Sally Mann Commands: Hold Still


    If your photographic weapon of choice happens to be, like Sally Mann’s, an unwieldy 8×10 view camera complete with 19th-century evocative black drape cloth, the spontaneity of a selfie or even a Garry Winogrand street grab is not your preferred armament.

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    The Artist Project at the Met


    Several years ago, the Metropolitan Museum of Art posted on its website a series of slideshow videos highlighting individual works in its voluminous collections. It was an eclectic selection, ranging from major European paintings to small Japanese netsuke. Once a week, a Met curator from the featured department guided the viewer into an up-close examination

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    Raymond Cauchetier: Still New (Wave) at 95

    6.godard, belmondo and coutard

    No survivor of the “Nouvelle Vague” has the longevity of its best known “photographe de plateau” (set still photographer), Raymond Cauchetier. In fragile health for many years, still living with his Japanese wife, Kaoru, in the fifth-floor walk-up where he was born, Cauchetier is ever born anew.

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    Mary Ellen Mark: Human-Wise


    In his book Why People Photograph, Robert Adams, a master photographer of contemporary Western landscapes, writes, “At our best and most fortunate, we make pictures because of what stands in front of the camera, to honor what is greater and more interesting than we are.”

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    Vilmos Zsigmond and The Rose


    It was the end of American cinema’s freewheeling 1970s when Vilmos Zsigmond photographed The Rose, the Mark Rydell-directed, Bette Midler-starring, Bo Goldman-scripted movie about a rock ’n’ roll queen, Mary “Rose” Foster — four major artists at the peak of their creative careers in an all too brief era of American auteurism.

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