17 Burst results for "Joe Meyrowitz"

"joel meyerowitz" Discussed on Photography Radio

Photography Radio

04:13 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"And so on, and there were very few museums that showed photography seriously, and there were very few publishers that were willing to publish because there wasn't a market for serious books. So I'm at that age now where I have the opportunity since I've published as many books as I have, there are publishers who are willing to to to bring these books out now so I'm having the time of my life going back over. Work that I did with full heart and real intensity couple of years in a row, and then you know it gets put in the box. In fact in my studio in New York now. We've we've unearthed a hundred and forty thousand unseen CODA Crumbs. All my now. I saw those pictures, but you know there was nothing to do with them basically, so they went in the file boxes. And so now there's a place in new. York digital. Transitions. Who is? Scanning all of these hundred forty thousand from me at a really remarkable price. And I'll be able to see everything. And have a file big enough. To print from for a book. Let's say and and to put into my database. So where? We're doing that, and and in fact in in two we on the sixteenth aperture, and I are doing a small print sale of three prints. That will sell for a hundred and twenty dollars and twenty, each signed prints and They benefit apertures educational. program. They benefit my scanning program and they'll benefit. A Something called the equality. Can't remember exactly what is the? Quality let me see if I find it here. It's called the equal justice initiative because we're at a time right now socially where we really need to have strong. Fighters for equal justice and aperture and I. Have done a lot of research and we want to offer some of the the funding. We receive from from this for that, so that will be offered in on. The sixteenth will run for about ten days. On our websites, instagram and stuff like that so anyway, it's a way of of trying to support. He's various projects. That is wonderful. Well, thank you, Sir! This has been a fascinating talk..

New York York
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

04:50 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"To see what actually reality was in there, and to also affect some kind of hearing and clan, healing and cleansing. By taking these photographs, which basically say time moves us all further and further away from the moment, and those people will be forgotten. Over time they may be loved and remembered, but they're the the their presence, and the pain of it will begin to be reduced over time. They will be part of the fabric in the background. So in a way, it was an incredible. Human. And spiritual message from me. In in what? What time does to all those? Oh, my in terms of briefing and healing. And that question? Dare I find beauty. I think that. Is, an incredibly eight. It's elegant way to state it and. Challenge! When when all of us go out? To Do Street, work or anything else is so often. We take that step back instead of a step toward. I don't want to intrude or. I find beauty there. Well you know there. Another thing there there is there is in this the notion of the sublime. And the sublime in art has always been part of Romanticism. And it's usually been framed by showing you ruins. It's the cascade. It's the it's the the.

"joel meyerowitz" Discussed on Photography Radio

Photography Radio

05:27 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"A dark on dark in the dark. When you look at that picture now it's not a a strobe lit. TEPPER! It's a pepper that accumulated the light that traveled all the way from the front of the studio. All the way to the back and you're basically painted itself. Over the pepper for hours until the camera logged. The data and fact? If you look carefully at the pepper, you could see where over time the pepper must've shrunk a little bit because his a slight. Secondary Edge to the pepper as if it dried out a little bit over over the six hours of the eight hours, it was sitting there. And so. That inspired me because everybody thinks of me. Who those who do think of me as Joel, Meyer was Cape Light all about the large format and light moving through the frame. And so I wanted to set myself a task of shooting in Near Darkness, which the studio here has. And I was shooting these dark objects against Dr Cloth in the near dark and amusing time exposures of minutes. To make this picture. And and and so began the adventure of what constitutes still life in the twenty first century to me. and. These crazy pictures have. Have come out of out of the question in a once again it's. Can you push into territory? That, you have never. Seen before. And how do you find your way? One things that. She said that again strikes very deeply with me. You say that this was a New York Times interview. You said I've always felt that photography is a positive art form every time I. Press a button on the camera I'm saying Yes to something I saw. But you also did all of that work at Ground Zero and. How is it possible to stay positive when what you are photographing is tragic end wrong? Well I don't agree with the room. A part of that that question and I think the question is definitely a fair one. And I certainly had to navigate. That being in there. But you know time. Is a healing process?.

Meyer Dr Cloth TEPPER Cape Light New York Times Joel
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

05:38 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"Make? Me have a good time doing it so so I accepted that limitation. But for my homework it was you know I went from thirty five millimeter to eight by ten view camera I went street photography to landscapes and to portrait's and two other things so I'm. In a way I served these two. Gods! In different ways? What what would I say to someone today I would say if you want to be an artist. Just follow your instincts and do the things that give you pleasure and demand your attention in special ways, but if you WANNA be nature, photographer, Beluga, whales is your. Is your excitement. Do it so that? Everybody comes to you for that, and and you will get other things from that to someone will say well. You're so good with Wales. How are you with elephants? Go. Off You. You have made to pivots recently in your work, the self portrait switch. We talked about just a little bit but you were doing those still lives. Just, just before that why I don't know I i. don't mean to imply a complete change, but why the interest in still lives. After so many years of doing street stuff. And still is by the way magnificent. Thanks well. We'll look the same thing held for still lifes, although in all of my years. The only still is I've ever met I've never made an arranged still life like pushing objects on the table. But I have gotten up from dinner party in rich, eight or ten. Were seated, and and the candles are burning. The dishes have been removed all the wine glasses of their. Everyone has a little ruby of wine left in the bottom. There are dessert plates around or something like that and I. Have on occasion seen the beauty of how ten hands have assembled a you know sort of accidental still life. Or found found I. Think everybody makes found still live here and there. But. About. Five years ago here in Tuscany were speaking to you from. It was a summer from from Hell. The temperature was over a hundred degrees every day for six weeks. And in the middle of the day was impossible to go outside. So, this building that I'm talking to from was an old barn, and there was a hayloft upstairs, and in that hayloft loads cleaned. There's a tiny skylight and and a studio. And so I found myself retreating to the cool of that loft, and there were a number of objects around that that I had found and a friend of mine here in Italian guy had had know found four me, and so I started to move around on the table, top and I suddenly. Discovered that these objects had what I would call anemia, or soul or spirit or identity something, and as I, move them around. They began to have interactions almost like street photography, almost the way people mass on the street, and then a single person breaks out of the crowd, and runs through them or runs off for carry something so I started to read the.

