American_PHOTO_2010-01_02.pdf

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JAN/FEB 2010 $4.99

AMERICANPHOTOMAG.COM

IMAGESOF THE YEARPHOTOJOURNALISM | NATURE | STUDENT WORK | PORTRAITUREPERSONAL WORK |COMMERCIAL|EXTREME

SHOOTOUT:NIKON 300S

VS CANONEOS 7D

Tim Street-PorterSHOOTS L.A.

ARCHITECTURE

Dustin HumphreySURFS AUSTRALIA

EDITORSCHOICE:

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Nothing stimulates great photography like an inspiring subjectandNew Orleans does so with its rich history, natural beauty and recovery fromHurricane Katrina, displaying the true essence of this once-French colony. Lethe Mentor Series take you and your camera deep into the heart of the Bigasy as we explore Americas liveliest city.

Photograph Metairie Cemetery, with shadows cascading across thelaborate tombs of the elite and famous. Well experience the Mississippiver aboard the Steamboat Natchez, where we will photograph a jazz band,

breathtaking views of the city and the graceful lines of riverboat architecture.Take a trip to a working plantation, where well capture candid shots of

models dressed in period costume, preserved Doric columns and wroughtron details. Photograph Oak Alley as the sunlight streams through a denseanopy of branches to form a perfect balance of light and shadow in thismmaculate preserve.

The quiet waterways of the bayou swamp tour allow us to photographare birds, snakes, turtles, and, of course, alligators. And we wont miss out

on New Orleanss famous French Quarter and Jackson Square. Flanked byistoric buildings, well wander among neon-lit, jazz-filled streetsfromourbon to Canalthat have made the French Quarter legendary.

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NEW ORLEANSFeb. 2628, 2010

SOUTHERN CALIFORNIAMarch 19 21, 2010

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The photo trek begins with a safari at the San Diego Wild Animal Park.From the vantage point of open-top vehicles, we will get within close reachof giraffes, elephants, zebras and rhinos. Head next to Balboa Park, whereour mentors will share techniques for attaining that perfect close-up at theMoorish gardens of Casa del Rey Moro and Alcazar Garden.

Span one of the worlds most distinctive bridges to reach Coronado Islandwhere you can capture sweeping views of the San Diego skyline. For a freshperspective on flash photography, we will visit the Point Loma Lighthouseduring the evening light.

Drop by what is perhaps the most photographed spot in La Jolla: Ellen

Browning Scripps Park. With practical tips on landscape composition thementors will help you capture amazing images of the sandstone cliffs,pounding waves, and Torrey pine trees at this awesome coastal location.To pick up the pace and perfect the action shot, capture para gliders in flightat the Torrey Pines glider port. Learn techniques for panning, reducing lagtime and latency, and get the most from burst mode at this world-famousflight destination.

If you find gorgeous weather, abundant wildlife, rich culture, and therugged beauty of Californias coast inspiring, let the Mentor Series take youon a journey thats sure to be picture perfect.

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FOR THE PAST 12 YEARS, the Mentor Series has taken photo enthusiasts to destinations across the country and around the world. With top Nikoprofessional photographers accompanying participants every day anteaching them how and what to shoot, theres nothing like a Mentor Series trekYou and your photography will never be the same!

Special thanks to our premier sponso

With additional support from:

BRYCE & ZIONApril 28 May 3, 2010

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Join the Mentor Series as we navigate the dizzying altitudes and vastexpanses of Bryce Canyon and Zion National Park.

Head to the overlook that provides a glorious perspective of lower ZionCanyon where steep sandstone cliffs tower in the distance. Discover theEmerald Pools, where sunlight streams through cottonwood and box eldertrees, illuminating these hidden tarns, some of which are fed from waterfalrunning off looming cliffs.

Photograph the multicolored natural amphitheater in Bryce Canyon as thsun rises. Along Queens Garden trail witness the majestic hoodoos - massivhaunting spires of sedimentary rock carved away by eons of erosion and

rising from the desert floor. The late afternoon sun will penetrate the narrowgorges and provide a backdrop to capture a sunset like no other.

Spend time at Zion Mountain Ranch and photograph a herd of buffaloroaming on several hundred acres, or a horseback rider with the sandstonecliffs of Zion Canyon as the backdrop. Photograph mountain bikersmaneuvering the rocks along traversing trails and courageous rock climbersrappelling down the majestic cliffs.

Join the Mentor Series on this National Park adventure and come awaywith an individual artistic record of the unyielding impact of time and naturand its effect on the American landscape.

Morocco undoubtedly teems with rich history, fascinating culture, andspectacular natural attractions. Join the Mentor Series as we take youon a photographic adventure of a lifetime and teach you how to createtimeless images unlike anywhere else on earth.

The trek begins in Marrakech where photographic treasures arearound every corner. Capture endless color and bustling locals at Djemaael Fna Square - Moroccos busiest marketplace. As evening falls, enjoy aspecial vantage point overlooking this crowded main square.

Well make our way to the enchanting fortified hillside village ofAit Benhaddou along the Ouarzazate river. Be a guest in a traditional

adobe home and see firsthand how these beautiful manmade earthenstructures complement the striking diverse landscape.

As the sun descends, we will board camels and ride into the Saharato witness the dramatic evening light transform the dunes into infiniteshades of gold. Venture out to explore the majestic mosques, historicarchitecture, and lively medina of Fes and learn how to best capture thekaleidoscope of this imperial treasure.

From sunrise to sunset, landscape to locals, Kasbahs to camelcaravans travel to Morocco with the Mentor Series to experience theexpansive beauty, ancient traditions and exotic mysticism of one of themost interesting places in the world..

MOROCCOApril 8 16, 2010

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JAN | FEB 2010

FEATURES

32 IMAGES OF THE YEARWith their fresh, individualistic approaches, thewinners of our fourth-annual competition underscorewhat a good year 2009 was for photography.

BY MIRANDA CROWELL

44 STREET SMARTSArchitectural photographer Tim Street-Porter keeps

on rocking. After four decades of shooting, filling thepages of high-style magazines, producing sumptuousbooks and capturing iconic Los Angeles modernism,

he shows no signs of stopping. BY PAUL LOVE

52 SURFING LOVERS LAND Dustin Humphreys photos of his motorcycle/

surfing/art expedition across Australia are at onceephemeral and timeless, much like the waves he andhis buddies went there to ride. BY LAURENCE CHEN

DEPARTMENTS

9 FLASH News & Trends in Photography

Q&A with Lynsey Addario + the Video/Still

Convergence + On the Wall + Sweet Spot: Vieques,

Puerto Rico

17 FOCUSThe People Behind the Pictures

One to Watch: Jordan Manley + Personal Project:

Pam Spaulding

25 FLICKR CREATIVE SHOWCASEArt directors find photographic talent and some-

times images for ad campaigns on Flickr.

63 GEARWhat Photographers NeedThe new Leica M9 + Editors Choice: New camera

bags and backpacks + Shootout: Nikon 300s vs.Canon EOS 7D

68 SKILLSKnow-How NowFrame Work: Jordan Manley shoots in snow + ThePicture Biz: Using social-networking sites to boostyour business

80 PARTING SHOTIrving Penns 1991 Miyake Fashion: Raining Hairre-minds us that the master photographer never lost

his focus on fashion. His genius will be missed.

ON THE COVER

This shot of a firefighter battling a blaze in western

Colorado won adventure photographer TylerStableford a place amongAmerican Photos Images

of the Year. See page 32 for the rest of the story. TOP

TOBOTTOM:JULIAFULLERTON-BATTEN;TIMSTREET-PORTER:2008

DUSTINHUMPHREY/REELS

ESSIONS;JORDANMANLEY;JAY

SAUCEDA/COURT

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THEBOXING

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AMERICANPHOTOMAG.COM | JAN/FEB 2010

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TOPTOBOTTOM:STEVENSIEGELBAUM;JONWHITTLE;GLENN

FLEISHMAN;BRADSHEARD

AMY BEDIKAmy Bedik, who interviewed risk-taking

photojournalist Lynsey Addario for her story

On the Front Line, is a photographer and

writer who lives in New York City. She has

worked in museums in London and Paris, and

her photographs look at historical artifacts in

contemporary settings.

