American PHOTO 2014-05-06

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WorldMags.netMAY/June 2014

34Features26 Ripple EffectFollowing chernobyls devastating wakethrough generations. BY gerd ludwig

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34 Erwitt at Workthe king of photographic wit takes ourquestionsand sets many of them aside.BY michael kaplan

42 Legends in the FieldFive masters of photography prove thatpassing age 70 is no reason to retire.BY michael kaplan

54 Pioneers of theGood Lifea crop of lifestyle magazines celebratethe alternative, the DiY, and the hipster(but dont call it that). their photographyfollows the same ethos. BY lindsaY comstock

4 americanphotomag.com maY/June 2014

Clockwise from top left: Barras Market, Gallowgate,Glasgow, Scotland, 2011, by Elliott Erwitt; GiraffePeek, 2012, by Zack Seckler; Iron Dome, 2012, byBrian McCarty; Amanda and her cousin Amy, Valdese,North Carolina, USA, 1990, by Mary Ellen Mark.

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WorldMags.netDepartments8 EDITORS NOTE

Present Tensephotography at a crossroads. By MiriaM Leuchter

Focus11 ONE TO WATCH

Paradox ViewerFrom different sides of the genre divide, ZackSeckler fnds his own middle road.By JacK craGer

14 WORk IN PROGRESS

War TornBrian mccarty replicates the lives of childrensurrounded by confict. By MicheLLe BoGre16 BOOkSthis spread, clockwise from top left: elliott erwitt/magnum photos; Zack Seckler; Brian mccarty; elliott erwitt/magnum photos; mary ellen mark

Asia Minorharajuku fashionistas get a big-girl book; StephenShore roams the holy Land; Wynn Bullock is a revelation; John cyr fnds the art in developer trays (youremember developer trays, right?). By JacK craGer20 ON THE WALL

Interior PortraitsJen Daviss revealing self-explorations; richardrenaldis Touching Strangers; caleb cain marcussice portraits; a survey of african american beauty;plus amish, adams, Bull Durham, and more.By teMa Stauffer

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SubScriptionS: American Photo (ISSN 1046-8986) (USPS 526-930), May/June, Volume 24, No. 4. American Photo 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 10016 and at additional mailing ofces. Authorized periodicals postage by the Post Ofce Department, Ottawa,Canada, and for payment in cash. poStMAStEr: Send address changes to American Photo, P.O. Box 6364, Harlan, IA 51593. If the postal services alert us that your magazine is undeliverable, we have no furtherobligation unless we receive a corrected address within one year. One-year subscription rate (six issues) for U.S. and possessions, $15; Canada, $25; and foreign, $35; cash orders only, payable in U.S. currency.Two years: U.S., $30; Canada, $50; and foreign, $70. Three years: U.S., $45; Canada, $75; and foreign, $105. CANADA POST: Publications Mail Agreement Number: 40612608. Return undeliverable Canadianaddresses to: IMEX Global Solutions, P.O. Box 25542, London, ON N6C 6B2. For reprints email: [email protected].

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WorldMags.netEDITOR-IN-CHIEF MIRIAM LEUCHTER

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Present Tensehotography, and the institutions that promote it, is at acomplicated crossroads. Andperhaps no institution exemplies thisas much as the International Center ofPhotography in New York City.Started 40 years ago by Cornell Capaas a bastion of concerned photography in the tradition of his brother andfellow photojournalist Robert Capa(whose little-known color work is onview there through May 4), ICP nowexhibits and teaches not just documentary but, increasingly, conceptual andexperimental photographic artlikeAlison Rossiters series of vintage, longexpired photo paper, developed without a negative, included in What Is aPhotograph? (also through May 4). Andnow theres visual culture and visualliteracypeople using photography asa form of direct communication, not

P

just as a moment in time that needsto be preserved and put on the wall,says Mark Lubell, ICPs new executive director. So theres a tremendouschange in our role.He refers, of course, to the explosion of images taken and shared bybillions through smartphones, instantmessaging, and social networks. Lubellcites Facebooks $19 billion purchase ofWhatsApp, which elds some 500 million photos a day. The opportunity forICP is to become an arbiter of visualculture. Were stepping in there andtrying to be part of the conversation.Mixing curation and connoisseurship with the radical democratizationof image making and dissemination,the physicality of objects with theephemerality of the webits theseinherent contradictions that makephotography so exciting today.

8 AMERICANPHOTOMAG.COM MAY/JUNE 2014

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Alison RossitersKilborn Acme Kruxo,exact expiration dateunknown, ca. 1940s,processed in 2013(#1), a unique printon exhibit at ICP.

MIRIAM LEUCHTER, EDITOR-IN-CHIEF

From top: Alison Rossiter, courtesy of Yossi Milo Gallery, New York; Patrick James Miller

EDITORS NOTE

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One TO WaTch

Paradox ViewerFrom different sides of the genre divide, Zack Seckler fnds his own middle roadack Seckler started his photographycareer in a tried-and-true way: shooting assignments for newspapers and wireservices in Boston and later in New York City.But he soon decided to break out from straightdocumentary work.One thing that frustrated me with photojournalism was having to follow the ethical guidelinesof not interfering with a scene or asking some-

Zack Seckler

Z

above: Safari, 2011. asmany people guess, thisgorilla was not actuallyon the top of this vehicle,Seckler says. I shot thegorilla for about 20 minutes as it posed for me. Itwas a star performance.

By jack crager

one to do something, explains Seckler, 33. Therewould be times when I was just waiting for a person to repeat somethingyoud see them do it onceand hope theyd do it again. Just waiting. It can bevery frustrating.This eventually led Seckler to shift to what hecalls produced work in the realms of fne art,editorial, and advertising. I remember thinking,Wow, I can tell people to do what I want! he says

WorldMags.netmaY/JuNe 2014 amerICaNphOTOmag.COm 11

one to Watch

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with a laugh. I can hire a model and create a set.Whatever it is, you have much more control. OnceI opened that door, I never really went back.The result is Secklers growing portfolio of personal work (often in a humorous vein), geometrically strong landscapes, and clever commercialshots. Thats kind of the holy grail, he says, to dogreat creative work and get paid for it, right? hisclient list ranges from electronic giants Samsungand Lg to retail mainstays gap and Starbucksto publications including Harpers Bazaar, MarieClaire, and New York.While Seckler says theres often a hard linebetween art and commercial photography, he likesto cross freely into both camps. I like the collaborative aspect of advertising, whereas the fneart work Ive been doing is landscape oriented,working by myself, he says, as long as Im able toexpress myself visually, thats what its all about.Self-expression frst drew Seckler to the camera at age 21, redirecting his career arc whilehe was attending Syracuse university. I studiedpsychology and economics, but I got interestedin photography during the summer betweenmy sophomore and junior years, he recalls. Itwent very quickly, from the time I frst startedtaking pictures with a purpose to when I changedmy career course. I took an introductory blackand-white darkroom class and I said, Thats it!12 amerICaNphOTOmag.COm maY/JuNe 2014

This page, from top:Okavango Swirl, fromSecklers 2014 exhibitionBotswana at new YorksRobin Rice Gallery; Girlwith helmet, 2010. Opposite, from top: captain,2014; high Five, 2013.

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clOSeUp

Zack Seckler

Zack Seckler (5)

zackseckler.comLives In New York, NYStudied At Syracuse University(Psychology and Economics)Clients Include BBDO New York,Chronicle Books, Fallon, Gap,Harpers Bazaar, Marie Claire,New York, Publicis Kaplan Thaler,Samsung, Starbucks, VicksIn the Bag For studio work:Canon EOS 5D Mark III and arange of L quality zoom lenses,Seckler says. The new CanonEF 24-70mm f/2.8L II USM is myworkhorse. I use Profoto lighting:different packs and modifers,depending on the shoot. In thefeld: Im a fan of the ProfotoAcute B2 600Ws packs for theirportability. I carry Photofexaluminum Litepanels to eitherbounce, diffuse, or block light.