Tuscany Wales
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

02:18 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"In know. Let's say I introduced Volvo to America in one, thousand, nine, hundred seventy. Nine seventy, I think it was sixty, nine, hundred, seven and I, did a campaign of twenty two ads, and they gave me the car, and they said they drive all over America and make interesting pictures of the Volvo. You know so. You know I did everything but put it on a wet pavement. And looking glossy, I drove through mud. I drove through ditches I drove it through over. Mountain passes I drove it in rain. I, I put it in all the worst places because it was a tough car, and and suddenly it became famous car in America and and I did other things that showed the way people live, so so I got pigeonholed as a kind of lifestyle photographer and you know I was happy. To get that work because that way nobody gave me. I remember an art director at Young. And rubicam stopped me in the hall one day back in the in the seventies when you could actually walk the halls of the agencies and not see what would be an art buyer, but you would see the the art directors themselves in this guy, said jaw I. WanNa work with you I got a job for you. He said I need this bar of butter melting on a plate. And he said I'll pay. Pay You five thousand dollars now five thousand dollars in one, thousand, nine, hundred, seven. Me was a lot of money. And I looked at this guy and I said. Why are you asking me to do this? I do stuff out in the world. At Large, he said well. I like you I. Want to work with you. I said well when you get a job that I do. Call me, but I'M NOT GONNA. I'm not GonNa you know. Bend over backwards to melt some butter on a plane. It's not what I do I'm not that guy, but there are still photographers in new. York who can do this in an hour and bring you a picture that will just not get socks off I. Don't you know thanks, but no thanks so in a way. I knew what it was that I could fabricate..

America Volvo director rubicam York
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

05:49 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"Don't see that only now of course I, I've learned how to read the the moving text of the streets of that. I see things in relation to each other quickly. I've developed that kind of sight. Reading like a good musician can read music. And just get the whole thing the whole phrase in in in one gulp. But for. For Students I think it's. It's encouraging to be able to say the goal for that. Co for let the detail pull you. Because as you move towards it, your other details will come up and you'll begin to start to assemble the phrase. that the picture may yield afterwards. That makes sense. It does it makes perfect sense. It strikes me that a baseline here is the learned to trust your own sense of engagement and interest. You may see something on the street that you think this is fantastic. You get to the computer and you say well. Sorry. This one didn't work. But still took the shot. You still followed the curiosity. And you know if I can just add something there. I what's good about? That is sure you may make that picture in. It may not the well-made photograph that you'll keep, but when you look at your the run of pictures in light room or whatever you used to look at your pictures, you might see that on that day you hit. Similar notes four or five times during the day. And when you look at that, call it a contact sheet. When you look at that contact sheet, you may begin to observe that. Oh this is a subject. That I've. Become interested in maybe if I concentrated on that I will start to develop a body of work that will reveal my identity to me. That that strikes me as really really interesting. Because we talk about writers having voices, we talk about musicians having voices, photographers have voices as well. You touched on it a little bit. When the chapter called be at one with your camera. You know where you're almost arguing a one lens approach for people for a while final Lens. It's best not for your subject with for Your Voice Do you think that's tough for photographers to? Coming to understand. I do because I. Think a lot of people by a camera and it comes with Zoom lense. It might be twenty, eight, two, hundred, thirty, five, or ninety or something like that, and so people think Oh. I got the zoom. I'M GONNA use it and so they're sitting in a cafe in Paris, and there's something on the streets that's happening and they just use the zoom on the cafe, and then that the make a picture and it doesn't really at Upton anything. Had they gotten up? When they saw the thing that interested them and walked within the space that that event was happening in, they would actually sensed the human interaction, the folding storyline and they would have. They would have gotten a different feeling about it because they had made the effort. So I am advocating a prime lens as part of their training. Because it, it makes.

Upton Co Paris
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

04:28 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"It's a dame's the game of site. And how dynamic and how interesting you can make, the frame is the game that I've learned to play and that means I. Don't know beforehand what I'm going to leave in, but I'm going to put out. But as as that camera. Slides across the visual space in front of me the field in front of me. It strengthens it it it. It becomes a fixed in some way. To recognize the dynamics of it, and I begin to feel by the way because I. Think it's all about feeling and meaning. Even though these are things that people don't like to talk about, because meaning is so various. What means something to me doesn't necessarily mean something to anybody else. Still you have to find what means something to you so that it strong enough to stop you in your tracks and drawing you into it so that you have a relationship with it a felt relationship, because if you're if you don't vibrate with a a sense of the that the meaning of this to you how it fits into your. Recognized sensitivity your aesthetics. Then, you'll be lost forever. So If you have developed an identity, and the identity isn't the only one thing. It's a way of understanding in reading the the invisible text of the world. If your identity is strong enough for that then you'll begin to expand. and become bigger than yourself and you'll welcome in unexpected. Visions that reinforce your sense of of how you see the world. And so it surprises me. And and frankly I live for that. You have a chapter in the book called looking for detail and getting in close, and you're also talking about you know speed and kind of intuited. Understanding or intuited hope that what you're looking at is going to say something larger. Talk about getting close talk about developing that sense of what details matter. How do you know? I I used that as a lever basically because I've had a lot of experience teaching. Students, street photography and I watch on the street. How? How often people are shy? And they they don't want to get into the right relation. and distance to people they might be photographing, and and they, and then that confuses them, and they don't know where to look and so I was suggesting that sometimes it's a tiny detail a note. That sparks your attention. It could be the way young woman on the streets The T shirt! She's wearing the blouse she's wearing has slipped off one shoulder. And you suddenly see the the curve of that shoulder, glistening in the sunlight, and you're standing in the middle of Fifth Avenue where men are wearing business suits, and suddenly this little bit of flesh on the shoulder. Is the invitation to pay attention so I say use that detail as the starting point to draw you. To draw your willingness to go a little bit closer, so that's shoulder in sunlight plays off against all the steel and and glass and granite of the buildings, and the and the dark suits of the businessmen and suddenly vulnerable fleshy human being has said it all off. I said so. It's not that you have to run up and take a picture of the shoulder. But. You use it as the key to put into the lock that will unlock the picture for you and unlock your resistance. because. It's like a teaching tool in a way. What is it that is that Zen bell that calls you to pay attention. You Know I..