PAUL LOVEPaul Love wrote this issues Street Smarts

feature. The photo editor for Saveurand

Florida Travel + Life magazines, he also writes

for International Masters Publishers and MBK

Productions.

LAURENCE CHENLaurence Chen is a Seattle-based freelance

editorial photographer and writer who wrote

Surfing Lovers Land, about surf photog-

rapher Dustin Humphrey, and this issues

Flash story about digital convergence. His

clients have included Saveur, Fortune, Sunset,

Peachpit Press and America 24/7. He writes

the Creative Thinking column for Popular

Photographyand is also an adjunct professor

of photography at Seattle Pacific University.

THEANO NIKITASA freelance journalist and photographer,

Theano Nikitas contributed this issues

Editors Choice, presenting the latest and

greatest camera bags on the market. For more

than 15 years she has written about all things

photographic from analog to digital for

numerous magazines and websites, and

maintains a special interest in alternative

processes.

CONTRIBUTORS

EDITOR SARAH KINBAR

EXECUTIVE EDITOR Russell Hart

ART DIRECTOR Donna ReissSENIOR EDITOR Jenny Andrews

MANAGING EDITOR Leigh Ann Ledford

PHOTO EDITOR Chelsea Stickel

COPY EDITOR Cindy Elavsky

FACT CHECKERS Rebecca Geiger, Judith Myers

ONLINE EDITOR Stan Horaczek

ONLINE ASSOCIATE EDITOR Patrick Parker

CONTRIBUTING EDITORS Jonathan Barkey, Greg Ceo,

Jack Crager, Vicki Goldberg,

Dirck Halstead, Michel Leroy,

Lindsay Sakraida

EDITORIAL DIRECTOR MARK JANNOT

PHOTO DIRECTOR Larry Nighswander

BONNIER TECHNOLOGY GROUP

GROUP PUBLISHER GREGG R. HANO

ASSOCIATE PUBLISHERS Wendi S. Berger, Anthony Ruotolo

EXECUTIVE ASSISTANT Christopher GravesMARKETING DIRECTOR Mike Gallic

FINANCIAL DIRECTOR Tara Bisciello

SVP, CORPORATE SALES & MARKETING Mark Wildman

NORTHEAST ADVERTISING OFFICE Lauren Brewer, Scott Constantine,

Susan Faggella, Sara Schiano Flynn,

Taryn Guillermo, Tara Weedfald

MIDWEST MANAGER John Marquardt 312-252-2838

AD ASSISTANT Krissy Van Rossum

WEST COAST ACCOUNT MANAGERS Robert Hoeck 310-227-8958,

Bob Meth 310-227-8955

AD ASSISTANT Kate Gregory

DETROIT MANAGER Edward A. Bartley 248-282-5545

AD ASSISTANT Diane Pahl

SOUTHERN MANAGER Jason A. Albaum 404-892-0760

BUSINESS DEVELOPMENT MANAGER Phil Mistry 205-249-0510

CLASSIFIED ADVERTISING SALES Patrick Notaro 212-779-5555,

Chip Parham 212-779-5492

INTERACTIVE SALES MANAGER Chris Young

DIGITAL SALES DEVELOPMENT MANAGER Brian Glaser

SALES DEVELOPMENT MANAGERS Alexis Costa, Mike Kelly, Kerri LevineGROUP DIRECTOR, CREATIVE SERVICES/EVENTS Mike Iadanza

DIRECTOR OF SPECIAL EVENTS Michelle Cast

SPECIAL EVENTS MANAGER Erica Johnson

DIGITAL DAYS COORDINATOR Athos Kyriakides

MARKETING ART DIRECTORS Lindsay Krist, Shawn Woznicki

PROMOTIONS MANAGER Eshonda Caraway

ADVERTISING COORDINATOR Irene Reyes Coles

CONSUMER MARKETING DIRECTOR Diane Potter

PUBLICITY MANAGER Amanda McNally

HUMAN RESOURCES MANAGER Kim Putman

GROUP PRODUCTION DIRECTOR Je Cassell

PRODUCTION MANAGER Kristin Prohaska

CHAIRMAN JONAS BONNIER

CHIEF EXECUTIVEOFFICER TERRY SNOW

CHIEF OPERATING OFFICER DAN ALTMAN

CHIEF FINANCIAL OFFICER RANDALL KOUBEK

VP, CONSUMER MARKETING BRUCE MILLER

VP, PRODUCTION LISA EARLYWINE

VP, E-MEDIA BILL ALLMAN

VP, DIGITAL SALES & MARKETING JOHN HASKIN

VP, ENTERPRISE SYSTEMS SHAWN LARSON

VP, HUMAN RESOURCES CATHY HERTZ

VP, CORPORATE COMMUNICATIONS DEAN TURCOL

BRAND DIRECTOR JOHN MILLER

PUBLISHING CONSULTANT MARTIN S. WALKER

CORPORATE COUNSEL JEREMY THOMPSON

SUBSCRIPTIONS:American Photo (ISSN 1046-8986) (USPS 526-930) is published bimonthly (Jan/Feb, Mar/Apr, May/June, July/Aug, Sept/Oct, Nov/Dec) by Bonnier

Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY 10001 and at additional mailing oces. Authorized periodicals postage by the

Post Oce Department, Ottawa, Canada, and for payment in cash. POSTMASTER:Send address changes toAmerican Photo, P.O. Box 420235, Palm Coast, FL 32164;

386-597-4375; www.americanphotomag.com/customerservice. If the postal services alert us that your magazine is undeliverable, we have no further obligation unless

we receive a corrected address within one year. One-year subscription rate (six issues) for U.S. and possessions, $15; Canada (includes 5 percent GST) and foreign, $29;

cash orders only, payable in U.S. currency. Two years: U.S., $30; Canada and foreign, $53. Three years: U.S., $45; Canada and foreign, $76. Publications Mail Agreement

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anasonic continues to

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Pop Photonoted that the G1 camera

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Setting the stage for a platform that could

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The GH1 also speaks to the photographer

ooking for creative controls while

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JAN/FEB 2010 |AMERICANPHOTOMAG.COM

9FLASH

TOPTOBOTTOM:CHANGLEE;LYNSEYADDARIO/VIINETWORK

Photojournalist Lynsey Addario was at home in Turkey last Sep-

tember when she received a call that she had been awarded a

2009 MacArthur Fellowship genius award for her work record-

ing conflicts and humanitarian crises in the 21st century. Here she

talks about the freedom the award will bring and why she contin-

ues to work in some of the most dangerous places on Earth.

AP: $500,000 with no strings attached! How will the award change

things for you?

LA: I dont think Ill work any less! I am already doing exactly the

type of photojournalism I set out to do covering humanitarian

and womens issues, and the toll conflicts take on civilians and

soldiers alike, but the MacArthur grant will enable me to be a bit

ON THE FRONT LINELynsey Addario goes deep inside conflict zones

to tell the stories of victims of violenceBY AMY BEDIK

NEWS & TRENDS IN PHOTOGRAPHYNEWS 12 | ON THE WALL 14 | SWEET SPOT 15

LAfghanistan et nous, 2001-2009

Muse de lArme,

Htel national des Invalides,

129 rue de Grenelle, Paris

Through Feb. 26

Lynsey Addarios work will be included in

this exhibition of more than 100 photo-

graphs of Afghanistan by photojournalists

from around the world. Through

unpublished and previously shown images,

the exhibition explores a country in

the grip of conflict and violence.

LOOK

Above: Lynsey Addario was on location in Baghdad after the fall of Saddam

Hussein in April 2003 when she photographed an Iraqi man who brought

his wounded son to an American base for care. Chang Lees photograph of

Addario is witness to her fearlessness and ability to get close to her subjects.



