American PHOTO 2010-11 12 PDF

how to
warp
time
in a
still
image
p. 66
EDITOR’s CHOICE 2010
12 TOOls
THAT
THE
CHANGE
THE RulEs p. 38
an a.p.
campaign
rescuing
america’s
trees
p. 54
working
with ngos:
journalism
or pr?
p. 76
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The Sony NEX-5
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on thE CovEr: This issue features three different

covers depicting three Editor’s Choice cameras: the
Leica M9, the Nikon D7000 and the Sony NEX-5.
BELow, CLoCkwisE: The Leica M9, one of the

year’s most notable imaging products; a photo
by Bob Hower of the ecologically threatened park
system in Louisville, Kentucky; a Chris Farber im-
age of Darfur refugees in Chad; a slit-scan study of
Tai Chi motions by artist Jay Mark Johnson.
NOvEMBER | DECEMBER 2010

Features
38 Editor’s ChoiCE 2010
The year’s top game-changing imaging tools
By jonathan Barkey
54 trunk show
The tales of grand, endangered trees as told
through the lenses of noted photographers
By russell hart
66 timE warp
The art of altering perception using slit-scan
photography techniques
By laurence chen
76 advoCaCy in afriCa
Chris Farber’s efforts to illuminate the suffer-
ing of Sudan’s genocide refugees
By aimee Baldridge
54
76
38
66
© QUADRANT/BOB HOWER; © CHRIS FARBER;
CLOCKWISE FROM TOP: © JON WHITTLE;
© JAY MARK JOHNSON
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NOv/DEC 2010 | amEriCanphotomag.Com 3

CONTENTS
16
DEPARTMENTS
11 ONE TO WATCH
Art Objects
Up-and-coming photographer Lucas
11
Zarebinski homes in on the details
BY FRANKLIN MELENDEZ
16 SHOW PLACES
Shooting Towards Bethlehem
The InVision festival brings first-rate
photography to a former steel town
BY AMY BEDIK
22 UNDER COVER
Ten Years After
New and notable fall photo books
BY JUDITH GELMAN MYERS
29 WORK IN PROGRESS
Lost & Found
Troy Paiva brings the ghost towns
of the West back to eerie life
BY JACK CRAGER
86 SKILLS
Every Picture Moves a Story FROM TOP: A spotted
GEOGRAPHIC SOCIETY; © LUCAS ZAREBINSKI
FirstLight workshops delve into the

FROM TOP: © MICHAEL NICHOLS/NATIONAL
owl photographed by
craft of multimedia photojournalism Michael “Nick” Nich-
BY AIMEE BALDRIDGE
ols, one of the InVision
festival headliners; a
100 PARTING SHOT still-life image by Lucas
Engulfed Zarebinski; Phaidon’s
Viewing the Gulf oil-spill disaster new photography
the hard way—under the surface volume, Decade.

masters of photography
Always in search of “what is happening at the edges,”
William Albert Allard’s work reveals beauty, mystery,
and stunning reality. Part photographic retrospective
and part compelling memoir, this book paints a full
picture—through images and narrative—of one of color
photography’s most celebrated pioneers.
“I want an image to have

the harmony and economy
of a well-crafted paragraph,
the grace and sense of balance
found within the geometry
“
of a fine painting. I want my pictures
to have intimacy...
— WILLIAM ALBERT ALL ARD
Remarkable photographs and rare

Showcasing the elements that personal interviews reveal the inside
define beauty in a photograph, stories of official White House
acclaimed photographer Annie Aerial photographer Robert Haas photographers, with a foreword
Griffiths presents more than 200 captures powerful imagery of by Chief Official White House
stunning images from the National Arctic lands, focusing his lens on Photographer Pete Souza of
Geographic collection. landforms, wildlife, and the the Obama administration.
footprint of man.
AVAILABLE WHEREVER BOOKS ARE SOLD

nationalgeographic.com/books
EDITORIAL DIRECTOR MARK JANNOT
CREATIVE DIRECTOR Sam Syed

EXECUTIVE EDITOR Russell Hart
MANAGING EDITOR Jill C. Shomer
ART DIRECTOR Matthew Cokeley
PHOTO EDITOR Chelsea Stickel
EDITORIAL PRODUCTION MANAGER Felicia Pardo
COPY EDITORS Lisa Kearns, Meg M. Ryan
DESIGNER Ivylise Simones
FACT CHECKER Rebecca Geiger
ONLINE EDITOR Stan Horaczek
CONTRIBUTING EDITORS Jonathan Barkey, Amy Bedik, Greg Ceo,
Jack Crager, Miranda Crowell, Joe Gioia, Vicki Goldberg, Michel Leroy,
Judith Gelman Myers, Lindsay Sakraida, Liza Schoenfein
PHOTO DIRECTOR Larry Nighswander
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From B+W. GROUP PRODUCTION DIRECTOR Jeff Cassell