"joel meyerowitz" Discussed on Photography Radio

Photography Radio

03:13 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"Do, you think that kind of awareness can be taught, or is that come from just repeated failure experience as you say here again. This is another quote from your writing, you say suddenly there's a sense but never certainty, but there's a sense that there are elements gathering together in front of me. That might produce something interesting you're describing away of living. That is hyper, aware to light and composition, and the rest of it. Is that a talent or is that something? You know it is funny way to Parse this I. I think that I've developed this over the course of my life at talk graffiti. Itself has taught me how to pay attention. So that it's the nuance if I'm some place and I hear what I call Zen Bell. The send Beleza. Thing makes a sound like this. It's really tiny. But sometimes that tiny little notation is allowed her own more significant than anything else in the surrounding. It's as if everything else is distraction, and that one little tiny note is the thing that calls to attention. I've learned to trust that it's as if that thing has reached into me deep into my core, and it's pushed aside all the distractions, so that something essential is vibrating, and it makes me say what's that all about? And I go there to that thing just like the other night you know putting out the lights getting ready for bed, and I stare at the moon, and suddenly I'm aware Oh. This is an opportunity to make a photograph. Right I mean. It's so close. It's almost it's almost a lost cause until it is. I love the way you said that. You speak somewhere about. With the photographer really does is great relationships by putting frames around something by putting You know limiting the picture I guess. Do you see in frames me when you look out your window. D- Are you seeing you know eighty five different possible relationships you can create. Well, I, you know it's it's true I, do see and frames because I've been trained to look through a rectangle for fifty eight years, and to recognize that the essential part of the rectangle, because after all consuming the rectangle, you know hundred and eighty degrees or three sixty whatever you want, you could move that rectangle until the stuff that really speaks to you. The game you play with the edges. What's in the picture and what's out? That's what makes it a photograph. When you put the camera down to becomes life again existing in three sixty in every bit of the arc of the circle, so at three sixty verdict, three, sixty, horizontally three sixty directly. It's life is happening everywhere. And so by seeing in the frame. It it's.

"joel meyerowitz" Discussed on Photography Radio

Photography Radio

03:31 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"That. Oh, this is an interesting moment. That I'm in right now. How can I make a picture of this? I can set the camera twelve seconds, and then I could just go live. In the space and the camera will take a picture of whatever I'm doing, and I don't have to pay attention to it or try to look too good. And so maybe it will be like me having my own personal photographer around. And you know something. I'm one hundred and eighty days in. and. I am I. have made a picture every single day and sometimes many different ones during the day. Because I find as today on roles. Interesting things happen I think Oh, I'll do that. And, so it's a game and I intend to call the book. Are you ready playing with myself? Okay. That'll be a tough one to ask for for Christmas but..

"joel meyerowitz" Discussed on Photography Radio

Photography Radio

05:58 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"Younger photographers to who are young masters or up and coming masters. So That was the genesis of it and. It's been a real. Interest to me to read the feedback that people give and the questions they ask I go on almost every week or ten days or so and I read the questions that people ask as they take the course and I try to answer them so that it has a kind of ongoing relationship to it. That's that's. And so this book grows out of those courses. Yeah well, my I have a publisher in London called Lawrence. King publishers who did the book that you and I were talking about before where I find myself, and and as soon as they saw this course, they said we've got a distill it into a book, and so we took. The the spoken word. From twenty of the thirty five lessons, and we condense that into the text for a book, and what I particularly like about the feel of this book is the size of it is the kind of thing you can sort of sticking in your shoulder, bay, or your pocket, or your your jacket pocket, and it's a little Bible. You can carry with you when you're out and everything and the tone of the text is just like we're talking right now. I'm I'm speaking directly to the individual I tried to make it as intimate. A presentation as possible so that. It feels like a one to one. Relationship and I. I know I think that's important in communicating. The richness of photography and the issues that will come up for almost anybody who tries to work on the street, or tries to make portraiture or tries to figure out what the hell a landscape might be there. Are you know we? We all bump into the problems? That photography poses on our way to finding our own identity and I think Brooke is really go ahead. These I couldn't agree more and I want to add very quickly for those who are listening. This is not a technical book. This is not you know if it's drizzle Jozef seven. This is a book about attitude. This is a book about how you approach craft and aesthetics much more than the mechanics of a camera on that intimacy that you talk about I. Think is present from page one. Yeah well. Tech technical stuff people can figure out technical stuff on their own I mean the way cameras were made now. And the whole digital a process is is you can figure it out, but it's so hard to figure out how to know when to take a photograph or how to position yourself. You're invisible and I think by answering these emotional physical. Sensory issues. That I could come closer to injure individual students that way. I'm wondering if you could unpack a term for me..

Jozef publisher Brooke King London Lawrence
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

04:24 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"If I'm someplace and I. Hear what I call the Zen. Bell then Beleza, thing makes a sound like this. It's really tiny. But sometimes, that tiny little notation is louder. Significantly. This forecast is brought to you by frames. Upcoming Printed Photography magazine here is your today's host. W Scott Olson with other fascinating conversation. Well hello, everyone, welcome to another podcast from Frames magazine, Mine Scott Olsen, and today I have the distinct and complete honor of talking with Joel Meyrowitz Joel is the definition of street photography, and has been for decades now is a work has appeared in the Whitney Museum of American Art, the Getty, the tape modern a, he's the author of more than twenty five books, and you cannot do street photography without knowing about Joel Meyrowitz his work has been a defining and transforming for quite a long time Joel good afternoon. How're you? Could. Ask to Scott I'm great. Thank you for that. Lovely intro. God have I been around that long. Well it may be I mean I I was teasing somebody other day. If they put street photography in the dictionary, your picture would be the one next to the definition. It's you have a new book out, and it is a wonderful book. It's called how I make photographs, and it's part of the masters of Photography series in before we get into the book itself, which is a fine book. A little bit about the masters photography series. What what is that? And what is this hope? Oh I tell you. It I I am so pleased to be a part of that group about four years ago. Chris Ryan. WHO's a photographer himself in? London came to me and said you know the time is right for an online photography class that the smartphone has bread. Over a billion people on the planet you know into wanting to be photographers and improving their game. He said and I think the time is right to do an online course. And this was right about the same time as masterclass came out in California. Of course they're. They're not only photography very in a writers and. Performers in script writers and things like that, so I'm Chris and I sat together for a while. And I liked how undersea was how familiar he was with photography itself, and how he wanted to be this generous offering to make this generous offering of of you know qualified photographers who can teach and so together. We worked up but it turned out to be thirty five lessons. And the course runs five and a half hours and the modules as we call them are anywhere from four minutes to ten or twelve minutes, and they take on in my case, street photography landscape, photography portrait photography shooting from a moving car interiors. I, in you name it anything that has a photographic question. Attached to it that has become of interest to me in the course of my life is something that I try to share. In, the in the most simple and direct way, no secrets held back. Just give it all away, and and it's a it's a very reasonable price I think it's about one hundred and sixty or seventy dollars for five and a half hours. And We! We've made a community now and there are a number of other photographers, Albert Watson and Steve McCurry. And David Yaro who is a remarkable. Animal and wildlife photographer. We just brought on a woman Tara for who works for National. Geo- so I think it's growing, and it's beginning to.