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CLOSE-UP: LYNSEY ADDARIO

AMERICANPHOTOMAG.COM| JAN/FEB 2010

more selective with my assignments and focus more on long-term

stories rather than daily news stories. Id also like to finally try to do

a book.

AP: Your work in conflict zones like Afghanistan, Iraq and Darfur takes

you into places that would be terrifying to most people. What drives

you to work in such dicult environments?

LA: The desire to document whats happening. While working in the

Congo, I spent 10 hours a day for two weeks talking with women

who were victims of sexual assault and unimaginable violence. Each

womans story was more violent and raw than her predecessors. On

the final day of that assignment I was a complete basket case, cryingall the time and so sad. And I thought, my life is great compared with

these poor people. What right do I have to cry?

AP: How do you manage to get so close to your subjects?

LA: It takes some perseverance. While on assignment for The New

York Times Magazine in Afghanistan with Dexter Filkins, I accompa-

nied him to a meeting with a Taliban commander. The translators

kept saying, no women, no women, no women, but Dex introduced

me as his wife and said that he didnt want to leave me alone at the

hotel in Peshawar. I sat in a corner, totally veiled, and after a while,

Dex asked if I could take some pictures. I was terrified. There is a fine

line when photographing in these delicate, dangerous situations I

always try not to look too professional (it probably helped that I was

shooting through my veil at this point!). I really calculate my shots

and shoot sparingly.

AP: Some of your photographs are in black and white, while others are

in color. How do you decide which to use?

LA: Although I work primarily in color, sometimes I cant control

what time I go out shooting. If I have to shoot at high noon, the

colors are likely to be washed out, so Ill sometimes convert to

black and white, which oers more tonal latitude. There are some

stories that I have to shoot in all fluorescent light or oces, which

would also inspire me to convert to black and white. Also, I dont

Photoshop my images much, so I try to shoot at dawn or dusk when

the light is rich. AP

Training: Started shooting as a teenager, picked up

darkroom rudiments from a family friend in high

school, then learned on the job as a stringer for the

Associated Press.

Inspired by: Her subjects and her desire to document

their stories.

Accolades: In addition to the MacArthur, she won

the 2009 Pulitzer Prize for International Reporting as

part of The New York Times team and the Getty Images Grant for Editorial

Photography in 2008 for her work in Darfur, Sudan.

Best advice: Get out there and do it. Hone skills through experience.

FLASH10



13/84


LYNSEYADDARIO

(4)

Opposite: Addario traveled around Darfur in 2004 with a rebel group to see how civilians were

suering at the hands of the government. To get this shot, she spent 10 minutes flat on her stomach,

waiting for someone to walk past to add a human element to the scene of devastation. Top: Addario

had spent six days along the Abas Ghar ridge while embedded with a battle company patrolling the

area in the Korengal Valley in Afghanistan. She took this picture following an ambush that killed a

young soldier. The soldiers somber faces stand out in relief against the unforgiving landscape, em-

phasizing the unreality of life in wartime.Above: On assignment for The New York Times Magazine in a

Taliban compound in Afghanistan, Addario was able to photograph with more freedom than she could

on the streets of tribal villages. This image of a truckload of heavily armed young fighters illustrated

the 2008 story, Right at the Edge, which won the Pulitzer Prize in 2009.



14/84


CLOCKWISEFROMTOP:JEFFREYLAMONTBROWN;VINCENTLAFORET;DAVIDHARRYSTEWART

Left: A street racer attempts

to intimidate his opponent in

Jerey Browns Fast and

Furious commercial for Dr

Pepper (jereybrown.com).

Center: David Harry Stewarts

Chess-Dance (dhstewart.com)

is a hybrid of video and still images

made with the Canon EOS 5D

Mark II. Below: Vincent Laforets

now-famous Reverie got about a

quarter-million views within four

hours simply by being posted

on his blog.

Uncertain consequences of the video revolution BY LAURENCE CHEN

CONVERGENCE OR COLLISION?

When a digital acorn hit photographer Chicken Little on the

head he proclaimed: The Industry is Falling! Since then we have

embraced the digital convergence. Were making behind-the-

scenes videos. We are rock stars on Facebook, and we tweet.

But is there a Foxy Loxy in our story? Vincent Laforet who

shotReverie, the first 1080p short film shot with the Canon EOS 5D

Mark II DSLR (vincentlaforet.com/index_reverie.html) thinks

so. Suddenly, film and video cinematographers are competing for

work that was once the mainstay of photographers.

The convergence has some positive side eects, but you cant

ignore the reality that two independent professions are on a colli-

sion course, he says. After the success ofReverie, Laforet has met

many cinematographers who confide that they too are excitedabout the new low-cost tools, because their clients are always ask-

ing them if they can shoot stills while doing video.

The gap between the still and motion industries is closing fast,

accelerated by the economic climate. When budgets shrink, people

lower rates or oer more for less. Photographers throw in Internet-

friendly video, and cinematographers oer still images.

David Harry Stewart, a commercial photographer based in New

York City and Los Angeles, sees the gap disappearing when people

figure out how to reorganize their infrastructure. Agencies and

creatives dont have their minds around how to budget. Whose line

item is this? he asks. There are other factors too. Photographers

are paid by rights and time. In the motion-picture industry, all of

that changes. Actors might get residuals. Directors of photogra-

phy may just be there for the day. Im not sure how that is going to

get worked out.

Jerey Lamont Brown, a commercial film director and still pho-

tographer in San Diego, made the jump from still to video about a

year and a half ago. For us it was a creative decision; Ive wanted

to do it for years. My catalyst was the availability of the RED ONEcamera and fine-tuning in camera RAW, he says. Brown found a

helpful community on a RED camera forum and built his skills rap-

idly. The result: He recently produced and directed a commercial

spot with 57 cast members and crewmembers on the set.

The question remains: How fast is this coming? The writing is

on the wall for me, says Laforet, who preordered four Canon EOS

5D Mark II DSLRs after making his historic video. Brown agrees:

Its not the future; its here right now. Almost every discussion I

have [with clients] is: Can you do still and video? How does that

work? If theyve got money, they want to make a video. AP

AP IS SPONSORING VINCENT LAFORETS SEMINAR STORYTELLING WITH THE NEW

CANON EOS 5D MARK II AT THE PALM SPRINGS PHOTO FESTIVAL. GO TO PALMSPRINGS

PHOTOFESTIVAL.COM FOR MORE INFORMATION.

FLASH | NEWS12



15/84

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16/84

!

!

ON THE WALL

CENTER FOR ART, DESIGN AND VISUAL

CULTURE, UMBC

1000 Hilltop Cir., Baltimore, MD

Exhibition:Dana Hoey: Experiments in Primitive LivingFeb. 4-March 20

Highly conceptual, shifting styles and subjects

interact in an imagined world.

Hours: Tue-Sat 10-5 except campus holidays

.-3!3 410-455-3188, umbc.edu/cadvc

NATIONAL MUSEUM OF AMERICAN HISTORY,

NATIONAL MUSEUM OF AFRICAN AMERICAN

HISTORY CULTURE GALLERY, SMITHSONIAN

INSTITUTION

2nd Floor East National Mall, 14th St. and

Constitution Ave. NW, Washington, D.C.

Exhibition:The Scurlock Studio and Black Washington:

Picturing the Promise

Through Feb. 28

A century of images forms a vivid historical account of

African-American urban life in Washington, D.C.

Hours: Daily 10-5:30 except Dec. 25.-3!3 202-633-1000, americanhistory.si.edu

SERAPHIN GALLERY

1108 Pine St., Philadelphia, PA

Exhibition:Victor Vzquez: Dislocation, Encounter

and Displacement

Through Jan. 26

Remarkable, provocative photographs with a

political edge

/#-(-%#!#/3(.- Jan. 29 from 6-8

Hours: Tue-Sun 11-6

.-3!3 215-923-7000, seraphingallery.com

Vzquez images are also included in Seraphins

Printable exhibition.

Jan. 29-March 9

Multiple artists illustrate surprising uses of the

modern printing process.

