 62 AMERICANPHOTOM AG.COM JULYAUGU iconic red dot notwith- standing. The quality ofits imaging is in line with the other APS-C: sensor compacts, ‘Sigma’s DP Merrill series cameras differ from one another solely in their lenses. Autofecusing with all of them is somewhat slower than with other compacts in this class. Their well-desigmed dual control-panel-style ‘menus make changing sottings much faster and easier. But where the Sigmas really shine is in the beautiful detail they ean produce while deliver ing ultra-smooth tonal transitions. Their Foveon sensors produce enormous RAW files that make jn meh amet thon. in-eamera JPEG processing impractical, but with (he om arlier GR ‘care and the right subject matter these might be pensive on this list, also has Digital line of compactsLeave the baggage. Take the power. raed our new Pyerittad sic! Ey ‘The NEW PHOTOGENIG ION... pki aaa vie SINE WAVE INVERTER thotogs frst. But now you can Hs Mong chs {$25 Rebate New York Institute of Photography tuctig Photographers See 110 SUBMIT YOUR PORTFOLIO FOR REVIEW! Have your work critiqued by experts from Popular Photography and the New York Institute of Photography, and receive guidance and mentoring for future skill development. Our Online Portfolio Review is the go-to destination for photographers of all levels who want to take the next step in creating an unforgettable portfolio. Sora ies ae $69 One portfolio will be featured in an upcoming issue of Popular Photography! SIGN UP TODAY ccpphoto.com/ontineportfolioreview Tr eee ones ee Ga A = ~ oy yA2the only cameras in this category that can seriously compete with the amount of det delivered by the full-frame Sony, That sai many photographers might not want to deal with RAW conversion when using a ean from the side, the umaatian cera like this, but if you're OK with a slower, Sony’s Cyber-shot RX more deliberate shooting pace and proces fs only slighty Langer ing after the fact, then the DP Merrills deserve consideration, especially if you don't ‘want a wide-angle Tens. Ricoh’s GR looks almost exactly like the GRI film camera the company introduced decades ago. Despite its Spartan style, it provides a wonderful shooting experience, A small rocker on the back: gives immediate access to exposure compensation (no holding buttons and twirling dials here), and each of its multiple assignable function buttons ean acoept any of 26 settings. Speedy autofoous in both regular and macro modes, close for ceusing to loss than 12 inch and finely detailed images left us wondering, if we'd want to spend the extra money on the Nikon, its closest competitor. At $800, the GR is the bargain of the bunch, ‘Then there’s Sony's RX1, Shooting with this litle tank has a more luxurious feel than any other compact—more a rangefinder, though without the signature framing and focusing experience of those cameras (or of ‘the Fujifilm X100s, for that matter). There's 1 precision and elegance to the camera that didn’t come through with any of the others in this category. Add to that the highest level of imaging to ever come out of a camera this size, and you'll soon find that you've almost forgotten how much it coste. os in regular mode, ‘The Winners: Photographers Ityou ignore priee, the Sony RXt steals the show. It the most pleasurable to use andpe only camera this sie with a fall-frame digital Realize the unlimited potential ofeach image! fine arts lab, focused on customized jobs to} meet the immediate needs of the artis, as wal las insuring the archival fe of pints Vist us at hwwwaustumncolarcom or cll 800-533-5050) OMNI-BOUNCE bon ooh ns slr id Seaver ony Ss» $20 soy ha asad tA STO-FEN PRODUCTS 800-538-0730 Pb ota A worerstofen.com Lah and pack Supertlephot ete “Chis Dodds Profs ou chroot com, Daas: verify all fear author delivers the best images of the bunch. If you pay attention to price most of all, the Riooh GR is the easy winner, It delivers a wonderful shooting expe rience along with images that rival anything you'll got rom any of the APS-C-sensor compucts, Fufifilm’s X100s-will appeal most to street shooters and deliver the most image detail next to the Sony. Sigma’s DP Merrills, meanwhile, ap- pease the cult following of Foveon enthusiasts, and if you're not chasing action shots and plan to shoot RAW anyway, they can produce images of stagger= ing beauty. You just have to pick a focal length ‘Nikon shooters will foel immediately at, home with the Coolpix A's DSLR-Hike menus and fa miliar buttons. This compact offers a simple path to excellent pictures with remarkably low-noise JPEG images all the way up to ISO 8200. None of the others, save the RX1, ean control noise in JPEGs as well as the Nikon. It’s hard to point to one winner in this bunch. Speoial photographic requirements asice, we don’t think any of these eameras will disappoint And if you neecied proof that the est of times for high-quality digital compact cameras is at hand, that is it, AP jobu ‘design | STC ody | eis impos eee oro aresIt’s a Man’s World ive years ago, London-based photographer asper White went to a New Year's Eve party held in a shed in rural Australia, His brother-in-law, Pete Walker, was from the area und explained that the sheds—large, freestanding units the size of a garage or guest S.