Joel Meyrowitz Joel Printed Photography magazine Chris Ryan Scott Olson Joel Meyrowitz Scott Olsen Whitney Museum of American Art Scott David Yaro Frames magazine Albert Watson Bell Geo Steve McCurry Beleza Tara London California
"joel meyerowitz" Discussed on WNYC 93.9 FM

WNYC 93.9 FM

03:43 min | 1 year ago

"joel meyerowitz" Discussed on WNYC 93.9 FM

"Officials said they have additional supplies and are distributing them to hospitals that request them when Hogan WNYC news kings park hospital did not respond to requests for comment on this story after the destruction of the World Trade Center on September eleventh two thousand one one photographer was driven to document the devastation and the people on the front lines WMI see Sarah Fisher co spoke with photographer Joel Meyerowitz about that experience for this edition of physical files what's the atmosphere like in London there's nobody out on the streets there's no traffic photographer Joel Meyerowitz is isolating is London he's been through crisis before I wanted to hear about nine eleven the ones helping each other nearly twenty years ago now confronted by the World Trade Center attacks in New York Meyerowitz born in the Bronx and living in the west village only about two miles north of ground zero was consumed by the idea of taking cameras behind the fences and barricades for a close up look at the collapsed buildings and all the damage done by the plans and at the contribution being made by armies of men and women who were cleaning up there and restoring desperately needed order at the time officials who said most notably mayor Rudolph Giuliani had feared the area would be subject to exploitation by photographers looking to profit from the tragedy the mayor had locked down photography hit cancel photography inside ground zero but yet I felt enough momentum as a New Yorker to do something to contribute in some way I wanted to see what I could do that would make the record I was more interested in the history than selling photographs well also you used the phrase you know they wanted to cancel photography that would be enough to get the blood boiling right what do you mean cancel photography I can feel you as a photographer and you just try to cancel the order that's right I suddenly became the kid from the Bronx that I really am there's no way you're gonna force me not to do what I what I recognize is that absolute need add a right as a citizen he persisted and things fell into place the mayor had denied access but others helped Morrow it's managed to get a workers pass which made his visits official and the parks commissioner at the time agreed to get him through the gates in a vehicle which concealed his photo equipment the area was so off limits it had become known informally as the forbidden city he had penetrated it was September twenty third I had to work all alone even though I have appealed to the mayor to work with a team of six photographers video makers and an oral historian alone in the toxic dusty ruins Mar which shot pictures for nine months the result was the book aftermath a sixteen inch tall eight pound hard covered home which stands as the only photographic archive and records of ground zero right after the September eleventh attacks Joe Morrow which is considered himself a street photographer ever since he was asked as a promising young art director of twenty four to supervise a photo session with Robert Frank he was thunderstruck as he watched the photographers process of finding small fleeting moments and movements and capturing them with a click and when I left out onto the.

"joel meyerowitz" Discussed on The Candid Frame

The Candid Frame

02:29 min | 1 year ago

"joel meyerowitz" Discussed on The Candid Frame

"To Joel. All <Speech_Male> for sharing his wisdom <Speech_Male> and insight with us <Speech_Male> find out more <Speech_Male> about him and his work by <Speech_Male> visiting. Joel <Speech_Music_Male> MEYROWITZ <Speech_Music_Male> DOT COM. <Speech_Male> I have <Speech_Male> several workshops scheduled <Speech_Male> this year the first first <Speech_Male> one is next <Speech_Music_Male> month in <Speech_Male> Los Angeles as <Speech_Male> part of La Street. <Speech_Male> Week <Speech_Male> held by the Los Angeles <Speech_Male> Center for Taki. <Speech_Music_Male> It's a week long. <Speech_Male> Event presentations <Speech_Male> workshops workshops <Speech_Male> and exhibits. <Speech_Male> I'll be teaching <Speech_Male> a half day workshop <Speech_Male> in Hollywood but <Speech_Male> there will be other sessions <Speech_Male> as well <Speech_Male> by other photographers. <Speech_Male> You can find <Speech_Male> out more by <Speech_Male> visiting the link on our site <Speech_Male> or visiting <Speech_Male> LIC Fordham <Speech_Male> Dot. Org <Speech_Male> I'll be <Speech_Male> in Washington. DC <Speech_Male> for the focus on the <Speech_Male> story festival in the fall <Speech_Male> and <Speech_Male> the momentum photographic <Speech_Male> workshop in August <Speech_Male> as <Speech_Male> well as my week long <Speech_Male> workshop in Tokyo <Speech_Male> in December <Speech_Male> you'll find links <Speech_Male> for each of these <Speech_Male> on my website <Speech_Music_Male> and in the show notes. <Speech_Male> <Advertisement> <Speech_Male> If you're a devoted listen I <Speech_Male> and subscribe to the <Speech_Male> show right away review <Speech_Male> on whatever service <Speech_Male> you listen to <Speech_Music_Male> podcasts. Those <Speech_Male> reviews have led <Speech_Male> people to take a chance on <Speech_Male> our show and <Speech_Male> <Advertisement> allowed us to grow <Speech_Music_Male> <Speech_Music_Male> along with my recent book <Speech_Music_Male> making photographs <Speech_Male> developing personal <Speech_Male> visual. workflow <SpeakerChange> <Speech_Music_Male> I just released <Speech_Music_Male> my latest <Speech_Music_Male> book. Nine pictures <Speech_Male> nine <Speech_Male> stories volume <Speech_Male> two <Speech_Male> the first one got a <Speech_Male> great response. And I'm <Speech_Male> back with follow up <Speech_Male> where I discussed <Speech_Male> stories behind nine <Speech_Male> images that I created <Speech_Male> last year. <Speech_Music_Male> It's just eight dollars <Speech_Male> in your purchases <Speech_Male> another way you you <Speech_Music_Male> can support the show. <Speech_Male> Purchase <Speech_Male> that in any of my <Speech_Male> previous e books <Speech_Male> by visiting the website. <Speech_Male> <Speech_Male> You can also subscribe <Speech_Male> to our Youtube Channel and <Speech_Male> our mailing list <Speech_Male> on the Youtube Channel. I <Speech_Male> don't offer critiques <Speech_Male> on images submitted <Speech_Male> by listeners <Speech_Male> like you while <Speech_Male> the mailing list <Speech_Male> keeps you updated <Speech_Male> with all. TC events <Speech_Male> including special <Speech_Male> events workshops <Speech_Male> and more MM <Speech_Male> sign up today <Speech_Male> and remember <Speech_Male> you can support the show by <Speech_Male> contributing to our Patriot <Speech_Male> effort or <Speech_Music_Male> donating <Speech_Music_Male> through pay pal. <Speech_Male> And