FLORIDA MUSEUM OF PHOTOGRAPHIC ARTS

200 N. Tampa St., Ste. 130, Tampa, FL

Exhibition:August Sander, the Twentieth Century Man

andJules Aarons, Views From the Street

Jan. 21-March 13

Two fine historic photographers capture the people of

Germany, the U.S. and elsewhere circa mid-1900s.

/#-(-%#!#/3(.- Jan. 21 for members and invited

guests

Hours: Tue-Sat 10-5

.-3!3 813-221-2222, fmopa.org

HIGH MUSEUM OF ART

1280 Peachtree St., N.E., Atlanta, GA

Exhibition:The Portrait Unbound: Photographs by

Robert WeingartenJan. 23-April 4

Large-scale digital compositions of biographical

information form richly layered portraits of eminent

Americans.

Hours: Tue, Wed, Fri, Sat 10-5; Thu 10-8; Sun 12-5

.-3!3 404-733-4400, high.org

If you want more Weingarten, The Lumir Gallery, The

Galleries of Peachtree Hills, 425 Peachtree Hills Ave. in

Atlanta will simultaneously hold a retrospective exhibi-

tion of the artists work.

Hours: Tue-Sat 10-4

.-3!3 404-261-6100, lumieregallery.net

MUSEUM OF THE CITY OF NEW YORK

1220 Fifth Ave. at 103rd St., New York, NY

Exhibition:Joel Meyerowitz: Legacy: The Preservation of

Wilderness in New York City Parks

Through March 21Shorelines, wilderness, marshes and wildlife who

knew the five boroughs held such rich nature?

Hours: Tue-Sun 10-5

.-3!3 212-534-1672, mcny.org

LIGHT WORK

316 Waverly Ave., Syracuse, NY

Exhibition:Rachel Herman: The Imp of Love

Jan. 14-March 12Intimate, poignant, often painful portraits of couples in

the midst of palpable dissolution

.412Sun-Fri 10-6

.-3!3315-443-1300, lightwork.org

ON THE WALL |CONTINUED ON PAGE 78

| BY ANGELA FARIS BELT

FLASH14



17/84


CLOCKWISEFROMTOP:ZACHSTOVALL;GREGVAUGHN/ALAMY;STEVESIMONSEN/LONELYPLANETIMAGES

Puerto Ricos sister island is ideal for shots of unspoiled beaches,

wild horses and idiosyncratic architecture BY GREG CEO

VIVA VIEQUES!

Fly from mainland Puerto Rico to the leeward island of Vieques,

and you will be transported back in time to a photographic

paradise and a lazy island way of life. Dont look too hard for

large resorts and the jet-set crowd. It is more likely you will

wake early to the sounds of roosters outside your window, not to

mention stop your four-wheel-drive vehicle while a wild horse

crosses the road.

Vieques is quite a nice place to shoot simple beachscapes and

breathtaking skies white clouds seem to hang in the air and roll

across a tranquil blue canvas. Near the end of a sandy one-lane

road lies Navio Beach, secluded with fine white sand, rocky out-

croppings on either side, and hidden caves, including a tiny one

accessible only by swimming into it from the surf. Navio Beach

is perfect for fashion shoots, but dont expect to have electricity

or find restaurants nearby.

One of the architectural marvels on the island is Hix Island House:

a modernist gem designed by John Hix that rises from the middle of

the island with open air terraces. Many professional shoots, includ-

ing one by Getty Images contributing photographer Tony Anderson,

have taken place at Hix, and the manager is very accommodating

if you stay there. If you play nice, perhaps you will get to shoot at

Hixs private house and pool.

When your shooting day is over, head to Als Mar Azul, one of

two ex-pat bars on the island. You can watch the sun go down and

plan a sailing trip with Capt. Bill for more photographic adven-tures. If you stay late enough, Al will start sliding shots your

way, and you will think to yourself that you already feel a part of

Vieques island life. AP

Other than bringing it yourself, the best way to get gear is to have

FedEx overnight it. Bring backups. NEVER leave ANYTHING unat-

tended as theft is a concern. Rent a reliable four-wheel-drive vehicle

from Martineau Car Rental (martineaucarrental.com) or risk being

stranded with gear beside a rutted road.

Bahia de la Chiva (what the Navy called Blue Beach) and Playa la

Plata (Silver Beach) All the beaches in the wildlife refuge arebeautiful and lonesome, but these are my favorites.

Underwater Photography for Nondivers Capt. Bill, oft found at

Als, can take you to a shallow reef accessible without scuba gear.

La Finca Caribe Rustic villas and cottages have a casual, tropi-

cal feel with wood floors, pastel paints and loads of foliage. It has

hosted J. Crew, Selfmagazine and Nickelodeon, and is welcoming

to photographers and anyone who wants to get away from it all

(lafinca.com).

Martineau Bay Villas This cluster of luxury homes, located

near the W Hotel, has stunning interiors and exteriors, and is

ideal for fashion shoots or just an extraordinary vacation. View

several properties at viequestravelguide.com. Look for the

Luxury Villas with Martineau in their names.

WHERE TO SHOOT IN VIEQUES

TRADE SECRETS

Far Left: Fish over Sail Rock Pinnacles at Vieques Passage. Left: Looking out

from the cave at Navio Beach. Above: Hix Island House.

FLASH | SWEET SPOT 15



18/84

contest categories

Winners will be published in theJuly/August 2010 issues ofAmerican Photo and DestinationWeddings & Honeymoons. Two

grand-prize winners will receivetrips for two to a luxury resort.Additional prizes to be provided by:

All winners will appear inAmerican Photo. Winnersin categories indicated with an asterisk (*) will alsoappear in Destination Weddings & Honeymoons.

Getting ReadyA candid moment caught of thebride, groom or other members of the wedding party

just before the big event.

Ceremony The emotion, signicance and beauty ofthis momentous ritual, as the lives of two people andtheir families are joined.

Couples Portrait Whether formal or informal, thisshot should reveal the deep connection between thebride and groom on their wedding day.

ReceptionThe ceremony is over and its time togather with friends and family, dancing, eating cakeand toasting the newlyweds.

Send-O Bidding adieu to the happy couple as thebride tosses her bouquet and they climb into the justmarried car, or walk hand-in-hand past cheeringwedding guests.

Details Little things often stand as perfect symbolsof this momentous occasion. Whether its a still life ofrings, bouquets or champagne glasses, or a close-upelement such as beading on the wedding dress or thecouples hands.

*Best Use of Locale An image that combinesthe beauty of the ceremony with the essence ofthe destination from an exotic tropical island to amedieval European castle.

*Best Use of Local FlavorThe creative use

of regional elements as integral parts of theceremony, whether its leis in Hawaii or a mariachiband in Mexico.

*Day AfterOnce the o cial ceremony andreception are over, everyone can relax and take amore playful approach to photos of attendees.

*Trash the DressRepurposing a weddingdress is just a myth, so why not have some fun?Stretch out on a lawn, wade into the ocean orride a roller coaster.

SPONSORED BY

Winning photos will be selected by a panel of distinguished judges:

C ]h2^aQT[[u:TeX]:dQ^cPu3^dV6^aS^]1P\QX2P]caT[[u9X\6Pa]Ta And editors ofAmericanPhoto and Destination Weddings & Honeymoons.

fTSSX]V_W^c^VaP_WhR^]cTbcR^\Enter online fromJanuary 15 April 5, 2010



19/84


17FOCUSTHE PEOPLE BEHIND THE PICS

CLOSE-UPJORDAN MANLEY

Grew up in: Toronto, before mov-

ing to Vancouver at age 12

Studies: Political science at

Simon Fraser University

Appears in: Powder, Skiing, Ski,

Bike, Mountain Biking

Awards: 2009 Winner of Olym-

pus Pro Photographer Showdown

at Telus World Ski & Snowboard

Festival; top honors in Whistler

Blackcombs Deep Winter Photo

Challenge in 2008 and 2009; Koo-

tenay Coldsmoke Powder Fest Cold

Shot Foto Face-O 2009; Skiing

magazines Portillo Shoot-out 2008

Canadian Jordan Manley is often asked which of his passions came first outdoor adventure

or photography. The outdoors definitely came first, says the 25-year-old, who lives and works in

Vancouver, British Columbia. Ive long been an avid skier and mountain biker, and photography grew

out of being outside with my friends and wanting to document our pursuits in the mountains.

