Video of Constantine Manos Talk/Slideshow for Magnum in Provincetown

1x1.trans Video of Constantine Manos Talk/Slideshow for Magnum in Provincetown

Copyright: Constantine Manos / Magnum Photos/ USA. 1997. Daytona Beach, Florida.

Constantine Manos shares his early black and white work (“Greek Portfolio” and more) and his recent “American Color” and “American Color 2” work. Don’t miss out on this incredibly informative lecture!

Part 1: Constantine Manos Talk/Slideshow

Part 2: Constantine Manos Talk/Slideshow

Costa Manos Video Documentary on Gospel/Blues

Streettogs Academy Assignment No. 4

1x1.trans Streettogs Academy Assignment No. 4

Thank you to all the street photographers who are keeping our Streettogs Academy Facebook page a very nice and active community. Thank you for all of your participation and to Jomel “Dada Bear” Bartolome for our previous assignment. Our Assignment no. 3 editor’s choice, Bertrand Domas came up with a nice assignment for us. It was inspired by one of his favorite photographers. To pull it off, you need to have mastery of one of the basic types of light a street photographer encounters.

Given those thoughts, Bertand’s assignment for us is….

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Day 2: Magnum Workshop with Constantine Manos Notes, Video, Photos

1x1.trans Day 2: Magnum Workshop with Constantine Manos Notes, Video, Photos

Copyright: Constantine Manos / Magnum Photos. USA. Daytona Beach, Florida. 1997. Costa told us that he waited hours to take this photo.

Just finished Day 2 of the Constantine Manos workshop. Here are some notes during the critique session which I found invaluable:

Lots more detailed notes and videos below!

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Day 1: Magnum Workshop with Constantine Manos Notes. Videos, and Snapshots

1x1.trans Day 1: Magnum Workshop with Constantine Manos Notes. Videos, and Snapshots

Constantine Manos Lecturing. Provincetown, 2014

Today was my first day of the Magnum workshop with Constantine Manos which has been absolutely incredible. I’ve put together some notes I wanted to share with you guys, for those who couldn’t make it. I’ll put together a full write-up of the lessons I’ve learned, but read more to see all my notes so far!

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The World of GlassWeegee (NSFW)

(A.g.’s note: Some of the photographs in the article are for mature audiences only. Viewer discretion is advised. Words by A.g. De Mesa. Interview and questions by Eric Kim. All photographs are the respected copyright of Dougie Wallace)

1x1.trans The World of GlassWeegee (NSFW)

Through the years of photography, the question weather the photographer is but a mere passive participant in the scene and subjects has been debated through in through. For a person like Dougie Wallace who actively documented Blackpool, witnessing how England’s generation is growing up in a place where Lads go to get hammered and ladies let go of their inhibitions, can we argue that the photographer itself is merely an observer? Or perhaps the mere presence of the photographer brings about a certain personality or performance in the subject since they know they are going to end up in a photograph somewhere?

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Change film, meet people, or how I learned to stop worrying and love the pause

1x1.trans Change film, meet people, or how I learned to stop worrying and love the pause

A.g.’s note: Here’s a guest post for Sven Kraeuter that was originally posted in his blog. He shares to us an encounter he had while shooting around his neighborhood with a medium format camera that lead to an interesting encounter. Text and photographs belong to Sven Kraeuter.

Sven: Resurrecting my old east German medium format camera is a great experience so far. Coming from a rangefinder where you don’t look through the lens, hence have no visible indication of the depth of field, the first astonishing difference was to see this huge 6 by 6 centimeter view through the open aperture lens. This is a problem since everything looks gorgeous with that massive three dimensional pop and you could snap pretty much everything you frame right away ;-).

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Photographing Feelings with Compact Cameras by Josh White

1x1.trans Photographing Feelings with Compact Cameras by Josh White

Seoul, South Korea.

This article is written by Josh White, originally posted here.

Josh: More fish. After spending the previous weekend in Busan I found it hard to get away from the couple of photos I took there. I feel like I figured something out about myself there.

I’ve always found it really hard to explain why I like the photos I take with small, compact cameras more. It always seemed that if I went on a trip or something no matter how many huge cameras I took the photos I ended up liking the most were the ones from the smaller cameras.

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Please Tell Me My Photos Suck (And How I Can Improve)

1x1.trans Please Tell Me My Photos Suck (And How I Can Improve)

NYC, 2012

We are insecure. We don’t want people to be brutally honest with us. We like feeling liked. We don’t want to hear the truth, or at least what people really think about us and our work. We like it when things are sugar coated (I know I do), and facing reality can be tough.

I remember when I started photography, I thought I was awesome. I thought my work was incredible, and I deserved fame, glory, and attention.

Then one day, I remember stumbling on the work of the masters and the greats of photography. I then realized my work sucked in comparison to theirs.

At first I was discouraged. I though to myself: I could never be as good as them, why bother even trying?

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