I love this. Im going to be a photographer.Neophytism doesnt seem to daunt him. I didnthave much formal education in photography, henotes, though he took a couple of photojournalismcourses at Syracuses Newhouse School. he movedto New York on a whim in 2003. But I hadwanted to live there since I was a kid, he adds.I grew up in a rural suburb [Lincoln, massachusetts, near Boston], an insulated town, the oppositeof the big city. I was always keen to get in thaturban environment.Yet most of his landscapes depict pristine scenesfar from city lights. I kind of become visually numbto my surroundings [in New York], he says. WhenIm in a new place, everything I see is registering,lights are going offeven if Im just looking at aparking lot. Seeing something for the frst time isstimulating. and in New York, everything is kind ofclutteredtheres not a lot of open space and cleanlines. Thats something Im drawn to visually: sharplines, space, a kind of simple, minimalist approach.For a story he posted on his own webzine project,F-Stop, Seckler had the good fortune to interview oneof his heroes, photographer albert Watson. reminded that Watson is a fellow art-and-commerce genrebendernot unlike such forebears as Irving pennand richard avedonSeckler laughs. If my name isever put in the same sentence as one of those folks,he says, I would die a very happy man. aPmaY/JuNe 2014 amerICaNphOTOmag.COm 13WorldMags.net

Work in progress

War Torn

Brian McCarty replicates the lives of children surrounded by confictBy Michelle Bogre

orking with children in war zones, Brianmccarty has discovered a couple of truisms: Whoevers shooting at you is the badguy; and its really hard to talk about war. you canread studies on the effects of war on children, butyou almost never get them talking about itespecially the most traumatized, whove sometimes lostthe ability to talk altogether, the photographer says.art is a way for them to share their experiences.these observations underpin mccartys recentself-published book, War-Toys ($32, wartoysproject.com). composed of images paired with childrensdrawings made in israel and palestine, the book isthe frst phase of a planned transcontinental surveygiving voice to children traumatized by war.mccarty works with art therapists who ask theyoungsters to draw pictures refecting their experiences of living amid confict. in subsequent inter-

W

14 americanphotomag.com may/june 2014

Above left: Youth Resistance, Dheisheh RefugeeCamp, West Bank, 2011.This is based on a drawing by a boy at the camp,McCarty says. The muralin the background is of17-year-old martyr QusaiAlafandi, killed in 2008after throwing a Molotovcocktail at [Israeli DefenseForces] soldiers. Topright: Telecom Airstrike,Northern Gaza Strip,2012. This stems from aboys drawing of the deathof his father, a telecomworker killed in 2008 asIDF troops took out command and control centers.

views, mccarty uses the drawings to coax moredetails from the children. the photographer thenconstructs mise-en-scnes based on their experience, placing toy surrogates in locations the sameas or similar to those in the drawings.mccarty is something of a toy specialist: hestarted taking pictures of them as an undergrad atparsons the new School for Design; now his commercial clients include mattel, Disney interactive,and the cartoon network. photographing toys inwar zones, however, has brought surprises, such asgetting caught in an escalated eight-day offensiveoperation pillar of Defense (the israeli name) andoperation Stones of Baked clay (the palestinianname)during a planned photo shoot.For that brief moment i realized how high thestakes are, and that the fear i felt is just a matter ofdaily life for the kids, he recalls. While air strikesrained on the region, he continued shooting; the result, house Bombinggaza Strip, depicts a houseon fre in the background with toy people lyingdead in the foreground and a fghter jet overhead.its a wonderful shot, he says, but it also summarized how helpless and powerless i felt.his process is not always so intense. after deciding which drawings to interpret, he scouts for toys

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Brian mccarty (4); portrait by mika Fowler

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CLOSE-UP

Brian McCartybrianmccarty.comwartoysproject.com

Lives In West Hollywood, CAStudied At Parsons The NewSchool for Design, New YorkPublications War-Toys: WestBank, Gaza Strip (McCartyPhotoWorks, 2013); Art-Toys(Baby Tattoo Books, 2010)Ongoing Work With the completion of the frst phase ofWar-Toys in Israel, McCartyis raising money for a trip toAfghanistan; he hopes to continue the project in regions ofSudan, Mali, and the Congo.In the Bag Canon EOS 5D MarkII; Canon lenses (24mm, 15mm,50mm, 24-105mm, 600EX);Gitzo GT2531EX tripod withball head; Shure LensHopperVP83F microphone; ZacutoZ-Finder viewfnder; 13-inchApple MacBook Air; LaCieRugged Hard Drives (2 TB)

Above: Sderot Home,Israel, 2012, based on drawing at right by a child whohad been living in a bunker.

in local shops; this refects area socioeconomicrealities, as well as the proliferation of americanwar-toy designs. the idea that war toys are asubiquitous as the aK-47 is fascinating, he says,because it refects ideas of exported westernization, violence, and ways of conducting war.however political this project may seem,mccarty makes it clear he steers neutral. itwould be very complicated with ngos andnonprofts if i were to take a political stance,he notes. and i need to take on the mindsetsof the kids i am working with. AP

may/june 2014 americanphotomag.com 15WorldMags.net

BOOKS

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Asia Minors

Thomas C. Card captures the bright and dark sides of urban Japansyouth couture By matthew ismael Ruiz

tokyo adornedKumamiki turned hersignature style into the DIYfashion brand Party Baby,kids clothing for adults.

2014 Thomas C. Card

By Thomas C. Card Abrams $40Tokyos Harajuku kids, named for the neighborhood in which they congregate, are known aroundthe world for their loud and distinct fashion sense.Street-style photographers swarm their ranks,and pop star Gwen Stefani even appropriated thevibrant culture for her 2004 album Love. Angel.Music. Baby. But what drew photographer ThomasC. Card to Tokyo and its various fashion tribes wastragedynamely the surge in self-expression thatreverberated in the aftermath of the earthquakeand tsunami that struck Japan in 2011.In a culture centered around discipline anduniformity, the Harajuku kids celebrate personalization. In Tokyo Adorned, Card offers a micro view ofthe many girls (and a few boys) that populate thisdynamic scene. Arranged mostly in diptychs juxtaposing full-body portraits with medium closeups,Cards portraits of these young models against whiteseamless free them from context and championtheir individuality. Outside the scene, they appearvulnerable yet self-assured. The attention to detailand craftsmanship (many outfts arehomemade) astound, andCards style puts all ofit on displayevenpainfully obviouscolored contactlenses. One of theintro essays, byfashion maven Samantha Boardman, is titledClothes Speak Volumes.For some, style is atribal aesthetic, butothers, like Kumamiki(right), have a stronger sense of ownership: Shes turnedParty Baby into herown clothing line.

16 AmerICAnPHOTOmAG.COm mAy/June 2014

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Stewart Powers

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WorldMags.netfrom galilee to the negev

By Stephen Shore Phaidon $100From his early work documenting Andy Warhols Factory through his crosscountry explorations of the u.S., Stephen Shore has always shown a restlessspirit, drawing inspiration from the wide world around him as well as theday-to-day trivialities in front of him.Having converted to the Jewish faith,Shore takes his all-consuming curiosityon a pilgrimage to Israel, where his eyeroves between pastoral landscapes andcrowded settlements, from archeologicaldigs to urban scenes blending old and newartifacts. Shore illuminates such disputedlocales as Jerusalem and Gaza as sunnyhabitats for their citizenspunctuated byreminders of ongoing confict (such as thesoldier sketch in Hebron at far left). Hisambitious survey shows the vast vagariesof the Holy Land.

Text by Brett Abbott and Barbara Bullock-Wilson University of Texas Press $65A contemporary of edward Weston and edward Steichen who was acknowledged by each for his artistry, Wynn Bullock has gone relatively unnoticedin the pantheon of 20th-century photography. yet as evinced by this volumeand its companion exhibition at Atlantas High museum, he was a masterof both abstraction and realism, a purveyor of forms in the natural worldand the human realm whose beautifully composed images beckon a largeraudience. In the 1960s, Bullocks seriesColor Light Abstractions was far aheadof both public taste and technology;his frustrations with color printingled him back to black and white. Herehis Kodachrome originals have beenwondrously revived digitally, nearly 40years after his death.From top: A shot by Stephen Shore inHebron, in Israels West Bank, 2010;Wynn Bullocks Edna, 1956; John Cynsphoto of Edna Bullocks developer tray.

developer trays

By John Cyr powerHouse $35For those who remember what developer trays were aboutback when analogprints were mainly rendered in the darkroom (and we walked to school barefoot in the snow)this is a mesmerizingarray of photographic tools shot in lovingdetail. For anyone who loves great imagery,this is a whos who of legendary names:Ansel Adams, Wynn Bullock (see above),Lillian Bassman, Bruce Davidson, elliotterwitt, emmet Gowin, and Sally mann allhave trays studied by the lens of John Cyr,who duly depicts his own. Among the surprises are variations in the trays wear andtear: Sylvia Plachys grooves are frayed;Adam Fusss aluminum alloy still shines.Cyr has group shots, toofrom the photostudio at the met, for instance. But thiscollection is really about individuals.