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FOCUS SHOW PLACES 16 | UNDER COVER 22 | WORK IN PROGRESS 29
art objects
Photographer Lucas Zarebinski
has a knack for transforming the
mundane into the sublime
| By Franklin Melendez
Lucas Zarebinski is a man of few words;
his images do most of the talking. In a
few short years, the Polish-born photog-
rapher has built a commercial practice
in New York City based on his still-
life images—but don’t expect to find
any sleepy arrangements of fruit in his
portfolio. Under his exacting lens, com-
monplace objects are converted into
dynamic, high-octane compositions: a
laptop rendered sleek and glossy, like
the fender on a NASCAR racer; a stack
of Popsicles lit to resemble modernist
sculpture; a BLT sandwich transformed
to look like an enameled Jeff Koons cre-
ation. Such studio craft has made the
32-year-old a hot commodity with an
ever-growing list of glossies and ad
clients—no small feat for any young pho-
tographer, but all the rarer for one who
seems to have stumbled onto his calling.
“When I was 17, I dated this girl who
took pictures, so I started taking pic-
tures as well,” Zarebinski says. “I always
wanted to be an artist, but I couldn’t draw
or paint; I just had an eye. The camera
provided the perfect tool—all I needed
was a vision.” After discovering his knack
behind the lens, the then 20-year-old
Zarebinski packed his bags and headed
from Bielsko-Biala, Poland, to Bloomfield
Hills, Michigan, to study photography and
fine art, parking cars at night and work-
ing on his English with his roommates.
From the beginning, Zarebinski was
drawn to the detailed richness of large-
format imagery, and he tirelessly lugged
around a 4x5 camera to capture his
subjects. However, portraiture—not
still life—was his initial impulse. “I kept
Whether he’s shooting close-ups or large-scale

© LUCAS ZAREBINSKI (2)
scenes, Zarebinski approaches his subjects with a

sculptor’s care, and his most trusted tool is light-
ing: “I only use studio lighting,” he says. “It makes
a big difference in terms of sharpness and control.
You can direct your artificial light with incredible
precision to maximize its direction and angle.”
In his commercial still-life images, Zarebinski
strives for pared-down elegance: “I shoot in the
simplest way possible,” he says. “It’s just the object
up close, and I try to bring out its qualities.”
TO P TO B OT TO M : © L U C A S Z A R E B I N S K I ; © S H A R O N S U H
shooting people, even though everyone close-up

kept telling me not to. I finally just lis- LUCAS ZAREBINSKI
tened,” he says matter-of-factly. “I also Lives in: Brooklyn, New York
realized I’m not that good at making peo- studied at: Oakland Community College, con-
ple comfortable. With still life, the image centrating in photography and fine arts. “But I
is always there—it’s just what you make learned most of the trade while assisting other
of it, how you control it. You can be in photographers hands-on,” he says.
awards: Multiple “Lucie” International Photog-
the studio for hours, unrestricted.”
raphy Awards (2004, 2005, 2006); named to
Zarebinski attributes his sleek PdN’s “30 2009” emerging photographers list.
graphic approach to his stints as a dig- Favorite gear: His trusted all-purpose cameras:
ital technician and retoucher while the Canon EOS 5d Mark II, which he also uses
he was assisting in Los Angeles. “I to shoot video; and a Hasselblad H1 with a Leaf
still do all my retouching myself, but digital back. “And a good assistant,” he adds.
12 americanphotomag.com | NOv/dEC 2010

Accelerate your photography workflow
Church of Christ, Haiti, November 19, 2009 © Peter Pereira/4 SEE
Like Peter Pereira, let your photos tell the story

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In Photoshop,
Zarebinski’s post-
processing includes
fine-tuning color
balance and sat-
uration, as well
as spot retouch-
ing with a healing
brush or a clone
stamp to remove
imperfections.
“There is no gold
shot,” he says, “just
a lot of practice.”
I don’t use any tricks,” he notes. “All an ongoing series of winter landscapes, vision. His landscapes have appeared in
you need is great angles, lit in strategic “Trees” (go to lucaszarebinski.com). several exhibitions and garnered numer-
ways and topped off with expert treat- These poetic images, which capture the ous awards. But when asked to explain his
© LUcAS ZAReBInSKI
ment in Photoshop—that’s the secret.” subtle fluctuations of the seasons in deli- motivation, Zarebinski’s answer is typi-
Technical demands aside, there might cate twilight, provide Zarebinski a quiet cally succinct: “It’s a completely different
be a romantic lurking beneath all the sojourn away from the hard candy of process. I just drive around and wait for
hard geometry. Alongside his commer- consumer goods and reflect his exact- the place to find me. If you stumble onto it
cial work, Zarebinski has been developing ing technique with a radically different at the right time of the day, it’s magical.” AP
14 americanphotomag.com | nov/dec 2010

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FOCUS | SHOW pLAcES
SHOOTING TOWARDS BETHLEHEM