Manley first picked up a camera about nine years ago. My dad taught me the basics, and then it was

SNOWBOUNDJordan Manley melds a love of sports with a career behind the lens |JACKCRAGER

JORDANMANLEY(2)

Right: For this image in

Backcountrymagazine, Manley

asked his friend Tobin to ski into

a sliver of sunlight. Shooting

high in mountainous terrain, its

dicult to haul a lot of lighting

equipment with you, so the

action has to be brought to the

light rather the reverse. Skiing

is such a dynamic sport to pho-

tograph because the snow flying

brings a static environment to

life when it reacts with light.

ONE TO WATCH 17 | PERSONAL PROJECT 21



20/84

AMERICANPHOTOMAG.COM| JAN/FEB 2010

FOCUS | ONE TO WATCH18

JORDANMANLEY(2)

Above: To get an interesting angle,

Manley used an extendable pole that he

modified to support his camera. The photo

ran in the Swedish magazineka Skidor.

Opposite: For Bike magazine, Manley shot

a self-portrait in a forest at night with a

wireless trigger and backlighting from

a remote flash, repeating the steep ride

in darkness several times. It was pretty

scary, he recalls, but I had to do it.

While Manleys shots look spontaneous, many of them are

carefully set up. Theres communication between athlete and

photographer, he says. And we make sure both of us are on the

same page so we can sculpt the picture how we want it. One little

trick is, we throw a snowball that makes a little indent in the snow,

so if Im going to be shooting a nice power turn, both the athlete

and I know where the turn is going to be. I know when those brief

few seconds of peak action are happening, and I hold the shutter

down during that time then log back through the images to find

the best ones.

TRADE SECRETS

a process of experimentation and self-exploration, he says. Thehobby morphed into a career, and a few years later he began sub-

mitting images to magazines such asPowder,SkiandSkiing. Soon

he was not only getting assignments but also awards, including top

honors in 2009 at the Olympus Pro Photographer Showdown.

Manleys editorial work combines bold action shots often from

unusual angles with moody, atmospheric images that reflect his

love of dense fog, thick forests and imposing terrain. A constant

goal of mine is to simplify the elements of a photograph, he says.

Silhouetting is one way to achieve this it reveals the form of the

landscape and the person in it, abstracting it at the same time.

In other cases, Manley employs a more straightforward style that

lends itself to commercial campaigns, and hes begun selling and

licensing images to ski- and mountain-bike-related companies for

advertising. But he adds, Im equally a fan of straight documen-tary photography.

A daring athlete himself, Manley credits his success to a collab-

orative bond with his subjects, most of whom are skiing and biking

buddies. Usually with the athletes, we have a working relation-

ship as well as a great friendship, he says. Thats important for

developing trust, knowing how the other behaves in challenging

situations and getting onto the same page creatively.

He knows hes enjoying a young mans game. I dont think Ill be

a professional ski photographer forever, but I see myself as being a

pro photographer, in some capacity, for a long time to come. And

he admits his prime motivation: This is a career that allows you to

keep skiing! Does that make him a glorified ski bum? Yes, I am,

he says with a laugh. I wont shy away from that term. AP



21/84www.storemags.com & www.fantamag.com


22/84

MARK

THESE DATES!

Full Convention:

march 4-11

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march 8-10

PHOTO COPYRIGHT ALAN KARLIN

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TO COPYRIGHT ALAN KARLIN

create.

inspire.evolve.

www.wppionline.com. . . ..


23/84

TIME CAPSULEA photojournalist spends more than three decades creating the ultimate

family album for someone elses family BY LINDSAY SAKRAIDA

Truth changes, muses Pam Spaulding, a longtime photographer for The

Courier-Journalin Louisville, Kentucky. As journalists, we think we get the truth

by spending a couple of months with someone, but the truth changes over time.

No one can speak to the subject of time quite like Spaulding; after all, shes

spent the past 32 years photographing the lives of the McGarvey family in

Kentucky, the photos from which were recently published in the bookAnAmerican Family: Three Decades With the McGarveys (National Geographic

Focal Point, $35). Originally, the endeavor began as a self-created assignment

in 1977 for The Louisville Times (then the afternoon counterpart ofThe Courier-

Journal) to spend a year documenting the trials and tribulations of first-time

parents with a newborn. But the connection between photographer and subject

was so strong that the project neve r ende d and the resu lting body of

work is arguabl y one of the most thorough and honest representatio ns

Above: John and Judy McGarvey steal a kiss amidst the chaos of a busy, three-child

household in January 1987. Pam Spaulding first photographed the couple 10 years prior for

a self-created piece that illustrated a year in the life of first-time parents. After the assign-

ment was complete, however, Spaulding continued to document them, resulting this year in

An American Family: Three Decades With the McGarveys, a book that chronicles the persistent

(and still ongoing) project about the happily ordinary, middle-class McGarvey family.TOPTOBOTTOM:2009PAMS

PAULDING;BILLLUSTER

Training: Ohio State University

Work: The Courier-Journal and The Lou-

isville Times photojournalist since 1972

Honors: First woman to win a Hearst

Journalism Award for Photojournalism

with first place in the picture story cat-

egory; a College Photographer of the

Year award; Nieman Fellow at Harvard

University; contributed to Pulitzer Prize-winning coverage

by The Courier-Journal and The Louisville Times

Epiphany: Its a gift to be a background person. It took me

a long time to realize that.

CLOSE-UP: PAM SPAULDING

Photos reprinted by arrangement with the National Geo-

graphic Society from the book An American Family: Three

Decades With the McGarveys by Pam Spaulding. 2009

Pam Spaulding.


FOCUS | PERSONAL PROJECT 21



24/84

2009PAMS

PAULDING(7)

The book conveys a strong thesis about time and

change by carefully juxtaposing pictures that speak

to one another, despite being separated by many

years. The reversal of caretaking roles, for example, is

poignantly on display at left as Johns mother holds her

first grandchild in May 1977, and then sits aictedwith Alzheimers with granddaughter Sara 20 years

later in a nursing home. The irony of child development

is suggested with the photos below of young David

playing with a toy aircraft carrier in 1985, then being

sworn into the Air Force in 2002.

of the dynamics of an American family.

The book is the product of Spauldings relentless dedication

shooting during any spare moment she had, plus mentoring from

noted photographer Sam Abell who encouraged her to continue,

and the McGarvey familys warm embrace of the project. In fact, it

was Judy (the familys matriarch) who enticed Spaulding to con-

tinue photographing them after the Courier-Journalassignment

was complete. As a journalist, you get really close to your sub-

jects, but then drop them because you have to move on, she says.

But Judy kept calling me to update me on the family and to tell me

about upcoming events. She drew me back in, and I would think, I

have to photograph this or that.

With the many years Spaulding spent phot ographing major

milestones and quiet moments in the McGarveys lives, its nosurprise that they became like a second family. Spaulding usually

found the time to photograph the McGarveys whenever her own

children left to visit her ex-husband a matter of convenience,

perhaps, but also a symbolic act. To this day Spaulding spends

every Christmas afternoon and evening with the family, photo-

graphing their every move.

But, despite the thousands of black-and-white photos Spauld-

ing has taken (and continues to take) of the McGarvey family, she

says her book isnt actually about them. Instead, they are vessels

for a more universal subject: the passage of time in our society. The

beauty of Spauldings book which eschews chronology and pres-

ents the photos according to theme and family member is how

her compressed representation of the familys evolution allows

us to recognize important threads, often obscured, which persist

throughout a life. For example, a young boy playing with a toy air-

craft carrier is hardly remarkable until you then see that same boy

(David McGarvey) being sworn into the Air Force years later. A

seemingly unimportant moment in the past resonates when placed

into context, creating a strong visual narrative.