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From top: Stephen Shore; Bullock Family Photography LLC; John Cyr, published by powerHouse Books

wynn bullock: revelations

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Private Views

jen davis: eleven yearsClampArt Gallery, New York, NY, May 22 July 3 clampart.comJen Daviss investigation of her identity and struggles in relation to the perception of her body bravelyreveal her desire for intimacy and her search forself-acceptance. challenging typical representationsof female beauty and sexuality, this autobiographical work invites us to consider the deepest reaches20 americanphotomag.com may/June 2014

Jen Daviss Untitled No.14, 2013, an archivalpigment print from herself-portrait series.

By tema stauffer

of the artists interior life and insecurities. Shot overmore than a decade, the series includes images ofDavis grappling with her physicality alone andin scenarios involving fantasies with men or inthe company of other women. her self-portraitsrefect basic human longings to be loved, desired,and valued. the show is accompanied by a monograph, Eleven Years (Kehrer Verlag).

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Jen Davis, courtesy ofclampart, new york city

Jen Daviss self-portraits explore the universal impact of intimate issues

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WorldMags.netAlso ShowingF touCHing strangers: PHotograPHsBy riCHard renaldiAperture Gallery, New York, NY,through May 15 aperture.org

F CaleB CainmarCus: aPortrait of iCeNational Academy of Sciences,Washington, DC, through July 7cpnas.org

a new yorker who was bornin colorados rocky mountains, caleb cain marcushas traveled from patagoniato alaska to iceland makingportraits of glaciers. hisminimalist yet grandiose compositions focus on ice and skywith no traces of human presence or interference. poeticand timeless, these etherealimages are seductive throughtheir serene grandeur andsubtle variations of color.

F Posing Beauty inafriCan ameriCanCultureVirginia Museum of Fine Arts, Richmond, VA,April 26 July 27 vmfa.state.va.us

this group show of more than80 images explores ways inwhich african and africanamerican beauty has beenrepresented in historical andcontemporary contexts. highlights include self-portraitsby carrie mae Weems; environmental studies of urbancommunities by charles teenie harris, Jamel Shabazz,and David heath; and studioportraits of women in theearly 1900s by thomas askew.

PHotoespaa 2014Various venues, Madrid, Spain, June 4 July 27 phe.esThis year Madrids photo festival expands both outwardand inward: Several curators share the artistic direction,while the imagery itself focuses on work by Spanish artists.Highlights range from historic forerunners such as JosOrtiz Echage to 1970s documenters like Cristina GarcaRodero to contemporary digital innovators, including30and30, a roundup of young visual artists.

in focus: ansel adamsThe Getty Center, Los Angeles, CA, through July 20 getty.eduThirty years after the death of Ansel Adams, the Gettypresents its frst exhibition of his work. The show includesselections from one of Adamss Museum Setslimitededition portfolios printed by the photographer for collectorson the condition that the work be donated to a museumor schooland prints from the Gettys collection.

fidel and Ches Cuba:a revolution in PicturesRebekah Jacob Gallery, Charleston, SC, May 20 June 30rebekahjacobgallery.comThis exhibition spotlights work by Cuban and foreignphotojournalistsphotographs that documented and,in some cases, even helped to incite the revolutionarymovement in Cuba. Included are images by Alberto Korda,Roberto Salas, Osvaldo Salas, Raul Corrales, and others.

Bull City summerNorth Carolina Museum of Art, Raleigh, NC, through Aug. 31ncartmuseum.orgTen artists, including Alec Soth and Hank Willis Thomas,portray the culture of minor league baseballfrom fansand ballplayers to bright lights and green grassin a showsaluting the 25th anniversary of the flm Bull Durham.

another america:a testimonial to the amishEastman House, Rochester, NY, through May 25 eastmanhouse.orgPhotographer Robert Weingarten portrays Amish communities in Indiana, Iowa, Pennsylvania, Tennessee, andWisconsin. His simple, elegant compositions respectfullyconvey the values and everyday lives of his subjects.

Clockwise from top left: RichardRenaldis Jeromy and Matthew,Columbus, OH, 2011; a detail fromBeatriz Ruibals Colecciones, nmerosdel 1 al 24, 2012; Jamel ShabazzsRude Boy from Back in the Days,1980; an image by Caleb Cain Marcusnear Fox Glacier, New Zealand.

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clockwise from top left: richard renaldi; Beatriz ruibal; Jamel Shabazz; caleb cain marcus

renaldis portraits result fromunlikely unions of strangerswhom he has asked to posein a temporary embrace. theobjective, renaldi notes, isto introduce an unpredictable variable into a traditionalphotographic formula and tocreate spontaneous, feetingrelationships between complete strangers. this exhibition of 71 images, madethroughout the u.S. since 2007,is accompanied by a book ofthe same title (aperture).

WorldMags.netThe momentthe light changesand reveals something new.This is the moment we work for.

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www.zeiss.com/photo/capturethestory

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JUNE 6-8, 2014

Elevate your perspective on Colorados Mount Evans Scenic Byway, thehighest paved road in North America. A journey to the top climbs nearly5,000 feet in elevation and ends at the summit of Mount Evans, whereviews of snow-capped peaks, alpine lakes and endless blue skies willtake your breath away. Join the Mentor Series and Nikon professionalphotographers Bob Smith and Tom Bol for a memorable photo workshopin the mountains of Colorado. Scenic overlooks along the MountEvans Scenic Byway provide wonderful views of the alpine lakes below.Photograph the distinctive Lincoln Lake, which is located 800 feet belowthe road; the Chicago Lakes Basin and Summit Lake, a high alpine lakeedged by rocky ridges and cliffs. We have arranged an evening workshopat Summit Overlook to capture the sunset from one of the grandestpanoramas in Colorado. A tour of the historic towns of Idaho Springs andGeorgetown will provide opportunities to photograph trout fishermen,narrow gauge trains and remnants of what was the center of the miningindustry during the late nineteenth century. We have arranged a portraitsession with railroad engineers costumed in the traditional rail workersuniform of this era. You will not want to miss this adventure.

REGISTER ONLINE ATWWW.MENTORSERIES.COM

CALIFORNIAJUNE 20-22, 2014

Gary Crabble

COLORADO

Stephen Johnson

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Take Highway 395 across the quiet terrain of Eastern California, wherethe Great Basin Desert meets the Sierra Nevada Mountains, and whereyoull nd some of the most stunning and iconic locations for landscapephotography in the Western United States. Join Mentor Series andNikon professional photographers Dave Black and Michael Schwarz asthey travel to this unique region to experience the range of light inthe Eastern Sierra mountains. Mono Lake is a majestic body of watercovering approximately 65 square miles. Tufa owers are formed bythe interaction of freshwater springs and the highly-alkaline lake water,which creates the ower-like calcium-carbonate formations that stretchhigh above the surface of the water and give the landscape of Mono Lakeits ethereal quality. After a sunrise shoot on Mono Lake, we will continueon to the ghost town of Bodie. A town preserved in arrested decayand a fascinating subject for any photographer interested in capturing aglimpse of American history. Practice your landscape photography skillsas our mentors teach you techniques for bringing this ghost town tolife. Experience this beautiful desert region and the ghostly remnants ofAmerican history framed by sunlight over the Sierra Nevada Mountains.

With additional support from:

WorldMags.netFor more information, call toll-free 888-676-6468.

FOLLOW US ONMentor Series Ultimate Photo Adventure

FOR THE PAST 17 YEARS, the Mentor Series has taken photo enthusiasts todestinations across the country and around the world. With top Nikon professionalphotographers accompanying participants every day and teaching them how andwhat to shoot, theres nothing like a Mentor Series trek. You and your photographywill never be the same!