Once the capital of American steel, this burgeoning art community shows its
grit with a photography festival to compete with the big cities | By Amy Bedik
© M I C H A E L N I C H O L S / N AT I O N A L G E O G R A P H I C S O C I E T Y
The Lehigh Valley of Pennsylvania may Above: Michael “nick” nichols shot this northern spotted owl swooping toward a researcher’s lure in
a young redwood forest in 2008. A headliner at the Invision Photo Festival in Bethlehem, Pennsylvania,
not have the same exotic ring as Arles, nichols was a founder of its inspiration and model, the Look3 festival in charlottesville, virginia.
France, or Madrid, Spain, but like those
locales it will soon host an annual photo visual arts and education at the huge The “little town” of Bethlehem has
festival. The InVision Photo Festival, Banana Factory arts complex, where all become something of an artists’ colony
produced by the group ArtsQuest—the the events will take place, has set the since its steel industry collapsed in the
same outfit that successfully stages bar high with her lineup for the festival’s early 1980s. Lipzin hopes its proximity to
the 300-plus-act Musikfest there each premiere. “I want an event where people major cultural centers—it’s only an hour
summer—is designed to showcase acclaimed can see photography from the same top and a half west of New York City and just
photographers, spotlight emerging artists professionals who take part in the big north of Philadelphia—will help InVision
and enlighten photo enthusiasts. It will festivals around the world,” she says. “But draw urban art patrons to the event. She
debut this year from November 5 through 7. I also want it to be affordable and very also points out that in contrast to major
Organizer Janice Lipzin, director of accessible to the public.” photo-fest fees, which can run into the
16 americanphotomag.com | nOv/dec 2010

F R O M TO P : © L A R R Y F I n K ; © e L L e n KO O I / c O U R T e S Y e d I T I O n S F I L I G R A n e S , PA R I S
hundreds of dollars, ticket prices for year-old photography event staged in Top: ”cheryl Salt James, Salt ‘n’ Pepa, August
InVision’s events range from just $25 for the National Geographic photographer’s 2001,” by Larry Fink, a headliner at Invision.
Bottom: ellen Kooi’s “Out of Sight,” at Paris Photo.
a lecture to $75 for a portfolio review. And hometown of Charlottesville, Virginia.
several events are free to the public. In addition to consulting with Nichols,
Lipzin’s main inspiration and model Lipzin has made him one of the In- the moniker “the Indiana Jones of
for InVision is Michael “Nick” Nichols’s Vision festival’s headliners. The globe- photography” by Paris Match) is set to
smashing Look3 festival, the three- trotting documentarian (he was given present a slide talk on November 6.
Other COOl PhOtO FeStivalS

• FotoWeek dC 2010 (Nov. 6–13) Held in the • Paris Photo (Nov. 18–21) Here you can view
nation’s capital, this gathering features con- exhibitions of talent from around the globe
temporary work, workshops and an interna- ranging from emerging photographers to re-
tional awards competition. fotoweekdc.org nowned artists, with a special spotlight on im-
ages from central europe. parisphoto.fr
• PhotoNOLA in New Orleans (dec. 2–11:) cel-
ebrating the work in and around the Big easy, • Lens Culture FotoFest Paris (Nov. 15–16)
this festival also presents artists from through- Portfolio reviews and meetings of photogra-
out the United States. photonola.org phers and photo experts. fotofest-paris.com
18 americanphotomag.com | nOv/dec 2010

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FOCUS | SHOW PLACES
Opening the festival the day before is the