Spaulding is an adamant supporter of photography for posteri-

tys sake, and she hopes the book will become a historical reference

for future generations to see how a very ordinary, middle-class fam-

ily functioned in todays society. In a hundred years, a picture of

just someone standing in front of their house will be so interesting,

she explains, because the culture will be dierent. There might not

be electric wires, the cars will be dierent, or maybe there wont

be cars at all. So Ive been trying to photograph things for future

generations. AP


FOCUS | PERSONAL PROJECT22



25/84

Sometimes its more important to know what equipment aphotographer leaves out

++3'#,#,#12.$3'#!15#8!+-4/.-5(#6(-%,

Spauldings pictures, say they remember the captured mo-

ment but not the photographers presence. She can thank

her equipment for that one. In the early years, I used a Leica

rangefinder with a wide-angle 24mm or 35mm lens becauseit was quiet, she explains, but after a few years the family

seemed at ease around me, so I switched to an SLR, which is

easier to shoot with. Since 2002, Spaulding has shot with digi-

tal, recently using the Canon EOS 40D with either the EF

16-35mm or 70-200mm zoom. Though she also uses a Canon

EOS 5D Mark II, she never carries more than one camera body,

which allows her to blend in. I cant operate with too much

weight hanging o me, she says.

/4+"(-%1.4-"2.43'#1%#16(3'2,++231.#,.23.$3#-

a Canon Speedlite 580EX), which she uses indoors in order to

capture the details of the familys darkly lit house. I feel about

camera equipment the way I feel about cars, she says of her

intentionally sparse gear. I just want it to work.

IN THE BAG

Spaulding sought to capture a comprehensive range of life

moments, from the common, everyday antics of a father

with his rambunctious children, to seminal moments like

shopping for a first bra or enjoying annual holiday tradi-tions. Thus, while the book might resemble a family photo

album for the McGarveys, readers can see themselves in

these snapshots of conventional moments.


FOCUS | PERSONAL PROJECT 23



26/84

Flickr Creative Showcase

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Flickr is the best way to store, sort, search and share your photos online. Flickr helps you organize that hugemass of photos you have and offers a way for you and your friends and family to tell stories about them.

Behind every great photo theres a great story.The first snow of the year is always my favorite. Its like the world

becomes a blank canvascovered in white. Everything seems so quiet,

so crisp and fresha clean slate for new hopes, dreams and ideas

gleaming with all the possibilities of things yet to come. This is how I

like to start every New Yearby taking a long deep breath and taking

in the new world around me, knowing that anything is possible.

Read more stories ateverypicturematters.com

Join theAmerican Photo community and upload your photos to

www.flickr.com/groups/americanphoto



27/84

THE PHOTO

Austin, Texas-based Jay B. Sauceda created this shot (above left)

to promote a concert series run by New York-based entertainment

company Jelly NYC. I used four lights: one on the left and oneon the right for rim light, a big softbox above for the fill, and one

strobe high and above to the right for the hard sun look, he says.

THE AGENCY

The Boxing Club of Austin was creating corporate identity mate-

rials for Jelly NYC; art director Matthew Genitempo contacted

Sauceda because he liked the pictures on his Flickr photostream.

THE CAMPAIGN

The image was used in a national print media campaign for Jelly

NYC (above right) that ran in The Faderand Spin. I shot about 10

dierent people and this was the main select, Sauceda says. (See

text on page 26 for details.)

PHOTOGRAPHER: JAY B. SAUCEDA

Why are ad agencies looking for photo talent on Flickr? Because theyre finding

a freshness you usually cant get with stock photographyBY JACK CRAGER

VISION QUEST

When Seattle-based Darien Chin began posting his personal pho-

tographs on Flickr four years ago, he had no idea what it would lead

to. When I first started on Flickr, it was only to share work that I

had done and to learn more about photography, recalls Chin, 30.

I hadnt shot anything professionally. I just loved photography

and making images.

Chin soon discovered the power of Flickrs social-networkingreach. By prolifically updating his Flickr photostream, he devel-

oped a fan base on the globally popular photo-sharing site and

commercial interest in his work soon followed. People started

writing me through Flickr with job oers and image-licensing

requests, says Chin. When you gain a presence and more people

pay attention to your work, they tend to think of you when some

opportunity comes up that they think fits your style. They try to put

you in touch with the right people to make things happen.

Thats exactly how Chin ended up having his work used in a

campaign for cellular-phone giant T-Mobile, created by Seattle

ad agency Publicis in the West. (See pages 26-27.) I heard about

Dariens work through a mutual friend on Flickr, says Lauren

Burks, formerly a recruiter for the agency who regularly scouted

Dropping type onto a blank newspaper (above left) turned Saucedas image into an ad for Jelly NYC (above right).


JAYSAUCEDA;COURTESYTHEBOXINGCLUB

FLICKR CREATIVE SHOWCASE 25



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THE PHOTO

Seattle photographer Darien Chin posted break-dancing self-

portraits (opposite and top) along with other work on his Flickr

photostream. I didnt have a website of my own at the time,he recalls.

THE AGENCY

Seattle ad agency Publicis in the West discovered Chins work

on Flickr. [Creative director] Lindsay Daniels and her team went

on to use it in their concept for the T-Mobile 3G Sidekick LX

campaign, explains former Publicis recruiter Lauren Burks.

THE CAMPAIGN

Through Publicis, T-Mobile bought yearlong unlimited rights to

one of Chins images for use on a Seattle-area billboard, and

nationally in Internet flash ads and in various promotions (above).

The final shot was a composite of two dierent images, one for

my top and one for my legs, says Chin.

PHOTOGRAPHER: DARIEN CHIN

the site for talent. [Creative director] Lindsay Daniels and I agreed

that his work would be perfect for the T-Mobile 3G Sidekick LX

campaign, because we were looking for someone capturing break

dancing in a fun and innovative way. The client ended up buying

yearlong unlimited rights to Chins break-dancing self-portrait,

Footloose (opposite). The image, which is actually a composite

of two shots, appeared on a Seattle-area billboard, and nationally

on Web-based flash ads and even Xbox Live Wallpapers. Hes all

over the campaign, says Burks.

Art directors and creative directors are using Flickr a lot for

visual research, says Cheryl Masaitis, an art buyer at the JWT

agency (formerly J. Walter Thompson) in New York City. I think

we go to Flickr to experience something that is not stock photogra-

phy, and thats what we get. You can find a breadth of photographythat is fresh, unpolished or unique, and that may reflect the vibe

your campaign is after. Its a spontaneous place for creative think-

ing a visual melting pot without reservations.

Flickr often brings like-minded collaborators together. I use

Flickr on a daily basis to discover new photographers and artists,

says Matthew Genitempo, a freelance photographer and art direc-

tor based in Austin, Texas. Ive met many other photographers

who I wouldnt have known otherwise if it werent for Flickr. One

such case was fellow Austinite Jay B. Sauceda. Sauceda collaborated

with Genitempo on a campaign for Jelly NYC, a hip New York City-

based show-staging agency, which ran nationally in The Faderand

Spin magazines. His style is exactly what we were going for, says

Genitempo. We came across Jays work on Flickr, and the rest is

pretty much history.

Masaitis points out that because many images posted on Flickr

are taken by amateur photographers, problems can arise with com-

mercial usage. Once we fell in love with an image of a rock-concert

crowd and used it in a design comp for a campaign we were working

on, she recalls. It was perfectly spontaneous and rough around

For its T-Mobile campaign,

Publicis digitally combined two

break-dancing self-portraitsby Flickrs Darien Chin the

legs of one (opposite) with the

upper body of another (right).

They also changed colors,

repaired rips and trimmed Chins

flying dreadlocks (below).