Donnie Sexton

MONTANAJULY 9-13, 2014

The Mentor Series is headed to one of our most popular destinations,Glacier National Park, Montana. Often referred to as the Crown of theContinent, the park will be dressed in its summer best, with carpetsof multi-colored wildflowers set against the backdrop of ruggedpeaks. Join Mentor Series and Nikon professional photographers ReedHoffmann, Tom Bol, and Bob Smith to learn the ultimate photo tipsand techniques for capturing all the beauty that Montana and GlacierNational Park have to offer. One day is devoted to the Many Glaciervalley, and includes boat rides across Swiftcurrent and JosephineLakes to the trailhead for Grinnell Glacier. The historic and massiveMany Glacier Hotel offers up the chance to focus on architecturalphotography at days end. Adding to the amazing photos ops inGlacier will be a visit to the Triple D Game Farm to shoot some biganimals in their native environment. Another highlight of this trek willbe a day devoted to the North American Indian Days. Taking placeon the Blackfeet Indian Reservation, this native celebration offers upendless chances to capture vibrant dance competitions and drumming,as well as parade action. This action-packed workshop, with so muchdiversity for photography, is not to be missed.

Come on a Mentor Series trek and try out someof the latest equipment that Nikon offersincluding their high-performance HD-SLRs,NIKKOR lenses, the Nikon 1 System and a varietyof COOLPIX compact digital cameras.

Lillian Rodriguez

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PUERTO RICO VIDEOSEPTEMBER 11-14, 2014

Prepare yourself for a trek unlike any other as you travel to Puerto Ricowith Nikon professional photographers Michael Schwarz and ReedHoffmann for a multimedia experience. On this trip you will not onlyexpand your knowledge of still photography, but also discover how touse your camera to record sound and capture HD video using Nikonslatest HD-SLR equipment. With this new skill set, the power of visualstorytelling is in your hands. Spend the weekend photographing thenarrow streets of Old San Juan, colonial-era architecture and colorfuledifices of this historic neighborhood. We will also cover the localpeople, cigar rollers and surfers on the bay, followed by an eveningsunset shoot alongside your mentors learning the time-lapse techniqueto convey movement in your video. El Yunque Rain Forest, with its lushfoliage, waterfalls and rivers, will provide an excellent setting for you topress the record button and gather a world of sights and sounds of averdant and misty tropical rainforest. Listen for the sounds of frogs andbirds as we hike the trails of this national treasure. Combining still andvideo techniques will leave you prepared to narrate a richer, fuller story.

Special thanksto our premiersponsor:COOLPIX AD610WorldMags.net

D800

Ripple EffectDocumenting Chernobyls impact over generationsdespite the risks to body and gearBy Gerd LudwiG as told to MeG ryan Heery26 americanphotomag.com may/June 2014

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Gerd Ludwig/Institute

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Personal items abandonedat a home in Opachichi,Ukraine, 1993. The SovietUnion acknowledged anuclear accident hadoccurred two days afterthe incident and hastilyevacuated the areasurrounding the plant.

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gerd Ludwig/institute (2)

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isiting an orphanage in gomel, Belarus,in 2005, i made a request to photographthe children it housed. the director said,oK, come tomorrow morning.the next day i was greeted by two offcials,who told me, oh, children anywhere can be bornwith malformations. you wont fnd chernobylvictims here.i said, are you sure? not even secondary problems, like those from the mothers alcoholism orchildren who were given up by parents who couldnthandle the stress of relocation and their own diseases? they replied, no, no, no, nothing here!i knew that many orphanages in Belarusreceive funding from international foundationsdedicated to helping chernobyl victims. So iargued, oK. if you give it to me in writing thatnone of your children here are in any way relatedto the chernobyl accident, ill pick up my camerasand leave without taking a single picture. But ofcourse then we will report in National Geographicthat this kindergarten doesnt need any help fromthe chernobyl funds because you dont have victims from chernobyl here. you should have seenhow fast they changed their minds. From my frstvisit to the region, i learned that you cant trustanything about chernobyl.Since the 1986 chernobyl nuclear accident,millions of people in ukraine, Belarus, and russia

V

Opposite: Tomatoesfrom the garden of IvanMartynenko, 77, and hiswife, Gapa Semenenko, 82,who returned after beingevacuated from their homein the Exclusion Zone,Illintsy, Ukraine, 2005.Below: Igor, 5, Vesnova,Belarus, 2005. He wasgiven up by his parents to achildrens orphanage.

On the Job

classifed as chernobly victims have becomeeligible to receive benefts for illnesses and otherproblems. i started photographing the people in thisregion in 1993 and got hooked on the subject. Wheni proposed a project to mark the disasters 25thanniversary, in 2011, to several magazinesincluding National Geographicnobody was interested. ibelieve that there is a continuous desire for seriousissue-driven reporting, even if its outside of a magazine, and with the help of a Kickstarter campaign, igot the project funded and returned to the region todocument the changes. the result was the ipad appThe Long Shadow of Chernobyl. this past Februaryi launched another Kickstarter to publish a photobook that refects two decades of coverage, includingmy latest trip in September 2013.a 30-kilometer area known as the exclusionZone surrounds the the reactor. it comprisesmany zones of increasing levels of security as oneapproaches the facility. the Zone includes thecity of pripyat, originally built for the the powerplants personnel and their families, as well asnearly 200 small villages. the whole area wasevacuated in the days following the explosion,but several hundred residents came back, at frstillegally, to live out their lives on their own soil instead of dying of a broken heart in an anonymouscity suburb, as one returnee described it. to goback to the area, they had to ignore the dangers

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completely. i know i take a risk by eating withthem, but i dont say no when they offer me theirtomatoes or their moonshine.i frst entered the Zone seven years after theaccident for an assignment for National Geographicon pollution in the former Soviet union. in thosedays access was diffcult, but i managed to contactthe militia (the local police force), and they werewilling to show me around. the only transportation was a big school bus. and like any vehicle thatremained in the Zone, it had been exposed to radiation. it was just me, my assistant, and the militiaperson in a 30-seat radioactive school bus.the militia were well-meaning but poorly informed. at one point they told me, its not verysafe here. We shouldnt stay too long. i had myown geiger counter and dosimeterequipmentwhich they did not have and which they asked menot to carry outside my clothing so as not to scarepeopleso i measured the actual radiation there.it was oK. then in an area they told me was safe,it was not. they didnt realize that the radiationmoved around as wind blew the surface soil. iquickly learned to trust only my own equipment.my frst access deep inside the sarcophagus of reactor number 4which i call the belly of the beast30 americanphotomag.com may/June 2014

Above: Inside anabandoned building,Pripyat, Ukraine, 2013.The city was evacuated 36hours after the Chernobylaccident; residents wereallowed to take onlyvital documents andbelongings. Today thebuildings are pilferedby looters and nature isreclaiming empty spaces.Opposite, from top:Toys and gas masks,likely arranged by atourist, have become astandard motif; Pripyat,2011. Banners, posters,and drawings glorifythe Soviet Union in anabandoned classroom,Pripyat, 2005.

was in 2005. i frst photographed in the controlroom where the accident occurred. radiation levelsthere are relatively lowwearing protective gear, iwas able to stay nearly 45 minutes. compare thatwith my most recent visit last fall: in some roomsi had only a few seconds to shoot. i needed to duckout of the room just to reload my strobe in order toconserve my radiation exposure allowance. naturally as a photographer, i always want to stay just alittle bit longer and capture a few more frames.of course, we go through a very intense decontamination processa change of clothes, long, hotshowersand i have my equipment thoroughlychecked on the way out. at this point on my lasttrip i could see in the guards face that she thought iwas being paranoid: Oh, theres this American. He wasprobably just outside here on the construction site. Butwhen she checked my camera, her facial expression totally changed. She said, oh my god! oh mygod! you have to wash your cameras. you have toclean your gear. and your camera straps. you needto wash them. i had some Velcro around my strobeand she said, youve got to discard that becausethats where the radioactive specks of dust settled.that was the frst thing i had to throw out. i eventually got new camera straps because i was uncom-

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gerd Ludwig/institute (3); portrait by Douglas Kirkland

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Gerd Ludwigs coverageof post-Soviet Russia forNational Geographic over thepast 20 years has garneredhim distinction as the worldsforemost color photographerdocumenting the region.Based in Los Angeles, hehas won numerous awards,including the IPAs 2006 LucieAward for InternationalPhotographer of the Year.