much-admired fine-art photographer Larry
Fink. A resident of Martins Creek, near
Bethlehem, Fink has exhibited in museums
such as MOMA and been published in
magazines including Vanity Fair and The
New York Times Magazine. Next year,
when the festival expands to accompany
the 20-venue Lehigh Valley Photography
Month, Fink will shoot the opening party
in his highly recognizable style, which often
relies on off-camera flash. The pictures
will be immediately projected onto the
nearby blast furnaces of the city’ old steel
mills—among the structures that are being
incorporated into SteelStacks, ArtsQuest’s
ambitious new performing arts center.
Events for November 7 include portfolio
reviews by various industry professionals,
including Magnum photographer Alex
highway to high art
Webb and his wife, photographer Rebecca The Whitney presents Lee Friedlander’s great American road trip
Norris Webb. That day’s featured workshop | By JAck crAger
will be “The Art of Seeing and Printing,”
with John Isaac, a former United Nations The cross-country photographic collection in the eponymous volume
photographer and a masterful inkjet printer. journey is a time-honored American ritual. printed by D.A.P. / Fraenkel in 2010.
Several InVision exhibitions will be on The use of the car as a photo-framing With the alternating wit and melancholy
display from the end of October through device also has precedent, such as that marked Friedlander’s earlier social
November 21, on both the art center’s walls the dashboard shot that David Michael landscapes, these images add the road-
and strategically placed video screens. Kennedy famously supplied for the cover trip motif through the frame of a rental car.
These will include InVision MUSE, a clever of Bruce Springsteen’s Nebraska album. Friedlander—who has frequently included
pairing of work by acknowledged masters But in the hands of the self-willed and his own shadow as a solitary narrative
(Fink included) and some of their most visually adventurous Lee Friedlander, device in his images—now freely injects
© L E E F R I E D L A N D E R /C O U R T E S Y T H E W H I T N E Y M U S E U M O F A M E R I C A N A R T
successful students, as well as a juried the idea of “America By Car” takes on a his own reflection through side mirrors.
college photography show and images by distinctive twist. Other car parts, like windshields, side
participants in the Banana Factory’s highly Friedlander’s exhibition by that name windows and steering wheels, bump
regarded instructional photo program for focuses on images shot during a 10-year up against the roadside idiosyncrasies
disadvantaged youth. period, starting around 1995, though his of blue-highway America, with its
For some connoisseurs, the most photographic road trip is reportedly still wacky signs, roadside bars, churches,
intriguing InVision event will perhaps ongoing. Images from the project first monuments, motels and suspension
be “Magnum and Microbrews.” For $35, breathed new life into the septuagenarian bridges. The artist’s square-format black
attendees will be able to sample the region’s artist’s oeuvre as a 2008 exhibit at the and white further imbues the scenes with
handcrafted beers while chatting with some Fraenkel Gallery in San Francisco. Now nostalgia. It’s enough to make you wonder
of the photographers Lipzin oversaw in this eccentric collection is traveling and whether a bygone America we once
her tenure as a director of corporate and expanding: The Whitney Museum of thought we knew is still out there—and
advertising assignments at the Magnum American Art in New York City presents want to hit the road to find out.
Photos agency. So let’s all lift a glass to the “America By Car” in its Sondra Gilman
success of InVision. AP and Howard & Jean Lipman galleries Above: Lee Friedlander’s “Texas, 2006,”
through November 28, with nearly 200 from the “America By Car” exhibition at the
Visit artsquest.org and bananafactory.org photographs culled from the larger Whitney Museum of American Art
for details about the InVision Photo Festival
and other ArtsQuest events.
20 americanphotomag.com | NOv/DEC 2010

FOCUS | Under cover
Ten Years afTer

Clockwise from top: new orleans burns after 2005’s Hurricane Katrina;
© MARK dAdSWeLL/GeTTY IMAGeS; © JeRoMe deLAY/AP
a U.S. Marine flags a statue of Saddam Hussein in 2003; Usain Bolt wins
© MIcHAeL APPLeTon; © WIn McnAMee/ReUTeRS;
cLocKWISe FRoM ToP: coURTeSY PHAIdon PReSS:
gold at 200 meters in 2008; Britney Spears kisses Madonna in 2003.
With a powerful photographic book The decade known as the “aughts,” 2000 through 2009, brought a
series of seismic shifts to the globe’s social and political landscapes
about the past decade, Phaidon puts the worthy of the wildest millennial predictions. Following the
world’s recent tumult and triumphs in photojournalistic triumph of its best-selling Century, Phaidon has
thoughtful perspective assembled a thinking person’s illustrated guide to the first 10 years
of the new millennium in Decade (Phaidon, $40).
| BY Judith Gelman mYers The new volume’s writing team created a framework of
themes running through the period—the rise of Islamism, social
networking, climate change—to which they added a must-have

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FOCUS | Under cover
list of pivotal events, including 9/11,
Hurricane Katrina and the capture of NOTABLE NEW PHOTO BOOKS
Saddam Hussein. The picture team
then populated those lists with images Destroy This Memory (Aperture, $65).
The latest coffee-table book from
culled from such sources as Magnum landscape master Richard Misrach
Photos and the World Press Photo employs his enigmatic but evocative
contest, as well as from independent visual style in the setting of Hurri-
cane Katrina’s aftermath. The images
photographers approached by picture focus on graffiti found on devastated
editor Eamonn McCabe. homes—from “Help! Help!” scrawled
across a rooftop to “I am here I have a
Author Terence McNamee wanted to steer away from gun” greeting would-be looters—with
simply reinforcing readers’ preconceptions. In concise text effects ranging from heartbreaking to
blocks and deftly juxtaposed pictures, Decade succeeds in humorous. With these unforgettable
photographs, Misrach ensures that
showing another side of issues we’re familiar with, as well as the directive of the book’s title is ironic
those that got less attention, such as a gathering of Brazilian because it is impossible.
tribespeople at the 2003 Indigenous Nations’ Games. For One Block: A New Orleans Neighbor-
his part, McCabe avoided predictable images, going for “a hood Rebuilds (Aperture, $40). In
new take on something that the newspapers didn’t see,” like Aperture’s other 2010 Katrina-related
book, dave Anderson focuses on the
a Nigerian man dowsing himself with water to withstand the hope of rebuilding, with a detailed
heat from an exploded pipeline. look at the reconstruction efforts in
The book has a significant flaw, and it’s one that short- one new orleans neighborhood and
the residents who carry on with faith,
changes its photographers: The photo credits are shoved to the weariness and grit. Through a combi-
back of the book and jumbled into a list in type so tiny that it’s nation of portraits and architectural
nearly impossible to read. Any reader who actually wants to progress reports, Anderson records
the tedious process: “You strip and
fill and sand and caulk and sand some
more and then prime and paint,” in the
words of one determined rebuilder.
The faces tell their own sad tales.
Leo Fuchs: Special Photographer:

From the Golden Age of Hollywood
(powerHouse Books, $65). The job
of special photographer—typically
an independent shooter with special
access to movie stars—was an inven-
tion born amid the peak of Hollywood
glamour, right after WWII had ended
and magazines were competing for
more intimate looks into the private
lives of the country’s favorite stars.
Fuchs’s intimate images of the likes
of Paul newman, Audrey Hepburn
and Marlon Brando radiate the ac-
tors’ charismatic power even as they
unmask their vulnerability.
Harlem: A Century in Images (Skira

Rizzoli, in association with The Stu-
dio Museum in Harlem, $55). A
B oT To M L e F T: c o U R T e S Y P H A I d o n P R e S S , © S P e n c e R P L AT T/G e T T Y I M A G e S
masterfully assembled collection of
imagery and text honoring both the
neighborhood and the people who
have lived there gives the reader
new visions of an old place. Al-
though pedestrian shots are shown
side-by-side with iconic images, the
reverence and fascination that many
photographers—from James vander-
Zee to Henri cartier-Bresson—bestow
upon Harlem is palpable throughout
this beautiful volume.
Galen Rowell’s Sierra Nevada (Sierra

above: A shot of the second airplane striking the South Tower in club Books, $30). Few adventur-
the 9/11 terrorist attacks on the World Trade center, from Decade ers combined the twin passions of
mountaineering and photography
as well as Galen Rowell, who died
at age 61 in a 2002 plane crash.
know who took what picture is left in the dark. Although this Rowell’s best images of his favorite
approach, so easy to avoid, belies the seriousness with which locale, the Sierra nevada range, are
gathered in this striking collection,
McCabe and McNamee approach photographers—indeed, which also serves as a review of his
photography itself—it does not undo the remarkable power rise from a childhood with adventur-
of the book as a whole, which will leave you with a new ous parents to his remarkable career
on the cliffs and behind the lens.
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FOCUS | WORK IN PROGRESS
LOST & FOUND

above: Paiva’s “Pepto-Squarebird-Reflux”
was shot in a car junkyard about an hour
north of Sacramento, california. “I tend to
shoot on or near the full moon and shun
locations lit by man-made light,” he says.
Troy Paiva sets out to document what’s left of the abandoned

old West—one surreal scene at a time | BY Jack crager
© T R oY PA I vA / Lo S T A M e R I c A
Like many an American kid in the “We cruised the remnants of bypassed That fascination led Paiva to create
1960s and ’70s, Troy Paiva spent lots Route 66 towns and visited real ghost “Lost America,” a 21-year visual docu-
of vacation time in the back of a car on towns like Bodie, California. As a highly mentation of civic detritus found at the
the nation’s highways. “My family took impressionable 12-year-old, I was blown byroads, junkyards and fringes of mod-
driving trips across the deserts of the away by the idea that people would leave ern civilization. “As I got older I began
American Southwest,” says Paiva, now 50. whole cities behind.” to visit all kinds of abandonments on my
nov/dec 2010 | americanphotomag.com 29

work that was totally unrelated to tech- shooting techniques (see box below).
niques I was using in my job,” he says. “The ‘Lost America’ project is all
Paiva had tagged along with his brother night work,” Paiva says. “I’ll take
to a night-photography course. “When pictures anytime, though.”
the subject of adding light with hand-held Part of his reason for shooting aban-
sources during moonlit time exposures doned sites at night is aesthetic. “Most
came up, my brain popped,” he says. photography is about capturing an instant,
“Here were techniques that were per-
fect for capturing the surreal and spooky
souls of the abandoned places that I’ve
always been drawn to. I bought some
cheap 35mm gear, hit the desert the next
full moon, and never looked back.”
It took a while for the avocation to
morph into paying work. “The first nine
years, I worked in total obscurity, shoot-
ing purely for fun,” Paiva recalls. “It wasn’t ClOSe-Up: trOy paiva
until 1998, when I put the work online, that Training: Paiva sat in on a night-photography course
Top: Mcdonnell douglas dC-8 and Convair 880 it started to be noticed.” He posted a series at the Academy of Art University in San Francisco,
airframes, now long gone, in Mojave, California. where he studied illustration and 3-d modeling.
Bottom: A train graveyard in England. “It’s lit with
of galleries at lostamerica.com, which led
”But for photography, I’m self-taught,” he says.
© T R OY PA I VA / LO S T A M E R I C A ( 3 )
a yellow-gelled strobe in the boxcar,” Paiva says. to numerous publishing projects over the
years, including the award-winning 2008 Honors: Winner of “Photography Book of the
book Night Vision: The Art of Urban Explo- Year” in 2009 at the new York Book Show for
Night Vision: The Art of Urban Exploration.
own, and the obsession grew,” he says. ration (Chronicle Books, $25). He’s shown
Workshops: Semi-annual Pearsonville Junkyard
In 1989 Paiva started photographing his work in galleries in New York City and workshops (lostamerica.com/workshop.html).
weathered old sites as a creative out- Los Angeles, and the Bolinas Museum Best advice: “The hardest part of doing night
let to offset his day gig in San Francisco in Marin County will host an exhibition photography is dragging yourself out of a warm
as a graphic designer for a toy company. from April 23 to June 5, 2011. Paiva also house on a cold night,” Paiva says. “But it really is
“I was looking for a way to do personal teaches periodic workshops about his night- all about experimentation and practice.”
30 americanphotomag.com | nOV/dEC 2010