"joel meyerowitz" Discussed on The Candid Frame

The Candid Frame

16:12 min | 1 year ago

"joel meyerowitz" Discussed on The Candid Frame

"In your moment and it seems that a lot of people get fixated on the first here because you have to have become comfortable with the first two in in order to be able to give yourself up to defer thing which is so ephemeral yoursel good and thin really understand the nature of this game of site that we photographers play with the world large accuweather it's portraiture animal photography landscapes. Whatever it is this some way in which we have to merge with the subject object and the moment in a way we have to give up our own ego and our self consciousness and feel the potential meanings in the moment and that comes like a breeze? You know it just comes over us and we recognize is he didn't know in a moment and it's in those moments that photography exists because that's when you press the button photography captures a moment two two hundred and fifty years of the second one hall second. Mike Portrait's often anywhere from a quarter to a whole second. Sometimes Times longer. There are some of those evening portrait's which are three four five seconds long so it was a big risk that people will move so that the skills skills that one has to learn to maintain the subjects stillness and and the purity of their giving over of themselves relinquishing their secret to camera operated by someone they just met. This is mystical stuff. You know it's like being a magician. Tribal elder who knows how to pull these truths out of somebody but it takes a lot of time and belief that you can do this. You have to be patient. Washington often call enough inside so that all of the messages that are coming from the moment and the subject you are receiving in clearly no anxiety or haste even though speed photography's fast instantaneous. You can do it fast. But not hastily otherwise if you expand the moment of consciousness your own consciousness as an artist time becomes flexible. So that in the St- space of recognition calms the thousandth of a second pressing the button. You know what I mean. It's like how many different ways are there. This is almost like Einste- Einstein's physics in a way about time you can manage these two dimensions dimensions of time in the same living consciousness of of your being there recognizing raising the camera pressing the the button and knowing that you have crossed tests with this moment of what of your destiny that you've created this moment or oh you've witnessed this moment and I I know is probably gonNA sound to our listeners. A little bit you know like new agey and you talked to any serious photographer. Who's done it during the course of their lifetime and they will say something similar because it's not only mechanics? There's a an understanding of the temporal nature of times movement and passage and the the actions. We see that take place in that are things we can comprehend quite fully if we've practiced the medium long enough and and you know it's something to aspire too. I think that for all of your listeners out there photography isn't pure mechanical press the button the same the Lens photography also in spiritual dimension in which your humanity humanity is what is being recorded along with the subject matter and if you look at the work of any great photographer Robert Fry Right Caccia Brisson. UC again and again in the photographs the expression of their humanistic qualities this. How moved they were by what they saw? It's not just design out there. It's something that is so a special about this media that a machine can record emotions and feelings and and humanity entity and we give to each other as as are offering. It's not just about shaping a picture nicely in the frame but how much how much compassion or emotion or understanding can you bring to the frame with with an interesting arrangement of all this information and I think that's the secret of photography the Twenty First Century for me what I love most most about it is its ability to solicit solicite wonder especially when it's the most ordinary and familiar scenes subjects. You know the the details that become so important in a portrait always hold fascination for me because they are often so subtle subtle and my new and I think that what I love about. It is the presence of awareness. You have to be in that moment in order to be able to recognize it because as you know touchy feely as it can be sort of recognizing the moment that you actually release the shutter it. It's actually because you're paying attention. Not just to the person's face but the way. Their shoulders are the placement of their feet. All all those small little almost almost imperceptible things when all of a sudden they just sort of come together and then you recognize it and you make the photograph and it's the same thing that I experience on the street where it's the light. It's the person walking in front of me. And then there's also this person in the background in this person closing an umbrella and all these sort of disparate elements that are happening within a fraction of second. And then you can opt almost anticipated. And then you press the shutter. Justice comes together and I think when I look at At these portraits. There's much the same thing. Even though the movement within the frame is not as brisk as it may be on avenue but nevertheless is there and I think that that's having an understanding that even though these two different types of photography it's the same sensibility. The same sort of developed awareness. That's essential for this to be effective beautifully said and and the key word right early on in your state you said I notice. What else is photography? It's US walking around with a camera noticing doing the things that are interesting to us and it's the multiplicity of things right. The small details the large forms the shadows cut across the the movement of people. We are trying photographers. Who really understand nature of the medium where trying meaning to unify all the things? We see in an organized way in a rectangle so that it makes thanks for an interesting moment of observation to me. I I call that the game of site. It's just the pleasure of being out. What in the world and noticing the little details and the big gestures because for me? And we've talked about this before too when you hold photographing your hand oil. Look at it the book. Even you start to read the photograph. It's like a text and it's not like words on a page where you read from the upper left across the first line and down and down and tickets at the bottom of the page. The text is open ended. You can enter anywhere. The picture calls out to you. Somebody might see the thing in the center. Somebody else might see the detail in lower right hand corner of the frame we. We begin to read an appreciate the information in the in the rectangle. Each of us individually until we you begin to assemble a kind of a narrative. I don't mean a story but a narrative of the events that are happening happening in the frame that tell us about the photographers perception as well as about our own interests in this. So we as the viewer of the photograph have kind of communication with the mind of the artist through through the selection of objects incidents people lighting that that person has recorded in an instant. So it's a very very dynamic and dimensional reading of a flat plane after all. The photograph is a two dimensional bits. It's of color on a piece of paper or black and white on a piece of paper and yet it represents a three-dimensional reality that people live the pass through and and one that we all recognize. You know it's not like when you look at paintings. Every painter has his his or her own iconography inaugural scribble scratch big brush stroke circles thrown paint people choose a form for the language photographers. Were I stuck with reality. You press the button. You Got Pavement. Cars Guy Telephone Poles you know. Sign Edge people. You got all of it. How do you make sense of it? How do you render it personally? Yours or beautiful or meaningful. I mean. There's so many different things we're trying to do with the photograph in. Oh it's amazing that there aren't Dr that many photographers in the world who produce works of individual significance and beauty and meaning whose work we actually look forward to see. I know that you had a discussion with Richard Avedon about the idea of the process of making photographs. Because you like you said it only one or two burchard would make a lot more than one or two of any given given subject can. Can you tell us a little more about that conversation region. Yeah Well I. I met take avid done very early in my career. Nineteen sixty three I. I took a class with Alexi broadening. Who was the famous Art Director of Harper's Bazaar magazine and he was famous for having sort of have discovered Robert? Frank and Gary winner grand. A lot of people had taken his class. Tom Jones the English photographer. And I set seto. We'll take a LEXI's class. But within a few sessions Alexi became sick and since the class was held. Richard I have done studio in the office of his studio took over the class. And you know we just students but he and I hit it awful a little bit act then nineteen sixty three and over the years we would see each other occasionally and then one day right during the time that Avidan was was doing the people of the West Book of off all his western classical American American the American west the America and so some Ziemba or some place in Sweden had published a set of posters one of Dick Avid Don's man with the bees covering him and the other Li- woman. My red had headed young woman covered in freckles. And they sent both posters to my studio in New York and asked me to note. Could you bring an avid poster over two. So I called the up and I said I got this thing from Sweden. I bring those ensure I got to his place ice he. It was a quiet morning there. He had been working on the pictures of the West. We sat talking for a while and he showed me a lot of scouting that had been done for those people. And I said you didn't choose these people. He said. Well I I did but I have a scout out in the West I and they take polaroid's of people on the street that they think I might be interested in they fedex them to me a day later sure I send it back to them and I say hold the sky hold. This woman saved this person. Put them up in a hotel by the meal like keep them there and then when they assemble enough people he flies out and he flies out with his crew and they set up no seem in a parking working loud or something like that outside that he has daylight plus reflectors and then he just will shoot seventy eighty ninety sheets of eight by ten and I said I'm really puzzled that I said you know on the street photographer. I am not a studio photographer and I feel like I. I recognize people along the street. That means something to me and I have to enact this and go over and talk to them I said. Have you ever done that. You WanNa do that. He should know is that. I'm a studio photographer. said the magazines pick the most interesting people in the world has no to my studio. Why do I have to go out on the street cream? And besides it's important take pictures of them because you know sometimes sour or sometimes. They're they resistant or sometimes they you know they had a bad night's sleep he said so it requires me time to get to know them on the no seam on the set it and I said I get I get you know you come from that kind of professional position but I said something I have to tell you from my perspective this something else that happens in real time with real people and the skills who says you have particularly I have a feeling you would make some truly remarkable pictures if you made yourself available but like that and.

