Not long ago, Photoville happened in NYC. The short event showcased the work of various artists, but in a totally non-traditional way. Photoville utilized pods—giant shipping containers—and gave the artists creative freedom to design the interior however they chose to show their photos. This newly formed tradition will continue at the upcoming DUMBO Arts Festival in Brooklyn. We recently talked to Sam Barzilay about the idea of showcasing art in pods, and more about the festival.
Opening photo is by Li Hao's exhibition, "Worshippers."
We can all appreciate the beloved Ansel Adams. He was one of the greats. His story is inspiring, fascinating and enduring. The man worked as a custodian in Yosemite National Park in order to live in the beauty he so much appreciated and desired to record. He seemed a harmonious blend of romantic artist and master technician. He devoted his life to the pursuit of what he loved. As a darkroom junkie myself, the first time I saw an Ansel print in person, printed by his own hands, I admit that a tear, (yes, a tear) fell down my face. The sheer craftsmanship of his prints was surprisingly moving. I am not here to dispute the fact that Ansel Adams was one of America’s greatest and seminal landscape photographers. I am here, however, to challenge you to find another one. After Ansel, who is your favorite photographer?
One of the most valuable lessons that I apply to photography on a daily basis was actually taught to me by a theater professor in college, well before I had a passion for taking pictures. “The most interesting characters are the ones that struggle between good and bad. Show me this conflict,” Dr Edwards said, “because it is this conflict that we are drawn to.”
Autumn: an appropriate time to be thinking and writing about cycles. The garden is fully formed, yielding all that it has to offer. The mornings are cooler with the smell of crisp change perched on the air, and once again, my thoughts turn to another year. Another year of productivity, highs, lows, little celebrations and small defeats. Each year brings better understanding of the way I work and the work that I do now, potential uncertainty about the work to come, and acceptance of the work that's been done. And the crux here is that it is all connected.
I wonder, if one hundred visual artists were questioned why they create, how many different answers I would hear. I also wonder how many similar answers would emerge. Often, there are two somewhat disparate aspects to why we create. One is for self-satisfaction, personal fulfillment, or financial reward. The second is one that we, as photographers, are often reluctant to admit: so that others will see and appreciate what we do.
I've been making photographs since 1972, when I purchased my first SLR, a Canon F-1 and in the decades since I have exposed millions of frames of film. With the advent of digital, I make even more images thanks to the instant feedback on the camera’s viewing screen where I can evaluate the photograph and then continue shooting until I get it right.
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