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Be oBsessed.
Long disappeared from modern
maps, the ramshackle mining camp
in Kincaid, nevada, slowly sags and
falls apart. “I shot this image under
heavy cloud cover during a summer
monsoon,” Paiva recalls. “It would
have just been a black silhouette
without the added Led flashlight and
lime-gelled strobe flash.”
© T R oY PA I vA / Lo S T A M e R I c A

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Top: Gas pump-styled water sprayers in the pool

iN tHe BaG backpack, allowing me to hop fences and
slip through the cracks in security.”
area of an abandoned Route 66–themed water
park in newberry Springs, california. Bottom:
canon eoS 20d
Although his exposures are long, from Remnants of a dormant gas station in ely, nevada.
Tokina 12-24mm AT-X 124 AF PRo dX lens two to eight minutes, Paiva often feels a
canon Timer Remote controller Tc-80n3 sense of urgency in documenting places.
Slik tripod
canon Speedlite 430eX flash “I try to finish them as quickly as I can,” He’s added a few items shot during world
Streamlight Stinger flashlight he says. “Abandoned locations tend to be travels—such as trains he found in England
coast Led Lenser dual color flashlight time-sensitive; there’s a sweet spot when on a lecture tour—but Paiva prefers to focus
AA-cell Mini Maglite flashlight
Rosco and/or Lee gel material I like to shoot, where they look weath- on his homeland. “I’m documenting the
Gaffer’s tape ered and post-apocalyptic, without being American experience,” he says. “The failures
cardboard tube for use as a lighting snoot
too tagged-up and trashed. Vandals, par- of 20th-century expansion into the des-
tying teenagers and metal recyclers can erts of the West, with its big skies and epic
but minutes-long exposures capture a ruin a site, photographically, in a very vistas, will always be my main subject.” ap
block of time that humans can actually short time. I’ve made notes about loca-
feel,” he says. “It’s eons in normal pho- tions to come back to, only to return a year
tographic terms. Doing it in these places later and find the site is a vacant lot.”
where it seems like time has stopped Paiva notes that several of his series,
stretches reality even further. Once I began such as “Ghost Trains” and “Lost Wheels,”
experimenting with strobes and flashlights, are “ongoing junkyard projects that I’ve
it didn’t take long before I began incorpo- been adding to for years, because they are
© T R oY PA I vA / Lo S T A M e R I c A ( 2 )
rating color and theatrical lighting angles, constantly evolving as objects come and
all in the pursuit of intensifying the emo- go.” But he’s always seeking new sites. “I
tion and spooky weirdness of these places.” seem to have a radar for finding this kind
His night moves also have a pragmatic of stuff,” he says. “I can drive into a remote
aspect. “Much of my work is done while desert town and make a couple of ran-
trespassing,” he confides. “I frequently dom left turns and end up in the driveway
have to travel light and work fast. All my of an airplane recycler, or an eccen-
gear, aside from the camera and tripod, tric artist with a collection of 25 motel
fits into the pockets of a jacket or a small signs in his yard, totally by accident.”

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December 9–12, 2010 February 16–26, 2011
Capture the breathtaking beauty of a true tropical paradise as the Join the Mentor Series as we lead you into Vietnam and Angkor
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professional photographers Mark Alberhasky and Essdras Suarez these gems of Asia have to offer. In Vietnam, we’ll take a morning
are bound to take your technique to the next level. Your base will be jaunt to the outskirts of Hanoi and visit the remains of the once-grand
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the clear water. We’ll continue on to another of Puerto Rico’s best beacons we’ll journey to villages before proceeding to the Angkor region of
with Los Morillos lighthouse at Cabo Rojo. The structure stands Cambodia. We’ll begin with an elephant ride around the 12th-century
proudly atop jagged, red limestone cliffs. You’ll also capture other natural Bayon Temple and then on to the magnificent Hindu temple Angkor
treasures in the surrounding dry forests, lagoons and mangroves, home to Wat. With bas-reliefs, soaring towers and stone carvings, you won’t
more than 100 species of birds including terns, pelicans and falcons. At want to put your camera down. Later, floating down the Ton Le Sap
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BOTSWANA SANTE FE, NEW MEXICO