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Above: Workers wearrespirators and multiplelayers of protective clothinginside the sarcophagusof Chernobyl Unit 4,2005. Even with safetyprecautions, they can workonly 15 minutes per daybefore they reach their dailymaximum dose of radiation.Left: In 2005 Oleg Shapiro,54, and Dima Bogdanovich,13, received thyroid cancertreatment in Minsk,Belarus, where surgery isperformed daily. Shapirowas exposed to extremelevels of radiation whileworking as a liquidator.Dimas mother blamesChernobyls nuclear falloutfor her sons illness.

32 americanphotomag.com may/June 2014

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gerd Ludwig/institute (3)

On the Job

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fortable having them around my neck all the time.in my last couple of trips its been interestingto document how the Zone has deteriorated andtransformed. as looters go in at night and takeout anything of use, the rooms are getting emptier. in pripyat, the buildings are starting to crumble. the elderly returnees have dwindled from 700to about 200. nature has begun to reclaim unusedareas. one scientist i talked to in the Zone saidwe may as well post signs around that read notintended for human habitation for 24,000 yearsthe half-life of plutonium 239, which hasnt seepedas deep into the earth as expected.i hope my work makes people reconsider oursources of energy and our thirst for its constantsupply. im not one of those people who walksaround with an anti-nuclear button on his shirt,but i do want people to think about the consequences of human hubris. chernobyl was blamedon communist incompetence, ineffciency, carelessness. then a very similar accident happened atFukushimaby all accounts a very modern, carefully maintained plant. and still nuclear energy ispromoted as an effcient way to produce energy.Figure in the costs of these accidentstwentysome countries are paying more than $2 billion

The New Safe Confnement under constructionin Chernobyl in 2013.The $2 billion structurewill replace the presentcontainment structureand confne solid radioactive waste for the next100 years.

out of taxpayer money for the new Safe confnement, being built to contain the radiation fromthe chernobyl reactorand it becomes apparentthat nuclear energy is not effcient or safe at all.i do this work so that in the future people wontsimply believe what their government tells them.as a journalist, i document catastrophes to have animpact, to help us learn from them and avoid thesame mistakes in the future.i was drawn to documentary photography because of eddie adams, nick ut, and philip Jonesgriffths, whose wonderful images helped stop theVietnam War. But i understand that not everybodycan make that one world-changing image. theresthis great story a friend once told me where on thecoast in italy, these starfsh are washing up on theshore and are dying. the children run to them totry to help, while the old men of the village shaketheir heads and say, What a mess! What areyou doing? there are millions of them washed uphereyou cant fx this, you wont make a difference. So one kid takes one of the starfsh and says,it makes a difference for this one, and puts it backinto the water. and thats my understanding: that ifwe as photographers all contribute our little share,together we can make a huge difference. aP

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Eratwitt

Work

Elliott Erwitt/Magnum Photos

Photographys preeminent wit answers someof our questionsand evades most of them.Fortunately, his pictures speak forthemselves. By Michael Kaplan


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tep off central park West and intoelliott erwitts ground-foor studioand youre struck immediately by thebreadth of his success. hanging on the walls and inthe pages of his many books are iconic images thatspan all genres: black-and-white photojournalismfrom the pages of Life magazine, celebrity portraitsthat capture the likes of Marilyn Monroe and ayoung arnold Schwarzenegger, and of course hissignature dog photos.erwitt, dressed in a red Shanghai tang jacket,is sorting through images as i enter his expansiveworkroom. hes just returned from hong Konghence the jacketand soon leaves for Kuala Lumpur. at age 86, he works hard and consistently,putting together books, shooting assignments, andmaking appearances for exhibitions. a collection of his color work, appropriately titled Kolor(teneues), was published last fall. and a large

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36 aMericanphotoMag.coM May/June 2014

journalistic-style commission for the MacallanDistillers has just been made into a book thataccompanies a limited-edition bottle of the highend single-malt Scotch.Born in paris and raised in italy, erwitt came tothe united States in 1939, frst settled in new york,moved to Los angeles, and began shooting weddings at age 16right around the time his fathertook off and left young elliott to fend for himself.Following a two-year stint in the military, wherehe shot for the army and for various wire services,erwitt was scooped up by the Magnum photoagency at the invitation of robert capa. that wasin the mid-1950s, and hes been there ever since.erwitt can be wildly modest, incredibly aloof,and apparently uninterested in speaking abouthis work, but that didnt stop us from trying totease out some insight into his long and successfulcareer. Beyond still photos, he has shot a number

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Above: USA, New York,1953. Opposite: USA,1962.Previous spread: Dogs madwith anticipation at theGlorious Twelfth GrouseShoot, The CoignafearnEstate, Tomatin, Inverness,Highlands, Scotland, 2011.

elliott erwitt/Magnum photos (2)

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of documentaries (including one on Dustin hoffman and another about a nudist colony), donecamera work for the Maysles Brothers GimmeShelter, and contributed to Martin Scorceses BobDylan documentary No Direction Home.hes long managed to juggle a roster of workthat mixes the editorial, the commercial, and thepersonal. it can be hard to keep track. i was notfamiliar with elliotts photos from the 1940s and50s; i was more familiar with Dog Days and thingslike that, says Brian Wallis, the chief curator ofthe international center of photography, whichmounted an erwitt retrospective in 2011. hisearly work is so lyrical and sensitive and subtle.it was a revelation for me. that he would becomea journalist and take on the challenges of assignments is impressive. he does so many differentthings with so much skill and grace and a seemingeffortlessness that is very deceptive.

Erwitt at Work

For a photographer in his eighties whos put outdozens of books, still maintains a slate of commercial clients (including Jacob cohen, artemide, andLavazza), and continues to shoot his crowd-pleasingdog photos, the Leica-wielding erwitt refectson it all with little more than a shrug. When hedescribes the making of photos as just composingall the parts in a rectangle, its more than likelythat this highly skilled master isnt just being selfeffacing. Wallis remembers the sole color image inthe icp retrospective: it was a photo of obamas[frst] inauguration. elliott told me that he walkedinto the room, took that one picture, and left.there were no back-up shots, no working thescene, no hanging out just to see what else mightunfold. Whats unbelievable, says Wallis, is hisability to represent these feeting moments timeand time again. he gets once-in-a-lifetime photoswith such regularity. its astounding.

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Erwitt at Work

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AMERICAN PHOTO: Nice jacket. Were you justin Hong Kong?ELLIOTT ERWITT: i was traveling, doing interviews for the Macallan project. in each place, wehad an exhibition with photos from the book. thereceptions were very nice. Some of the questions[from reporters] were rather stupid. in Moscow,there were 500 journalistssupposed journalists.three or four of them were intelligent. one askedif i was there when the pictures were taken. ireplied, probably.Did you expect your career to thrive for so manyyears?ive always been busy. thats how i support my fourex-wives and eight-and-a-half grandchildren.Youve shot such a broad range of subjects, butmany people know you for your dog pictures. Howdid you get so into photographing dogs?its simple. i like dogs. theyre nice and they dontask for prints. theyre everywhere and we bark acommon language. ive done eight books on dogsand had a dog until recently. i had him for 17 years.he went to heaven.Are you shooting mostly digital or flm these days?Both. Digital is more convenient. But i like flm.people like digital because youre fnished up onthe day that you shoot. you have the results. Foradvertising people, digital is safer, more convenient,and cheaper.ButBut i am used to flm and i like it better. i likethe results better.Is there something psychological about not seeing the picture and letting things progress moreorganically?i dont look at the digital images as im going. i justuse the frst in the same way that i would use apolaroid, making sure that the light is right. Lasttime i did digital was a shoe piece for Town & Country and a fashion job for Jacob cohen.Whats the most recent commercial job in whichyou were really happy with the outcome and youfgured that you would have done that job foryourself?i would never have done a commercial job formyself. So that takes care of that. But what job didi like best? the Scotland book [for Macallan] wasa good one. i got hired to take pictures in Scotlandof anything i wanted. it started out as a 10-day job.i liked it, and made three trips. they were hysterically happy to send me back. they wanted me todo whatever i wanted to do.How did that work, in terms of what you shot?i went to the main cities and the countryside andto whisky producers. its all pretty obvious. theyre38 aMericanphotoMag.coM May/June 2014

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Elliott Erwitt/Magnum Photos

Below: Jamaica, BritishWest Indies, 1961.