Richard Avedon Alexi Robert Fry Sweden Mike Portrait polaroid Washington Einste- Einstein UC US feely Tom Jones New York Caccia Brisson Director Bazaar magazine Avidan Frank
"joel meyerowitz" Discussed on The Candid Frame

The Candid Frame

16:50 min | 1 year ago

"joel meyerowitz" Discussed on The Candid Frame

"Welcome back to the candidate frame house the year been treating. I know you're always busy but during the show I am where we believing in Tuscany for five years now and we have a little place in London. Where I'm speaking to you from and it's been good? Life has been full of interesting challenges in good way which shows coming up books on line. The commission's to do things last well two weeks ago just before Christmas and so I got an invitation from the Vatican. Wow come down and see the Vatican museums and see if I could find anything that I would WANNA photograph like a body of war not not just a picture inside the Vatican museums and so I'm going in three weeks. I have a date to go down and take the first look and see if it's a project so it's that kind of surprise that at my age now eighty one. It's so satisfying to be able to have these things. Come in that are unexpected and maybe even really interesting projects all these new opportunities that come your way that's fantastic. It's quite a blessing if you live long enough to happen and the fact that you are capable of of saying yes and those opportunities. Because I'm always amazed at your your the constitution. But you're still out there doing as much as you are so lucky. Well I hope you're up and outside a lot because I think that that was the money in the bank from the all my years of swimming and biking walking the streets of New York and I still feel physically good shape when I was watching the video. I think I mentioned that autumn. I talked to you. There's a bit in the video that you were doing for the masters of Photography series when you're talking to the camera and just behind you. There's this person that starts walking behind you and then you make dash after them because you see a photograph and that's where I wanna be. It turned on a dime walling. How did you like the mess photography course? I really enjoyed it. I've never had a chance to shoot alongside here so that's about as close as I. I've gotten today so it was really kind of seeing the way you approached it as well as hearing you talk about it and seeing you're doing at the same time I thought was really nice and then considering how well I knew your work was able to like connect all these different pieces and also understand the things that I've adopted. That are so much yours. Now we're also different so he's really sort of fascinating perspective affective well. Next time I come to L. A. which I may I think there's a gallery there that might want to show some worth. Let's plan to go for a walk together. Aw just framing clogging the streets. That'd be great. I really wouldn't quartet well. Thank you for sending out the the book really lovely but it also serves as a great point of discussion because we've talked multiple times before. I always like exploring Neil Angles. Whenever I have a chance asked to speak with you and one of the interesting things about this book is that it isn't new work? It's work that you created back in the eighties but it was an opportunity community to revisit. Those images with much different is and these are images that you've made in in province town which is at the end of Cape Cod in Massachusetts. It's and it was the the person taking care of your your archive during the time. That was the instigator for revisiting. This this work. Tell me about her and how she came to reconsider those servers so her name is Jenny Goldberg and she had worked at aperture years before he for and then she left. And I needed my archives and database reconfigured and Jenny was good at that so I I hired her she was still friendly with the people at Aperture and one day. A Michael Family Getty who runs the magazine was having a sandwich with early. Said you know I'm GonNa do on style eighties style and I'm wondering if you know of any pictures and she said Oh. My God Joel has the style photographs of province town. He was there during the AIDS crisis in during the period when people started piercing and tattooing being and gender issues started playing a stronger role in our society and our cultural awareness. You might say and so she said I send you a few pictures so she sent him two hundred forty photographs of large format portraits. It's of people on the streets of province down and you know at the time. I wasn't making documentaries about those issues. I was photographing the people that I saw on the streets I I was interested in portraiture for the first time in my life because I think the view camera gives you this advantage each of having a big machine that requires people to slow down and hold still very nineteenth century in a way and as a street photographer. Talk from my portrait's were really on the go and I never asked anybody if I could take that picture I just I just winged them on the way and and so this required a whole different set of instincts in approach in order to make a serious portrait of another person. The even ask the question who's portrait visit of them or is it does rick. Does it reflect me any case. Jenny showed Michael Police photographs and he said Oh my God there's a book here and aperture is very gender oriented publisher now. Let's do a book that had shows the segment of the population in the early eighties. And show how much it prophesies. What's come to pass now now? In the in the cultural climate we live so that in a nutshell it was how how it all came about. And I'm really fortunate that Jenny was his sharpen Arpan and committed. She was yeah and part of the world is is always been a popular draw not just for the LGBTQ community but also also for artists writers painters and of course we're dog refers and it seems to be a real magnet for eccentricity. Well you know it wasn't what drew me to Cape Cod for Jimmy. Was I wanted to gain greater uh descriptive power. I switched from thirty five to eight by ten and I thought the Cape with its with province town which which is such a strange place. Province town is like a street in Greenwich Village. It's a very dynamic. Lively Place said in an incredibly beautiful for natural seaside setting so it has a funny mix of really rural fishing town with a little bit of edge of of a kind of urban ity. So I thought oh I'll function there. I'll be able to work on the street with the view camera. will be slower but what I saw I got there. was that this town at the very end of Cape Cod which you could consider lens and these kinds of lands than places uses often draw people who want to quote get away from it all and go to the very furthest point on a coastline and then an experience what it's like to live inside that kind of community