March 16– 25, 2011 May 13–15, 2011
The Mentor Series invites you on a photographic journey of a lifetime For stunning vistas and glimpses into a rich cultural past, look no
filled with breathtaking adventure, stunning vistas and diverse farther than Santa Fe, New Mexico. With Nikon professional photographers
wildlife! Join us as we travel to Botswana, one of the jewels in sub- Michael Clark and Dave Black at your side, this desert locale will heat up
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12 tools
that change the rules
Of all the hundreds of cameras, lenses and accessories
released over the past year, these are the ones that
matter most—the true innovations in the field
By Jonathan Barkey | Photographs by Jon Whittle & Michael Kraus
The winners of this year’s Editor’s Choice Awards had to meet the high-
est standard ever: For American Photo’s editorial team to choose them,
they had to qualify as “game-changing”—to have transformed, or have
the potential to transform, the very way photographers work. To be fair
to all the other great photo products that came to market this year, that’s
a tough standard to meet in a field in which progress is largely incremen-
tal. But the rigor we brought to the task challenged our preconceptions
and helped us transcend our usual category-based thinking.
Of our dozen winners, some are obvious breakthroughs, such as Fuji-
Film’s FinePix W3, a point-and-shoot that brings 3-D image creation out
of Hollywood and into the home, or Sony’s Alpha A55, which represents
a new camera genre combining DSLR and EVF traits. Others push the
envelope in an established category, such as Sigma’s 8-16mm zoom, the widest ever for APS-C-
format DSLRs, or Leica’s M9, the world’s first full-frame digital rangefinder, a camera that manages
to merge tradition and high technology.
Many of our winners are exemplars of larger trends in the industry. Sony’s NEX system joins the
burgeoning ILC (Interchangeable-Lens Compact) phenomenon, significantly advancing the con-
vergence of still and video capture. Likewise, we include Nikon’s D7000 DSLR because it features
the first DSLR autofocus system capable of continuous tracking in video capture mode, challenging
ILC dominance in that arena. The application of consumer technologies to high-end products is yet
another common thread, one that makes both the Pentax 645D and Einstein Monolight more capa-
ble and/or affordable than their competitors—and thus deserving of our recognition.
The wow factor influenced us too, with products originating in the space program (GigaPan’s
EPIC Pro) and the computer industry (Apple’s iPad) empowering photographers to create and
communicate in exciting new ways. Yet for winners like the Canon PowerShot S95 and Induro PHQ
Panhead, it was a heightened attention to ergonomic and operational detail that made them com-
pelling choices. After all, photographers practice their craft with both eyes and hands—and the best
photo products recognize that truth.
38 americanphotomag.com | nov/deC 2010

focus phenom
NikoN D7000 Continuous autofocus finally comes to DSLR video, allowing
photographers to shoot moving subjects without the need to follow-focus manually
NikoN started the video-DSLR revolution with its trendsetting 12.3-mega-
pixel D90, but it and all the DSLRs that followed suffer from the same
flaw: their inability to continuously autofocus when you’re shooting video.
This has limited DSLR video shooting to photographers willing to man-
ually adjust focus—particularly difficult with a moving subject and when
the photographer wants to get closer to or farther from a subject.
Now comes the 16.2-megapixel Nikon D7000, which can follow-focus
automatically in its HD video mode—giving photojournalists, sports photogra-
phers and others much more shooting freedom. The new DSLR accomplishes
this feat with full-time contrast-detection autofocus similar to that in ILC cam-
eras. Called AF-F, this Nikon-exclusive system can be used in four live-view/
movie AF modes, and it works best with a fast-aperture ultrasonic AF-S lens.
What’s more, the D7000’s video is Full-HD 1080p at 24fps, in AVCHD
format, with manual audio levels and full exposure control. Other serious
features include 100-percent viewfinder coverage, ISO 25,600 maxi-
mum sensitivity, dual SD/SDHC/SDXC card slots, 6fps capture and a
weather-sealed magnesium-alloy body. About $1,200; nikonusa.com
40 americanphotomag.com | NOV/DEC 2010