COURTESYPUBLICISINTHEWEST;DARIENCHIN(2)

FLICKR CREATIVE SHOWCASE26



29/84


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32/84

THE PHOTO

Montreals Jonathan Laberge uploaded an image of his wife out-

doors in a lounge chair (top) to his Flickr photostream. Along

with the existing light, I bounced a Nikon SB-24 Speedlight into an

umbrella for front light and placed another Speedlight behind the

chair to create the highlights, he says of the shot.

THE AGENCY

The Thomas Agency in Lubbock, Texas, spotted the picture on

Flickr. I contacted Jonathan through his website to ask if we could

license this particular image for use in a retail ad campaign, says

account executive Ashleigh Sawyer.

THE CAMPAIGN

The photo was used throughout 2008 and 2009 in billboard, print

and television ads (above) for the Kingsgate Center shopping

complex in Lubbock. The client loved it so much, Sawyer says,

that they asked us to renew the license for our 2009 campaign.

PHOTOGRAPHER: JONATHAN LABERGE

the edges like we wanted. But the image was not high-res enough,

the people in the image were underage and not model-released,

and there was at least a two-day lag in discussions with the pho-

tographer all red flags that make an image unlicensable. At this

point, though, our client was in love with the image, and so were

we. So we found another way: We licensed the idea and composi-

tion of the photograph and then recreated it, with released talent

and proper resolution.

In other cases, agencies buy photographs on Flickr that are

already up to spec for commercial use. Take the photograph

of a woman in a lounge chair in the middle of what seems to be

an overgrown field. It was shot by Montreal, Canadabased

Jonathan Laberge of his wife, who happens to be a model. There isa certain commercial quality thats inherently a part of this photo,

which uses artificial lighting in an outdoor situation, says Steve

Smothers, art director at the Thomas Agency in Lubbock, Texas.

Smothers used the shot in a billboard campaign for Lubbocks

Kingsgate Center shopping complex. What attracted me to the

image was not only the subject matter but also the amount of light-

ing and post-production work. Those two things delivered a surreal

image that worked with the campaign and a level of polish not

always seen in the scrapbook shots on Flickr.

The size and scope of Flickr can be intimidating even to an expe-

rienced user of photography. You can use keywords to search for

particular kinds of images, says Masaitis. But with image authors

all choosing their own keywords, it can be a crapshoot. The work

all tends to blend together.

Still, I love the fact that Flickr is such a huge ocean of imagery.

You know its not filtered through a stock agency. In the end, it gives

you a more authentic outcome if you have the patience and your

project allows for it. And it certainly can be fun! AP

Laberges sleek portrait of his wife (top) was picked up from Flickr to advertise a shopping center.


JONATHANLABERGE;COURTESYTHETHOMASAGENCY

FLICKR CREATIVE SHOWCASE30



33/84

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EXTREME: TYLER STABLEFORD

Ive been in a lot of extreme situations, but inhaling

hot ash was a new experience for me, says adventurephotographer Tyler Stableford, who got this shot while

tagging along with firefighters in western Colorado

while they set a controlled burn to stave o wildfires

in the area. Rarely do fire departments allow any

journalists this close to the action, but the Colorado

team made an exception for Stableford after he photo-

graphed them for an assignment the previous year.

In the middle of the scorching scene, a fireman is

turned into a painterly blur by the waves of heat,

evoking a sense of heroism and focus on the flames

that creates a feeling of fire that practically burns

through the page.

CLOSE-UP1(-(-%#+$34%'33+#$.1"2313#"/4124(-%

photography professionally about 10 years ago while

working as an editor at Climbing magazine.

.23"-%#1.422'..3-2("#%+!(#1!5#2(-

Iceland when they could collapse at any moment

-2/(1#"8(2*82(343(.-2+3'.4%''#2%.33#-

less bold since becoming a father

#23"5(!#(5#/1(-323.8.41,."#+2'#1#

fighters were thrilled to get Stablefords photos

and in return, they gave him more access later on.

#2(3#38+#123+#$.1"!.,

-.-21*6(3'-,,$9..,

. . . ..


35/84

TYLER

STABLEFORD

. .. .. t ..


36/84

PORTRAITURE: MICHAEL HANSON

www.storemags.com & ww .. ...


37/84

IMAGESO

FTHEYEAR

lthough 2009 might

have been a difficult time for the world, it

was an exhilarating time for photography.

For our annual Images of the Year com-

petition,Americ an Pho to received nearly

4,000 entries, and selecting the winners

from among them was not an easy task for

the judges. There were novel approaches

across all categories, says judge Paula

Tognarelli, executive director of the Griffin

Museum of Photography. Photographers

are really stretching their imaginations to

produce work that bears their own indi-

vidu al marks a d iffi cult thing to do in

these times, when we are bombarded by

imagery.

The pictures that made the final cut

represent the culture of 2009 in a vari-

ety of original, technically masterful ways.

After a year of devastating tsunamis andfires, the dramatic photographs by Aaron

Feinberg and Tyler Stableford underscore

natures dominance. Ed Kashis and Michael

Hansons moving projects in Africa reflect a

growing international consciousness. And

the witty work by student Sean Dufrene

speaks to our need to maintain a sense of

humor amid challenging times. What the

winners all have in common, however, is that

they reflect a move away from heavy-handed

digital manipulation in favor of pure, pow-

erful imagery. Its easy to get caught up in

technology, but these pictures show that

the craft of photography capturing a sin-gle moment is thriving, says judge and

lensman Tony Corbell. The industry is in

very good hands.

Michael Hansons portraits prove that

sometimes the most original imagescome when a photographer steps out-

side his comfort zone. When the

Seattle-based documentary photogra-

pher made a trip to Ethiopias remote

Omo Valley, he discovered that its

villagers, members of ancient tribes who

have not adopted Western ways, have

grown used to posing for tourists. There

was no way they were going to let me

photograph them in a natural way, says

Hanson, whose solution was to ditch his

reportage style in favor of stark black-

and-white portraiture. By focusing purely

on the villagers and their tribal markings,

Hanson was able to convey not just theessence of their personalities, but the

compelling culture that has shaped them.

CLOSE-UP

Training: A former minor-league

baseball player, Hanson is self-

taught as a photographer.

Work owned by: The Sir Elton

John Photography Collection

Inspired by: A curiosity about the

people behind food and everyday

objects; hes documented the

gold mines in Chile and the

oyster industry in Florida.Best advice: Learning how to con-

nect to the people in your shots is

more important than mastering

the gear or the business side of

photography.

Website:

michaelhansonphotography.com

-.-1*6(3'

,,$-"

,,$+#-2#2

##!3.16(3'2.$3%.+"

colored surface

35

www.storemags.com & www.fant mag.com


38/84

While documenting Nigerias

oil industry for his book Curse of

the Black Gold (powerHouse), Ed

Kashi discovered the Trans Amadi

Slaughter, an abattoir that had

sprung up after petroleum-related

pollution destroyed local fisheries.

The photographer spent three days

shooting the grim conditions and

young workers. It was so visually

and emotionally overwhelming, it

took all my senses to figure out how

to make a great picture, says Kashi.

But he found it, snapping this stirring

2'.3.$8#1.+"!118(-%%.3

to be roasted over a pit of burning

tires. After the picture appeared in

National Geographic, one reader was

so moved that she raised money for

the boy to return to school. When a

photo inspires someone to action,

says Kashi, Ive done my job.

CLOSE-UP

Training: BFA in photojournalism

$1.,81!42#-(5#12(38

Documentary projects: Aging

and health care in America, the

Iraqi Kurds, Pakistani culture

Inspired by: Peoples stories and

issues that stir my soul

Best advice: Know what yourereally good at and focus on that.

You cant do everything well.