—were ubiquitous in many of Kept exclusively by «ds are part of an old-fashioned, alian cults tradition: and the mon keep a separate retreat to induli their hobbies, Like an adolescent's bedroom, sheds are deeply personal and intensely maintained, Of course, similar man caves—in basements, spare rooms, and garages—are common all over the ‘world. When the photographer was 1 child in the United Kingviom, his futher, a seientist, had a shed; 66 AMERICANPHOTOMAG.COM Photographer Jasper White explores hobby sheds inthe Australian outback ny smu. ¢. swoxmn he blew it up while experimenting with rockets Because White's work at home frequently explored the relationships people have with territories and space, these masculine structures, {aseinated him. "Each shed becomes an extreme focal point of human individuality in a barren wasteland,” he says. He began a long period of traveling to the Australian outback to meet the Joeals and photegraph their various sheds. More than 80 of White's shed images are now being collected into a book, and a small selection were shown at Gallery Nine5 in New York in 2012 Depending on the township, Australian sheds = ‘might house steam engines, airplanes, full bars, joven @ dance club. The one shown here houses the = prized possession of a car enthusiast: named Rustin. ‘oho goes by his first name only): « beautifully maintained 1971 Buthurst RT Changer APPHOTOGRAPHY VIDEO GEAR TECHNIQUES LIFESTYLE From the publishers of Popular Photography & American Phoiowelcome fo... » - / Imaging Edge ith the September issue. GEAR + GADGETS imaging Edge will explore the ing and viek filmmakers of all le EXPERT INSPIRATION ir wil al ide inspiration and fal Including + Expert, Instructional Video Series + Imaging Edge Blog * Online Digital imaging Hub + Destination Weekend Workshops get your free first issue of Imaging Edge Jarn more about the pr IMAGINGEDGE.COM jd MeLein Sony Artson of Imagerystep right up In each issue, this column will contain the honest feedback, images, and reaklife experiences of photographers who are using Sony's DSLR, ILC and point-and shoot cameras, video ‘cameras, lenses and accessories. Find out how fun—or challenging—these products are to master and how they perform in real-world situations for photographers and filmmakers ranging from casual vacation shooters master portrait artists. Along the way, we'll explore first-hand the advanced features and controls that can help these tists toke their imaging to the next level. Participating photographers and filmmakers will be chosen from the readers of Popular Photography and American Photo, so visit imagingedge.com for details on how you can be ‘among the lucky ones who get to te some great Sony prod Photos (C) Michoe!J.MeNemaremara Pid a MeNtomore Some planning, and a lot of luck! very day we're bombarded commercials, on signs and websites, and even attached fo the emails in our smartphones! Most don't catch our eye, but the great ones rise above the m wd and beg for an explanation as to how tol on how to be selected. Then, we'll de ply into a behind-the-scene: look at how the im cteated—from the original concept that inspited the photographer to the actual equipment and techniques used fo capture and polish the final image.el ot J] i : ‘ Nea eT nmi fe] Rr Ra un adi hed sarees ie . air rl BeLtens i a fee er Cen an easeencle sere nent isrd an exciting cross-section of imaging products, focusing on Sony cameras, lenses. and accessories, Se eo See Pee og iy el aR Re as Pos eeeue A Neen ast Ripe tae i y business and the services they can provide to Te Re aE eer od Sf oe BOTS nee ma cmaneret- Ts eT aE Pree eat-in eau SMR ReMi IR Merchant rola) Photo (C) Michde| J. MeNomovo.SONY moke.bolieve 099 tulframe DSLR XI fulkfarne compact \V6900 tultfame comeorder! capture what defines you full-frame quality across the board Now you cor pure b ly defocused backgrounds and pristine detail in low light with a pocket-sized camera, pro DSL? or interchangeable lens camcorder. Each mode is armed with Sony's stunning new Exmor” CMOS 24.3MP 35mm fulHframe sensor, and no other manufacturer delivers @ more complete full-frame lineup. Power of imaging. Be moved. sony.com/fullframe