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a whisky company. Its not a brain challenge. I hireda car, went around, met people.Do any particular images stand out?We went on a hunt. Theres a day of the year thatis the opening of the grouse-shooting season and wewent with a bunch of grouse-shooting people. Thisgets taken very seriously. It was very interesting.Eating the birds afterward was not so interesting.40 AMERICANPHOTOMAG.COM MAY/JUNE 2014

From top: Highlandsheep, South of Siabostbho Dheas, Isle of Lewis,Scotland, 2012; theReverend Canon RobertBreaden, Portree LifeboatStation, Portree, Isle ofSkye, Scotland, 2012.

You can break your teeth on the pellets that are stillin the birds. Freshly killed grouse is an acquiredtaste. Scottish cooking is not the best.What made you decide to do your most recentbook, Kolor?The designer I work with thought there was a bookin there. I didnt agree. But we started lookingthrough the material, and after a year I thoughtthere was enough. I got kind of talked into it.The cover is that great, iconic picture of yours fromthe set of The Mists, with Marilyn Monroe andMontgomery Clift. What comes to mind when youlook at it now?Its just a picture of people in a movie. It may beinteresting because they all died after the moviecame out and theyre famous. Shooting famouspeople and non-famous people is pretty much thesame thing, except that famous people sell. Veryoften the non-famous person is the better photo,but if you want to have your work sold, its betterto stick with famous people.You obviously prefer shooting black-and-whiteover color. Why?It looks better. I have more control and everythingis out of my darkroom. I work with a printer andsupervise everything. I was surprised. I neverthought much about color, but looking at it, thecolor is pretty good. The color is mostly for assignmentads or journalism. When I take pictures for

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elliott erwitt/Magnum photos (3)

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my own amusement, its black and white. i preferthat for personal work. For professional work,i dont care.Is there a new book in the offng?right now i am working on my next book, images ofwomen. its a big project. i look through my contactsheets, i make work prints, and i see what can beput together.What is a typical day like for you?When im here, a typical day is to get up in themorning, go through my archives and look for images. im just at the beginning of the women book.im going through 60 years of work, so i dont knowthat much yet, but i did fnd some stuff thats good.Can you tell me about what you found?Some pictures.Can you say what they are or tell me how you feltwhen you saw them?how can i describe a picture? you look throughyour stuff, you fnd some good pictures, you printthem. Whats there to describe? you have to seethe pictures.Can I see them?no. no! im at the beginning of a huge thing. imjust making contact sheets.How did you come up with the idea for SequentiallyYours [which shows photographs of Erwitts plus theones that preceded and followed]?thats a strange question. i just thought of it. i

Above: Boat of Gartentrain station, Highlands,Scotland, 2011.

look through my work. thats my alphabet. its likewith Kolor. that book was never meant to be. But iwarmed to it.What convinced you that it would work?pardon?Youre not going to like this question.i dont like many of your questions.How come?i think that the work is what its about. i hope thatthe work is what its about. you ask me what makesme do the Kolor book. its because i thought it wasa good idea. Maybe its not a great idea. i just thinkyou have all this material, you just look at the material, and maybe you decide if its worthy or not. if itis, you do it. if its not you drop it.How quickly can you tell whether or not itwill work?how long is a piece of string? i hope that the oneim working on now will work. if it doesnt, ill doanother collection. or maybe shoot something newif i have the energy.Is there anything you are looking foward to shooting?at the moment, no. im tired. after this trip toKuala Lumpur, i am going to vegetate for a while.And fgure out what to do next?ill go to my house in the country and probably fsh.Youre into fshing?ive never done it. But i might try it. i hear thatthey have fsh up there. ap

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Legendsin the

Field

Five masters of photography prove that reaching 70 is no reason to retireBy MichaeL KapLan


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Terry Richardson, Art Partner licensing. Opposite: Chuck Close, courtesy of Pace Gallery.

Kay Macy among herfowers a few days beforeher 100th birthday, ColdSpring Harbor, 2012, bySylvia Plachy.


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Sylvia PlachyWhen Sylvia plachy, 70, got serious about photography, she was inher junior year at pratt institute and engaging in a medium thatother students saw as a distant second to fne art. But i fell in lovewith taking pictures, she remembers. i decided that this is whati wanted to do. though plachy is a contributing photographer forThe New Yorker and has shot for a number of publications includingthe New York Times Magazine, she was most prolifc when workingwith the Village Voice, snagging black-and-white images from onecorner of new york city to the other as well as internationally.With several shows in europethree last fall, another later thisyearand her seventh book in the works, she says, i am lookingback and rescuing pictures that i have taken and not seen. i am atthe age where i want to make sure i see them.Back when she was shooting for the Voice, plachy workedcontinually and imagined her photos would have longevity. infact she was creating a serious body of work: her photos woundup in museums and private collections. having accomplished allof that, shes now investigating the corners of her career, diggingout images that didnt necessarily make the printed page butstill resonate. For example, she says, there are really interesting photos that i took on the way to the assignments. im rescuing photos that have been clamoring for attention. im seekingpictures that i can look at for a long time. i want pictures thatare timeless and that have meaning to me now.

Left: Invisible Man,Ljubljana, Slovenia, 2002.

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Legends in the Field

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This spread and previous: Sylvia Plachy (4)

From top: Crone, Sicily,1988; Tightrope Walker,New Orleans, 2011.



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Joel MeyerowitzWhen Joel meyerowitz, 76, was in tuscany lastsummer, he didnt do as much people-watching asyou might expect from a man who made his bonesas a street photographer. the area was suffering arelentless heat wave, which presented the perfectopportunity to stay indoors and tuck into an interest in still life hed picked up about a year before.inside the farmhouse he was renting, meyerowitzbegan contemplating some old pewter objects, a hotwater bottle, and a decanter that he had purchasedin a provence fea market. Wanting to capturetheir battered beauty, he reached for his Leica S2and started to photograph the items in a darkenedhayloft. i felt like i was rescuing these things fromtheir days of utility being over, says meyerowitz.i felt like i was bringing them back to the stagefor a second chance.inspired by edward Westons famous photo of apepper, meyerowitz has unexpectedly gone still-lifecrazy. this has allowed me to once again experience46 americanphotomag.com may/June 2014

Above: New YorkCity, 1975. Opposite:Czannes Objects, 2013.

the sense of discovery, says the man who countsrobert Frank as a major role model and once shookup the photo world by shooting street photos incolor. its given me back my youthful sensibility.that one of his gallerists at paris photo managed tosell a nearly nine-foot-tall still life (shown, at right)for more than meyerowitz could have imagined hasnot dampened his enthusiasm. the picture was aresult of a visit to paul czannes art studio in thesouth of France, where meyerowitz managed toshoot a group of objects that he spotted on a shelfnear where czanne set up his still lifes.at home in new york city, where he spent thebeginning of this century shooting in and aroundground Zero, meyerowitz now looks for dentedcoffee pots and old metal cups. i work with theseobjects not for their beauty but because of whatthey emanate, he says. they lived their lives andtook their knocks, just like the people i photograph on the street.

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Joel meyerowitz, courtesy of howard greenberg gallery (2)

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Mary Ellen MarkLook at mary ellen marks photos and its clearthat she knows how to connect with people.underpinning her picturesrecent ones such asthe photograph of the boy and the bird and earlierones like the Damm family in their caris heruncanny ability to align herself with her subjects.While she says that people have become more48 americanphotomag.com may/June 2014

Above: The DammFamily in Their Car,Los Angeles, California,USA, 1987.

media savvy and now invariably wonder if theirimage will end up on the internet, she doesntlet that get in the way of making pictures. myheart is still in people and in showing them, saysmark, 74, who is in the process of revisiting tiny,a seminal subject in Streetwise, her landmark 1983series on Seattle runaways. i still love the street.