Website: edkashi.com

-.-6(3'

,,$-"

,,$9..,2

-.-/##"+(3#2'

PHOTOJOURNALISM: ED KASHI

36

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39/84

IMAGESO

FTHEYEAR

Aaron Feinberg often uses Photoshop

to enhance or refine the landscapes

he photographs, but for this awe-

inspiring shot, Mother Nature did allthe work for him. Based on the island

of Kauai, Feinberg had witnessed this

type of wave on the Na Pali coast only

a few times. When the surf is big

enough, the wave splashes against

the back of a rock, collides with an

incoming wave and shoots up, he

explains. Early one evening last year,

Feinberg decided to stake out his shot,

and after two hours on a rock with

his Canon, he caught the translucent

blue-green water at its most explosive

moment. He named the shot, appro-

priately enough, Kaboom!

CLOSE-UP

Training: Self-taught

Other area of expertise: He holds

a degree in atmospheric sciences,

and his understanding of weather

and tidal patterns comes in handy

for planning landscape shots.

Inspired by: Photo-sharing web-

sites like deviantart.com, becauseyou see what others are doing and

get instant feedback on your own

work

Best advice: Shoot, shoot, shoot.

Its like the old monkeys-typing-

Shakespeare saying eventually

youll get something good.

Website: afeinphoto.com

-.-21*6(3'

,,$-"

,,$9..,2

/+42-.-73#-"#1

-$1.33.31(/."6(3'

(1*++'#"3.++.6$.1smooth, quick camera positioning

NATURE: AARON FEINBERG

37



40/84

PERSONAL WORK: JULIA FULLERTON-BATTEN



41/84

IMAGESO

FTHEYEAR

For several years, Julia Fullerton-

Batten has focused on the lives

of teenage girls, portraying them

in her edgy photographs as both

awkward giants and expression-

less automatons. In her latest

series, In Between, she looks at

the transition from girlhood to

womanhood and the tumult that

accompanies that stage. For the

project, she cast dancers, who

could achieve the unusual posi-

tions she was looking for some

appear to be levitating, while

others look like theyre being

tossed about without look-

ing too polished. I didnt want

professional models because they

tend to be overconfident, says

Fullerton-Batten, whose work has

been embraced by the fine-art

world. I quite like the oddness of

girls at this age.

CLOSE-UP

Training:#%1##(-/'.3.%1/'8

from Englands Berkshire College

.$13-"#2(%-

Photographers she admires: 48

.41"(-44"-,/#++2.

sculptor Erwin Wurm

Inspired by: Her childhood, par-

ticularly the period around

her parents divorce

Best advice:.-36.118($-.3

everyone loves your work. Its

better to do something extreme

than something mediocre that

everyone thinks is nice.

Website:

juliafullerton-batten.com

22#++"6(3'

22#++",,$(23%.-

CFE lens

#$/3422"(%(3+!*$.1

the Hasselblad

1.-!.+.12''#"26(3'

softboxes, grids, beauty dishes

and boom arms to supplement

the natural daylight for a stylized

eect and to freeze models

in motion (models were not

suspended by wires nor were

images significantly altered in

postproduction)

39



42/84

'#!'++#-%#1#3#/'.3.%1/'

powerful enough to turn people o

cigarettes without resorting to the

gruesome imagery so prevalent

in anti-smoking campaigns. With

the help of a couple of dancers, an

up-for-anything ad agency and hun-

dreds of yards of Lycra, Los Angeles/'.3.%1/'#1(!1".1#-!."("

just that. I wanted to evoke a sea of

people trapped inside their addic-

tion, says Marenco, who created the

2'.3$.13'#+($.1-(#/13,#-3

of Public Healths billboard and print

campaign. To achieve his desired

eect, he photographed the dancers

(-"(5("4++8(-2("#$..33++8!1

cigarettes. Then he digitally overlaid

embers and smoke from real ciga-

rettes on the figures. The ads ran

without any words, only a helpline

number the image said it all.

CLOSE-UP

Training: BFA in filmmaking from

3'#-(5#12(38.$+($.1-(.2

Angeles; learned photography

through working as an assistant

Also shoots: Film publicity posters

(past projects have included V for

Vendetta and House of Wax)

Inspired by: His mom, who works

harder than anyone in the world

Best advice: Be good, be quick and

be fast, but dont bust any heads.

Website: ricardomarenco.com

-.-21*6(3'

,,$-"

,,$!1.+#-2#2

.418-+(3#

watt-second) power packs, five

8-+(3#34"(.2'

heads

COMMERCIAL: RICARDO MARENCO

40

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43/84

IMAGESO

FTHEYEAR

With this shot, Academy of Art

-(5#12(38234"#-3#-4$1#-#

!/341#"'(28#1.+"$3'#1!*

in all his surreal, Coors-guzzling glory.This photo isnt far from reality,

2824$1#-#8""2*(-".$

cowboy. The shot is part of a series

on his father that is at once beauti-

fully composed, hilarious and tender.

(Other images have him wearing a

beer-can tool belt and dining with

'(2!34$1#-#(-(3(++8/+--#"

to shoot his dad in a documentary

238+#k+(!'1"5#".-433'#-

realized Jack warranted a more outra-

geous approach. As for his model,

4$1#-#282#$.1##5#182'..3

hed grumble about it, but whenever

I submitted a shot in class, he wouldbe the first one calling me, asking, So,

what did they think?

CLOSE-UP

Training: Studied economics and

photo communications at California

33#-(5#12(384++#13.--.6

pursuing an MFA at the Academy of

13-(5#12(38(--1-!(2!.Upcoming project: A series of high-

fashion shots in B-movie settings

Inspired by: Quentin Tarantino and

Mel Brooks movies

Best advice: Shoot for yourself, not

other people. Critiques can refine

your process, but also pollute it.

Website: seandufrene.com

-.-6(3'5#13(!+

33#18%1(/-",,

$9..,

+(*31(/."

1.$.3.!43#watt-second) power pack with two

!43#2''#"2

STUDENT WORK: SEAN DUFRENE

41



44/84



45/84

IMAGESO

FTHEYEAR

MARK EDWARD HARRIS5#13'#2/-.$8#123'#(,/.22(+#3.

categorize photographer Mark Edward Harris has

shot everything from celebrity decorator Kelly

Wearstlers apartment to the rarely seen militarized

zones of North Korea. Based in Los Angeles, he has

published five books, including the seminal Faces

of the 20th Century(Abbeville) and Inside Korea

(Chronicle). IMPRESSED BY: #-4$1#-#2234"#-3

work. Out of all of images, I kept coming back to this

funny yet sophisticated picture. From the balance of

the frame to the lighting to the way every object had

a purpose, the image popped.

JANICE LIPZINJanice Lipzin has been involved in the art world as

a photographer, an agent (at Sygma and Magnum)

and a portfolio consultant. She is now the director

of visual arts and education at the Banana Factory, a

major gallery space and community center in

Bethlehem, Pennsylvania, where she oversees

#7'((3226#++21#2("#-313(23/1.%1,2-"

art courses. IMPRESSED BY: Julia Fullerton-Battens

personal project. Theres a certain elegance and

grace to these girls defying gravity. Theyre so out of

the ordinary, but the girls look like they belong in that

space, in those positions.

TONY CORBELL(-!#'#%.3'(22313(--(#%.2#"

photographer Tony Corbell has trained his lens on

brides, astronauts and heads of state becoming

something of a lighting guru in the process. He cur-

rently divides his time between teaching workshops,

managing product education for Nik Software,

and shooting a personal project about his other

great love, the Beatles. IMPRESSED BY: (!1".

Marencos commercial photograph. Its clean,

inventive and powerful. I imagine it required a heck

of a lot of work.

PAULA TOGNARELLI

As the executive director and curator of Bostons(-4#-3(+1(-42#4,.$'.3.%1/'84+

Tognarelli organizes shows that promote social con-

sciousness while also moving the art form forward.

'#2/#-38#126.1*(-%(-%1/'(!132-"(2.-#

of the top experts on digital photography.

IMPRESSED BY: Ed Kashis photojournalism shot.

Kashi is a skilled storyteller, drawing us into the

drama of the situation and leading us to empathize

with the boy as if we were there.

THE JUDGES

43



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44



47/84

TIMS

TREET-PORTER

Left: The protective covering of the Jack Colker Union 96 gasstation on Crescent Drive i

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