Gary Braasch has photographed climate change more extensively than any other photographer. His book Earth Under Fire is a definitive work on the subject.
Find out about Gary Braasch here.
Find out about Earth Under Fire here.
Gary and I have been talking at length on many subjects. Here’s the first installment of our conversations.
John Paul Caponigro
Tell me about climate change. And tell me about your book – Earth Under Fire.
In June 1997 I was stuck in a cold tent on the Alaska tundra with fellow nature photographer Gerry Ellis. We had come to photograph caribou and other tundra animals, but for these weeks, anyway, we saw very little. But while we read our books in the tent and talked of life and photography, we also chatted about the major issues in nature and conservation. What were we going to do in coming years: what locations, what species, what issues were going to be the most important to photograph?. And also, who was going to hire, publish and pay us for this? Read More
Annie Leibowitz answers 10 questions for Time magazine.
“What can’t be captured in a photograph?”
“A photograph is just a little, teeny-weeny, small piece of life. I feel like I see so much more than what I can actually get. I believe strongly in the power of the still photograph;. it can say so much, but it really is just a small piece of what actually is going on.”
You can see the video here.
Father and son talk art.
Here’s an excerpt.
JPC O’Keefe once made the statement “You must learn to love the paint.” I think this quote very much emphasizes the process of being alive to one’s materials. I think the same needs to be said for one’s subject and oneself. I feel a work of art is great to the degree that the artist is truly alive to all three of these things. We touched on how to identify a work that is truly alive. If it is, is it a great work of art? If so, why is this so often confused with technical mastery and historical or ideological relevance.
PC The only way a work of art can become great is for one to acknowledge that it doesn’t belong to anybody. The greatness is in constantly giving back, coming to an acknowledgment of the source. Look back to the source of any individual, any process, any set of materials. If the individual personality can relinquish its insistence on concepts like “this is mine”, “I did it”, “this is original”, “nobody else has done it”, it goes straight for greatness or the essential spirit. No matter how simple the idea might be, it is compelling. Because the source has been allowed topermeate or inspire it.
Read the rest of the conversation here.
Find out about the new Running White Deer inkjet print here.
Alternative process master Christopher James speaks in this in-depth conversation.
“The salted paper process is unpretentious, low in acidity, with hints of pencil lead and musty cork and intense spicy aromas of cinnamon, beach plum, and low tide. It has an “old world” nose and often pampers the optical palate with a touch as light as a feather. A perfect salt print has shades of aubergine and is delicate, subtle, understated, and prized for its shyness.
The kallitype is a muscular and exuberant process possessing, upon first impression, a rich, briary, saddle leather, and full bodied character that would pair well with sardines or fried clams. It is so black it even tastes tarry. But if the intensity of the blackness borders on too severe, it redeems itself with textural finesse. Often mistaken for platinum, the kallitype has a reputation for yellowing in its highlights, a condition that can be rectified by developing it in a soothing blend of sodium acetate and ammonium citrate.
The anthotype is a charming and organic process that celebrates all of the components of a great honeymoon… flowers, alcohol, and long exposures to sunlight. It is a fragrant and aromatic process that is chemical free, magical, and yields a romantic and diffused image that Pre-Raphaelites and grammar school children love.
The gum bichromate process is a mischievous little technique that is renowned for rewarding the playful and patient. Practitioners who indulge in this time consuming exercise are universally pleased with a full throttled and multi-chromatic runway to creative adventure. Gum prints are dense, chewy, and robust and improve with age. When they have reached their perfect end, they are loaded with opulent, even unctuous layers of fruity coloration, and a huge bouquet with a plump, luxurious, texture that is quite decadent.”
Read the full conversation here.
Read this month’s issue of Camera Arts and see a portfolio of Chris’ work.
Find out more about Chris here.
Find his new book here.
Sign up for Insights and get previews of upcoming conversations here.
Acclaimed wildlife photographer Moose Peterson speaks in this in depth conversation.
“Our travels and experiences translates into having one of the largest collection of images of threatened and endangered critters on the planet. While we’re very proud of our own efforts that have made this possible, we’re sadden to think that six species can only be seen in our files. That’s because they are now extinct.”
“Very early on it was obvious we couldn’t go this task alone, of saving our natural world through our photography. We needed to enlist the help of other photographers. While some won’t see it this way, I fight for photographers nearly as much as I fight for the critters. My sharing of what I’ve learned is a desire for other photographers to get out and make a difference sooner, faster and better than I by taking what I’ve learned and moving forward and not having to waste time reinventing the wheel. Finding solutions to problems comes from what my students want to learn as my own desire to improve my photography. In some aspects, they are as much a driving force to my learning as my own needs.”
Read more here …