and it turns out to be a very accepting and tolerant community. It's like you you're crazy. You WanNa come to prevent joined the rest of the crazies. And and so that benefited me because it offered me a wide range of breath human beings who covered you know from Portuguese fishermen to a Broadway actors to New York New York City painters to poets and and writers and Dance Companies Opera Singer. I mean a cultural sweep came through during this tiny tiny town. There's only three thousand people there in the winter or Donna. Summer's Day there could be fifty thousand people in province town just just for the day you can see from this description how rich environment it might be to kind of study. The it's like the tide brings in all the stuff and deposit there for day and you can walk around and pick up bowl these beautiful sea shells and sea glass. That's how the people seem to be represented to me and I was fascinated by it and flow. I started in seventy six I. I spent the next thirty five summers in Providence. You mentioned that this was a time of transition for you where you were going from the work that you had done in the street largely in New York where you would make photographs of people. But it wasn't with oftentimes with their conscious participation participation they were oftentimes in element within the composition of the scene that you're seeing in the moment that was playing out in front of your camera when it came to these portraits. You were actually soliciting their their participation in it and one of the things that when I look at the portrait's I've heard you talk about. was that the small details that would make a street photography really saying where the very things that you were also looking for or that you would recognize in the creation of the portrait like the way someone is holding their hands. The knife digging into from or the way. They're holding a cigarette red. Talk to me about how those skills that you learned on the streets helped you to create those moments especially since you are often only making making one or two frames on your on your large format camera of the subject as far exceed got a really good observation vision of how things come about. It's true on the street in other such a mix of people activities and street photographer over has to be on the lookout for the larger. Seen that might reveal something of social interest cultural interest or sure it touches you as an artist personally but you're also sweeping up all the details away someone's carrying a bouquet bouquet of flowers and somebody else carrying a framed painting and people are looking. They're shopping their handbags or and all of this richness. This is part of the liberal kings across the street photographs frame that keep the interest games so when I started making portraits shirts of these people and by the way I used the same instinct you might say if I'm walking down the street in Providence. Town people are just coming impasse and suddenly one person for some reason did has a kind of vibration that touches whatever lie core vibration is and I sense the possible harmony and in those moments I would sort of have to get my courage up and cross the social barrier between strangers and go over to this person and say hi you know I really need to make a portrait view and of course I'm standing ending their six foot told count on pod and they immediately see what's what's wouldn't camera what's this guy doing as so in a way. Hey the camera access bait and people would take me seriously. Wouldn't think I was going to run up with with an iphone. 'cause in those days there were no iphones and so people would be curious about me and it would allow me Joss that breath with two to establish a kind of communication mm unification rhythm with them. It could be playful. You say something funny or your you make an observation about their their clothing or the way there sunburn looks something and and by establishing that human moment and then getting them to say yes I could then say oh well. Let's stand over here and I'll set my camera up and then I would tell him. It's GONNA take a couple of minutes because this is a nineteenth century entry instrument. It's a very slow and really what I want from. You is to be able to look into the camera I'm only take one unframed. I want you to look into the camera and if possible. I want to see if I can see your secret. Whatever your hidden it is I'm hoping to deliver it to the camera? And then I would tell to hold still focused the camera night but the holder wondering pull out the dark slide. And then I step aside so that I'm alongside the camera. I'm not behind it like a thirty five millimeter. And at that point I have to keep a line of conversation between me and then like a thin thread like a spider's peters web thread in which I'm holding them there so that they can feel a kind of a moment of relaxing thing and giving themselves over to the camera so I don't press the button when I see them Posey smiling too much chill borders in our giving their body some kind of cute form I wait until they dissolve and some instinct in me says the reality is telling itself in this moment. Now it's it's a risk you know you can be wrong. Fifty percent of the time I so you say yes. And it's it's no but I've I've trained on the street for long enough and I certainly learned as I was making these portraits. How to read human potential? I could see someone who's unsettled. You know and I would just hold on a little longer and talk to them a little more until I got them to kind of just melt because I want. I think this is important to consider for all your listeners is. Is that portraiture particularly today. In the era of the smartphone is very self conscious. And everybody's posing in trying to look look their best. What I wanted was the possibility of intimacy of human intimacy between two strangers? Here's where someone would trust me enough to relinquish something of this secret to the camera and I think if you look at these pictures carefully in province town is almost in every picture that you get a feeling that your with the person. It's not a stage studio portrait. There's something vulnerable about these. People I don't know is that. Is that your experience. There's a genuineness miss their that comes across in in your portrait's which is something that I really love and something that I always strive to achieve in my I own photographs but as you said with mixed success but you wrote something interesting in the book about the three sort of components that bet sort of make. That's how much the photograph but the experience of making the photographing and we've talked about the third point. The first point was having an understanding of how the camera sees having an understanding of how the photographer photographer sees and then the third thing in terms of the almost indescribable X. factor of the recognition of the genuine..