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From top: Child clown with his bird, roadside nearOaxaca, Mexico, 2010; The Filatov Institute, Odessa,Ukraine, 2012.

mary ellen mark (3)

i am challenged by it. its easy to get a good picture but almost impossible to get a great picture.everything has to be right. i like the challenge ofgetting everything in the frame when i shoot it.indeed, when it comes to photojournalisticintegrity, mark remains as old school as it gets.She still shoots flm and maintains a strict codeagainst digital tweaking, a policy she says stemsfrom early in her career, when changing a picturewas considered wrong. i am a realist and i believethat the most interesting things come from reality,and that has not changed, mark says. i was ableto convince people to let me do these projects thatwere in my mind, she says. it was like a grantto be able to do what i wanted to do. these days,mark often creates her own assignments; workson books, some of which include her classic images(Man and Beast, out in march from the universityof texas press, is the latest); and takes on corporate jobs when they seem right (the baby belowis from an annual report shot for novartis). youdont stop because you cant stop, she says. taking these photos is who i am and what i do.



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Robert Adamsrobert adams, 76, makes stunning, subtle photosthat contain a message. For decades he focused onthe high plains country of eastern colorado, oftenconcentrating on new tract homes that distressingly altered the landscape. By 1997 he felt he haddone as much as he could in colorado and decidedto move to the west coast of oregon, where heand his wife had often vacationed. upon relocating, he says, i felt as if somebody had turnedoff the electrical current. i felt little impulse tophotograph, and it was restful. then adams gotaccustomed to the difference in lightmarinelight as opposed to high-altitude, dry, southwestern light, what weather reports call severeclearand found his new subject matter: clearcut forests and the ocean.troubled by what he saw, adams took aim atrelentless deforestation. one of the great rainforests of the world is being clear-cut, he says. itsgotten to the point that i look out my window andsee some of the campsites that Lewis and clark occupied before reaching the ocean, but the rest of theview is clear-cut hills. When i am not photographing the diffcult stufftree stumpsi have beenphotographing the glory of the sea. testament toadamss skill are a collection housed at yale university art gallery, a recent book called Skogen, and anexhibition on view through late may at the Jeu depaume in paris. By keeping his collectible photos outthere, adams fulflls a civic purpose that he believesis integral for art. i realize that i can take all thephotos i want of brutal housing and it wont changeanything, he says. But art reminds people of whatthey already know. i hope it gives them courage andbrings them to reengage with life.50 americanphotomag.com may/June 2014

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Robert Adams, courtesy of Fraenkel Gallery, San Francisco, and Matthew Marks Gallery, New York (3)

Clockwise from below:Denver, Colorado, 1970;Untitled, ca. 2012; Footprints and bicycle track,Nehalem Spit, TillamookCounty, Oregon, 2012.



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Sheila MetznerLong before Facebook, Sheila metzner, 75, begancreating vast crisscrossing networks of friends, coworkers who turn into friends, and family members.With a big personality and a penchant for travel, shehas built a global network fortifed by wide-rangingassignments that keep her on the move. its amazing how many lines cross through one anotherandthey increase as you get older, says metzner, whomet ralph Lauren after writing him a fan letter andhas been shooting his ad campaigns on and off fordecades. photography is my whole life. it has beenpart of my personal search. i met Warren Beattyafter i told an interviewer from the Daily News thati wanted to photograph him. i got to meet DavidLynch during a story for House & Garden. i told himthat id love to work on one of his movies and heinvited me to the set of Wild at Heart. i just wrote aletter to [artist] James turrell. he bought a volcanic52 americanphotomag.com may/June 2014

Above: The Passion ofRome, shot for Fendi,1986. Opposite: LAtelierDArtiste for themagazine Grey VI, 2012.

crater and did the interior of it. clearly metznerwants an inviteand if her track record is anyindication, shell probably get one.photography has given metzner a reason totravel, a license to explore, and a way to connectwith others. By being what she describes as bravebut not brazen, shes gotten a friend of a friendto take her into alaskan waters so she couldshoot the best icebergs and went from covering acamel race in Dubai to photographing the westerndesert of egypt. its a task to document thingsthat have value, based on my own curiosity, shesays. i always remember that photography isntjust taking pictures. its a tremendous exchange.the photographer is in the picture, and i thinkpeople forget that. you are there, you see things,and you fear that youre not going to get them,and just wish that you do. ap

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Sheila Metzner (2)

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PioneersWorldMags.net

of the Good

Life

The new look of lifestyle photography is unembellished, natural,and refned. And these photographers, along with a cadre ofindependent magazines, are the visionaries behind it.

Alice Gao. Opposite: Nicole Franzen (2).

By Lindsay ComstoCk

54 AmericANphOtOmAG.cOm mAY/JuNe 2014

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WorldMags.nettep aside, martha Stewart: photosaturated under-the-radar publications with names such as Kinfolk, CherryBombe, and Backyard Bill are redefning the goodlifeand the way we look at it. With a focus onthe homegrown and handmade, this new wave ofmagazines and blogs is aimed at folks seeking anew style of livingcreators, hipsters, and DiYtypes whose alternative looks and semi-subversivevalues are unlikely to show up on the pages ofMartha Stewart Living anytime soon. And thephotographers who make the images that fll theirpages are bringing an unadorned aesthetic to theirwork that belies its careful production.the democratization of the visual world over thepast decade has allowed fashion and lifestyle blogslike Bill Gentles Backyard Bill to fourish. Gentlebelieves lifestyle photography today is the peoplesphotography; for the people, by the people. NicoleFranzen, who shoots for small-circulation publications Cherry Bombe and Kinfolk as well as power

S

This page: Will Lisak ofEtwas by Nicole Franzen,2014.Opposite: Alice Gao forMadewell, 2013.

players like Bon Apptit and Martha Stewart Living,agrees. She notes that this up-and-coming lifestyleaesthetic represents an approachable luxury. Sheexplains: i think its the young people striving tobe better. i think were trying to change. Werekind of rebelling against corporate America.Franzens work in particular refects a pareddown photographic look that has grown up alongwith the DiY and farm-to-table movements of theaughts and the longing for authenticity that thesetypes of magazines emphasize. She says photographers of her milieu are trying to fnd the soulin things with simple sunlit scenes that convey afeeling of approachability. i like fnding the beautyin everyday things that may be mundane, shesays. ive always been a minimalist by nature.Former Dwell photo editor turned photographer Aya Brackettwho shoots food and still-lifeeditorial for several of the same publications thatFranzen doessays her assignments call forwork thats beautiful and approachable witha general trend toward natural light. Brackett

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From top: Bill Gentle; Nicole Franzen. Opposite: Aya Brackett.

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conceptualizes her shoots the way she would compose a painting, she says, thinking about the playof color blocks, texture, and daylight-balancedstrobes (or actual daylight when its available)to re-create a sunlit scene. her process yieldsgraphically striking photographic stories, andrecently a cookbook, focusing on slow food andlocally sourced organic cuisine. her favorite worktends to be the messy food shots she does forclients like Cherry Bombe magazine, which putsa fashion and fne-art spin on food photography,and a recent personal series about food thatsfallen to the ground and rendered inedible.Gentle too, is concerned with fnding theextraordinary within the ordinary. i like to playwith light and colors; i like blown-out foregroundtextures and shadows casting interesting patterns,he says. i think its hard to decipher; thats themagic, the umami. its what your eye sees at thatparticular moment. But it wasnt until after hedeveloped his blog in 2008 that his visual languageof classic portraiture, street style, and a twist ofquirky comedy developed, he says.the rise in this genre of photography is directlyrelated to a cultural shift thats taken place increative communities in urban centers throughoutthe country, says Brooklyn-based Franzen. itsabout going back to our roots. people are recognizing beauty in things made by hand. We want toknow who is making things and the artistrybehind it; its really appealing. everyone fromchefs to fashion designers to foral arrangers tofurniture makers are doing unique things with

From top: Soko in VeniceBeach, California. June13th, 2013, by Bill Gentle;Ariele Alaskos woodworking studio in Brooklyn,2012, by Nicole Franzen.Opposite: Picnic, by AyaBrackett, part of the Soiledseries, 2013.

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their hands and taking time to master their craft.Gentle echoes Franzens sentiment: i thinkwhat we are dealing with now is a much youngerside: people who have really learned a trade andskillfully know their craft; [the photography] ismore specialized and personal than in mainstream publications, in part because of its subject.Georgia Francis King, editor of the quarterlyKinfolk, says her publication is a reminder thatanother existence outside of the digital world ispossible. the rise of new technologiesand all of58 AmericANphOtOmAG.cOm mAY/JuNe 2014

Chard, by Aya Brackett,part of the Between Mealsseries, 2011.

the amazing innovations that have come fromthat boomare incredibly important to oursociety. however, it would be a pity if this newworld replaced the old one instead of just beinga welcome addition, she says. Were there toremind people to slow down and focus not juston the things in your lives but the people and thestories that surround them.King calls her magazines look clean, balanced,and detailed. She says she looks for originalideas and expert execution, giving photographers

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Bill Gentle (2). Opposite: Aya Brackett.

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mood boards pre-shoot. its also important forus to constantly be staying ahead of ourselves andnot becoming a stereotyped style. too often wesee photographers pitching us work that personifes Kinfolk as it stood two years ago; being able tocreate new work that moves our aesthetic forwardinstead of replicating it is key.But these magazines dont deny their mainstream roots; in fact, they embrace them. magazines like Kinfolk are a simplifed reaction to themore ornate martha Stewart era, but that doesnt

From top: William BryanPurcell in Milanville,Pennsylvania. June 14th,2014, and LaurenManoogian in Milanville,Pennsylvania. June 14th,2014, by Bill Gentle.

mean that both dont still have their place, Kingsays. claudia Wu, who cofounded Cherry Bombewith Kerry Diamond (the pair originally met atHarpers Bazaar), explains that the Brooklyn-basedbiannual magazine dedicated mostly to womeninterested in food, design, and style wouldnt existif martha Stewart hadnt paved the way. [MarthaStewart Living] really had a huge impact on bothKerry and me. the magazine really revolutionizedthe food/lifestyle publication world.Franzen calls the frst time she shot for marthaStewart a dream. She sees the success of indiepublications as coming from their ability to keepa fne-tuned eye on a smaller and more easilyidentifable audience, whereas larger publicationshave to paint with a broader brush.Brackett says she works much differently forclients like martha Stewart, for example, wherethe stories are totally gorgeous and beautiful, butnot always edgy, she explains. like, you wouldntput a cigarette or something on a plate. You haveto keep it a little more tasteful. She says largermagazines actually tend to be easier to shoot forbecause of the high production value, but theadditional artistic freedom she gets shooting forsmaller publications and her own projects canbe the most rewarding. its really hard to shootif you dont feel inspired, or arent working onyour own instinct. its hard to get anything goodif youre just doing what you think is going to bepleasing, but not what you believe in. aP

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By PhiliP Ryan

hile Fujiflms X-Series cameras frst wonattention for their retro rangefnder styling, its new X-T1 resembles a diminutiveDSLR. And with its rugged weather-sealed body,outstanding electronic viewfnder, plethora of dialsand wheels, and extremely high image quality up toISO 400, this fagship interchangeable-lens compactpacks DSLR-style capabilities too.The X-T1 uses the same 16.3-megapixel, APSC-sized X-Trans CMOS sensor that Fujiflm put inits recent X-E2, but the sensitivity reaches an extrastop to ISO 51,200a setting hidden in menus andnot evident on the cameras otherwise well-markeddials. Like its siblings, the X-T1 permits only JPEGcapture, not RAW, at the extremes of sensitivity (inthis case ISO 100 and ISO 12,800 and above).Our sister magazines report from the PopularPhotography Test Lab rated overall image qualityextremely high through ISO 400, with solid noisecontrol to that point and only moderate noise atISO 800. After this, noise turns unacceptablenotsurprising in a camera this small. Some false-coloraliasing was detected in diagonal line arrays, thoughJPEGs from the camera showed little of this effect.Solid in the hand, the magnesium-alloy body hasa comfortable grip. ISO, shutter speed, drive mode,metering mode, and exposure compensation allhave dedicated dials; the drive and metering dialsare stacked underneath those for ISO and shutterspeed, respectively, and can be adjusted using a tab.

W

Theres a PC sync terminal to trigger studio strobes.The X-T1s new EVF offers a vast improvement.This 0.5-inch, 2.36 milliondot OLED has 0.77Xmagnifcation and an extremely brief display lagbilled as 0.005 second. The image feels enormous,and users can choose between an immersive fullsetting and a smaller normal that pushes mostdata outside the image frame. Technical-mindedphotographers can even see a histogram whileframing the shot.Action shooters will enjoy the X-T1s continuousdrive of 8 frames per second for up to 47 JPEGs(23 in RAW) before the buffer flls; in slower 3 fpsmode, bursts can continue until the memory card isfull. And the EVFs short lag time affords a view ofwhats happening during bursts, unusual in ILCs.Wi-Fi, sensibly, is built in. Fujiflms CameraRemote app works with iOS and Android devicesfor viewing, controls, and capture. users can selectautofocus points and remotely adjust any majorcamera setting, including fash mode, white balance, ISO, aperture, shutter speed, and exposurecompensation; theres even a battery-level indicator.Video should be good enough for most casualshooting: It showed a pleasing amount of detail andwell-saturated colors, but also more artifacts thanwe get from other ILCs.These minor gripes aside, the X-T1 is a wonderful camera with plenty to offer outdoor and indoorlocation photographers alike. aP

what looks like a pentaprism housing on top ofthe Fujiflm X-t1 actuallyhouses a big, sharp oLedelectronic viewfnder with avery fast image-refresh rate.

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the goodsSerious photographic tools of every sizeBy the editors of american photo

turBo Video

SanDisk Extreme Pro SDHC/SDXC UHS-II When handling4K video, memory cards feld tons of dataexactlywhat this SD card series is built to do. A UHS-IISpeed Class 3, it has a maximum transfer speed of280MB/s for video. For photos, the speed caps out at250MB/s. But UHS-II requires a compatible camera,and so far the only still model to support it is theFujiflm X-T1. BUY IT From $75 (16GB); sandisk.com

the s is for speed

Nikon D4s Used frst by a handful of sports shooters at the Sochi Olympics, the latest Nikon fagshiphas a new 16.2MP full-frame CMOS sensor with sensitivity expandable to ISO 409,600. Its Expeed 4processor helps bursts chug along at 11 frames per second for up to 200 JPEGs before the bufferflls. A slew of smaller upgrades includes a boost in the limit on automatic time-lapse from 999to 9,999 shots; simultaneous video recording from HDMI and to a memory card; and the additionof RAW S capture for photojournalists who prize speed over resolution. This generates 12-bituncompressed RAW fles at 2464 x 1640 pixels and about half the fle size of a full-sized RAW image.BUY IT $6,500; nikonusa.com

long ranger

Tamron SP 150-600mm f/5-6.3 Di VC USDThanks to kit lenses, variable-aperture zooms tendto get a bad rap among high-end shooters. Butas DSLRs low-light performance skyrockets, theprospect of giving up that f/2.8 number for a lotmore focal range becomes much more appealing.This 150-600mm lens comes in Canon, Nikon, andSony mounts, and is compatible with both fullframe and APS-C sensors. It has built-in vibrationcompensation, three low-dispersion elements,and Tamrons best coatingsat an inspiringly lowprice. And you dont need a wheelbarrow just tolug it around. BUY IT $1,100; tamron-usa.com


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control-freak compact

Canon PowerShot G1 X Mark II With a new 12.8MP 1.5inch sensor and its latest Digic 6 processor, Canonmakes low-light performance a priority in its newfagship compact. Other premium features like RAWcapture, a 3-inch rotating touchscreen, and controlrings around the lens help to keep this model abovethe fray as smartphones decimate the low end ofthe compact market. BUY IT $800; usa.canon.com

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Quad racingSigma dp2 Quattro The new iterationof Sigmas fxed-lens compactline really shakes things upandnot just with the cool design. EachQuattro (the 45mm-equivalentdp1, the 28mm dp2, and the 75mmdp3) has the retooled APS-C-sizedFoveon X3 sensor. It has far morepixels on the blue layer than on thegreen and red, auguring smallerfle sizes and hopefully faster incamera processing. BUY IT Price tobe announced; sigmaphoto.com

utility playerOlympus OM-D E-M10 For photographers who like the traditional style of OlympussOM-D line of Micro Four Thirds ILCs but can forgo the original E-M5s weathersealing, this new entry-level model offers a lot of

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American PHOTO 2014-05-06