Jenny Goldberg Cape Cod New York Providence Michael Family Getty Tuscany Massachusetts London Neil Angles Joel rick Greenwich Village Donna publisher Dance Companies Opera Posey
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

05:28 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"And the last year or so Nikon economy has really been pushing their new murless cameras and film review standpoint. There's been very positive. Positive reviews on these dead series is at six says at seven and now they have the D. excising or the AP se size censored said fifty a nickel USA has announced this new yellow program. Graham now what does that yellow program mean well. It means that they will let you test the camera for thirty days. Free of charge while kind of if what they do is that they will ship you for free and return back if you decide after thirty days that you don't want to buy it now. Some of the conditions is of of course you have to buy it I and they will refund you the money back later and you can only do this through the store so unfortunately at this time. He doesn't include any of the Nikon retailers now This try before you buy. Program is not new in the photo industry. Fuji Film in various markets around the world including Canada. Had A three day Sort of by before. Try before you buy program for anybody or any lands which is great but Nico has taken it ten times further with a thirty day program and so perhaps this is the future of how to get cameras into into the hands of people. We know that there is a decline in people buying dedicated cameras because of the smartphone. And we know that even coming apple they have this fourteen day return policy most countries. Because they're confident once you have their products in your hands that you wouldn't want return. So is this psychology or just good retail policy while again with shrinking sales. I think it is a good way to get cameras into people's hands and in the literature Nikon Compares This Zad fifty image quality to smartphones. We could see who they're really targeting with the said fifty is those that currently don't own a dedicated digital camera and or perhaps thinking about getting into it so it is a smart way getting cameras into people's hands but perhaps this all set a trend in the photo industry were manufactured will allow people the two actually handhold and testes cameras and once. If they decide that they don't like it they can return it for a full refund. I think this is a good thing for the industry Finally it's time for photographer the week and for this week I've chosen Joel Meyrowitz. I was originally originally hesitant on choosing him. Because I thought you know what everybody knows. Who Joel is but maybe not? All of us know his history where he came from Joel who initially started off as an art art director. He was seduced into photography after working with Robert Frank in nineteen sixty two for a booklet that he was designing for him initially that he was shy shy about shooting street for dog through which seems odd because many of his street photos are very bold and strong yet. He said he started off shies so he shot parades because he said that he became invisible during these types of events now when he started he admired the work of Robert. Frank as mentioned on record song as well as using Ejei and He used these photographers as inspiration for his own for graphic journey but what he didn't realise what there was very strong bias against a color and really a strong bias towards black pornography especially in the fine art world. Now this is what Meyrowitz had to say about that quote in art photography a fee. There was still this huge prejudice against color as if only black and white worst medically justifiable. He recalls I never bought that for me. The color is essential. I instinctively felt I needed it. To give my workforce just as we have smell memories. We have color memories. I I mean the world is in color right and of quote. Thank you for saying that role. He also laments. The days were people weren't glued to their smartphones and and spent more time looking at one another he said here again. Quote in the nineteen sixties and Seventies. You could look at my street photograph and traced lines S. from the eyes of people connecting with other people's is setting up these force fields. Another great quote for more images and insight individual Meyrowitz is photography become his recent autobiographical photography book. which is Kinda cool to put? Those two things together is called where I find myself and you could find this book at any major bookstore or you can go to his website or to his instagram account. Both under his full name. So thanks for listening to to this week segment on my take dog for news and next week all have a special tigers take which is gear of the year. So don't forget to mark the calendar or even easier just subscribed to this podcast. Thanks for listening and happy shooting. Thank you so much for tuning in today heats up stripe on your podcast APP. It would mean a lot for us to have you as our regular listener head over to photography radio DOT COM to drop your suggestion for future editions of Radio or simply to say hello. We would absolutely love to here. In the meantime have a wonderful light and and we'll be back with more photography in your ears fair Izzo..

Joel Meyrowitz Nikon Ejei Graham Robert Frank AP Nico USA apple Canada instagram director
"joel meyerowitz" Discussed on Photography Radio

Photography Radio

06:46 min | 1 year ago

"joel meyerowitz" Discussed on Photography Radio

"Do we still need trade shows. Do we still need SD cards. Do we still need limited edition cameras. Do we need thirty days to test accountable before buying and and do we still need parades this week on tax his take thanks so much for tuning in and for another episode of photography. Radio My name is Thomas and today you are listening to tackiest. Take with STUCCO where he covers. What's new and interesting dressed in the world of photography including digital analog mobile and everything in between enjoy? Can you imagine your life life without photography. No the new will love this show and it doesn't matter if you're a DSL are a mirror. `less for a mobile phone shooter shooter. We're here to help your photography grow. This is photography radio Hello everyone and welcome to this week's episode of Takas take which is my take on photography news this week so let's begin. Now they are trade shows dying. photokina is the world's largest photographic imaging trade show held in Germany mini with its humble beginnings way back in nineteen fifty. Now since the nineteen sixties for Kinney was held once every other year but for twenty twenty Eh and moving forward they announced that it would be an annual event with this coming years show being held from May Twenty seven to the thirtieth twenty twenty. The Problem Fuji Film Leica Nikon and Olympics have all announced that they wouldn't be participating now a quote from Fuji Film. They said we will continue to engage with their customers through other avenues including hands on interactive events increasing opportunities to demonstrate the outstanding value and capability of our products and services directly to users and strengthen the digital presence of our products the number one priority already for Fujifilm is and always will be our customers and we will continue to make decisions based on the best ways to engage with our community so according to Fuji Film they don't need this ratio to help promote their products. But you know the biggest and the most powerful brands Sony Canon and Panasonic will be present is an asphalt Akina but this does seem to point to a future where many manufacturers especially some of the smaller ones will leverage newer and perhaps cheaper platforms perform such as Youtube instagram and podcasts such as this to reach a larger global audience when launching new products. And so what do you think our trade shows dying or they stole thriving an old format battle restarted secure the digital versus compact Flash Memory Card format wars for the mainstream camera market has been over since mid two thousand previously. There were many any many memory type cards. CF which is compact flash SD which is secure digital MMC Sony memory stick xt cards. Do you remember any of these these ones but they were all vying for that. Consumer digital market and the card has long been the standard but many industry insiders including memory card manufacturers. I will they're saying that. The FDA card standard dominance will eventually fade away the new CFO express cards. The come in type A. B. and C. Format the with a tight be already existing and being backwards compatible with Sony's x q d cards and will probably take over the mainstream camel market in the coming years. Here's Canada's already released. Two new devices with these higher capacity and higher speed cards the new Canon One d x Mark Three and the five hundred hundred Mark Three Cinema camera the express cards have theoretical speeds of one gigabit per second per lane with tight. Be Having two lanes type. C having four lanes with up to eight possible lanes per card or eight gigabit per second theoretical speeds now the see if expressed type-b be cards that are currently available already. have read speeds of up to seventeen hundred megabits per second and fourteen hundred megabits per second right speeds although these interesting insiders are saying that. SD cards won't disappear overnight. But as these newer digital cameras need faster and large capacity memory cards it looks like from a manufacturer's perspective that the majority of manufacturers are currently looking to invest into the express standard to lead the way into the future. So we'll see how all of this plays out in the marketplace in the coming years but I think it's still safe to say that most cameras the next year or so that that aren't at the higher end of the market will still use st cards. But who knows in the future. Perhaps there will be no more removable memory cards. Everything will be built into the camera. So we'll see what happens last week. Like announce the ghost edition of the ten P and this week canals. Another limited edition. which is the white Limited edition like a ten P white to a limit of three hundred and fifty the units. Now it is white paint on both top and bottom plate which is made out of brass and with a white leather at covering the bodies of it is a beautiful camera and it does has come with a limited edition silver chrome fifty millimeter similar ox with white lettering that matches the body beautifully. It comes with the white leather strap and a white leather case so it is very it has as minimalist you better make sure your hands are cleaning when you're picking up this camera now. In terms of the price a regular the ten P is already eight thousand dollars and irregular fifty millimeters similar is already four thousand dollars so for twelve thousand dollars is what you're GONNA pay for 'em ten appea- and a fifty millimeters similar walks so for fourteen thousand five hundred dollars for a two thousand five hundred dollars premium. You're getting a limited edition cameras so it is in line with their current pricing which is still astronomical for the average pornographer. Now those of us who are determined to buy 'em ten version at some point I think that an m. e. version will probably come out in a year or two away so If you can't wait for that or if that's still too much for you I would suggest for you to buy an M. Nine and just painted white.

Sony Fuji Film twenty twenty Eh Thomas Germany Kinney Canada Mark Three FDA Youtube M. Nine Canon CFO