coming of age
Leica M9 The digital rangefinder returns to its full-frame roots with a
35mm-sized image sensor optimized for Leica’s extraordinary lenses
HaviNg pioNeered the 35mm still camera nearly a century ago, Leica comes full circle with the first digi-
tal rangefinder to incorporate a 35mm-sized image sensor—a design its engineers had deemed impossible
because of the steep, light-sapping angle at which the outer rays from its short back-focus lenses would
strike the sensor’s surface. But the M9’s 18-megapixel CCD brilliantly proves otherwise with an innovative
light-balancing microlens overlay that works with image processing that automatically adjusts to suit the opti-
cal characteristics of the lens in use. Because there is no anti-aliasing filter in front of the image sensor, the
camera actually equals or betters the resolution of full-frame DSLRs in the 21- to 25-megapixel range.
As you’d expect, the M9’s magnesium and brass body feels both bulletproof and supremely com-
fortable. Shooting with it is direct, instinctive and discreet—manual focus notwithstanding. But it’s still
digital, saving Adobe DNG or JPEG files to an SD card. Above all, the M9 excels at pure image qual-
ity, thanks to Leica’s incomparable M-series optics. About $7,000; en.leica-camera.com
another dimension
FujiFilm FinePix ReAl 3D W3 This amazing, affordable digital stereo camera records both
stills and movies in totally compelling 3-D. And you can watch them without special glasses
In a year that saw the first 3-D Hollywood blockbuster and the mainstreaming of 3-D home entertainment,
it’s fitting that ordinary consumers can now create their own 3-D digital content with this breakthrough sys-
tem from Fujifilm. The FinePix W3, which succeeds the W1 camera originally marketed in Japan, uses twin
10.17-megapixel CCD sensors to capture stereo MPO stills and stereo AVI videos at 720p HD resolution. Offer-
ing entry-level, mostly automated features, the comfortably contoured W3 is slightly wider and thicker than a
conventional point-and-shoot. Sliding open its front cover reveals identical lenses (each with 3X internal, opti-
cal zooming) spaced three inches apart, which creates the parallax disparity needed for stereo imaging.
In back, the W3 features a spectacular 3.5-inch, 1.15-million-dot widescreen LCD with a lenticular-
style overlay that eliminates the need for special glasses to see in 3-D. The image pairs are ghosted at first,
but focusing aligns them for comfortable viewing. We achieved the best results by including both fore-
ground and background elements while keeping our main subject about four to six feet away.
When it works right, the depth effect is almost hallucinatory, and 3-D videos taken with the camera are truly
immersive. That’s especially so on a bigger screen—any HDMI-connected 3-D HDTV (though you’ll need spe-
cial glasses). FinePix W3 shooters can order 3-D prints from SeeHere.com. About $500; fujifilmusa.com

fastest flash
PAul C. BuFF einstein 640 monolight This portable pro
flash unit offers uniquely short bursts and ultrafast recycling, enabling
rapid-fire, action-stopping photography at an unbeatable price
hIgh-output aC-powered strobes, useful for many assign-
ments, are less suited to fast-paced subjects because their flash
duration is too long to consistently freeze motion and their recy-
cle time is often insufficiently fast for rapid-fire frames. In contrast,
the affordable yet sophisticated Einstein 640 Monolight is uniquely
capable of super-short flash durations. It accomplishes this with
special circuits that quench its flash tube very quickly—a technol-
ogy common to hotshoe flashes but not studio strobes. This is
especially valuable when you reduce recycle time by lowering out-
put to keep pace with the framing rate of a high-speed DSLR.
Set to Action mode, the Einstein delivers bursts as short as
1/13,500 second, syncing with a camera shooting up to 10fps. For
portraits and other critical work, you switch to Constant Color mode,
which maintains 5,600 degrees Kelvin (+/- 50 degrees) at all power
levels. Other specs are equally impressive, among them a 250-watt
modeling light with brightness proportional to flash output and a
microSD slot for upgrading firmware. About $500; paulcbuff.com
NOV/DEC 2010 | americanphotomag.com 43

going wider
Sigma 8-16mm f/4.5-5.6 DC HSm This ultrawide zoom delivers
the widest rectilinear coverage available for APS-C-format DSLRs,
not to mention superior optical quality and great handling
Sigma’S current 12-24mm f/4.5-5.6 is the widest non-fisheye you can get
for a full-frame DSLR. The all-new 8-16mm DC is functionally equivalent to it
but designed specifically for APS-C-format cameras—offering the same mind-
blowing maximum angle of view and the surreal, exaggerated perspective that
comes from shooting so close. At 3.0x4.2 inches and 19.6 ounces, it’s slightly
smaller and lighter than Sigma’s full-frame version, and it focuses 1.6 inches
closer, to 9.4 inches. The lens’s Hyper Sonic Motor AF is fast and silent.
The new lens’s exotic design consists of 15 elements in 11 groups, includ-
ing four fluorite-like low-dispersion elements plus one hybrid aspherical and two
molded glass elements. The result is superior sharpness compared with oth-
ers in this class (though no competitor is as wide), with mild chromatic aberration
only at longer zoom settings. We found vignetting moderate except at 8mm with
the lens wide open. Barrel distortion is apparent at the widest setting and pin-
cushion at the longest, but both are correctable in software. Available in Nikon,
Canon, Sony, Sigma and Pentax mounts. About $700; sigmaphoto.com

oPTiCAL eXCHAnge
SONY NEX-5 aND NEX-Vg10 The world’s tiniest
ILC and the first interchangeable-lens consumer
camcorder have a lot in common—including optics
aS tHe WOrLD’S SmaLLeSt, lightest interchangeable-lens com-
pact, Sony’s unorthodox NEX-5 (below) stakes different turf than its
Micro Four Thirds competitors. In essence, it’s a super-stylish point-
and-shoot that takes interchangeable lenses (Sony E-type) rather
than a diminutive DSLR substitute. Yet its 14.2-megapixel image sen-
sor is bigger than the chip in Micro Four Thirds models—the same
APS-C size, in fact, as those in most DSLRs. The NEX-5’s other
assets are estimable, too. They include a rugged magnesium-alloy
body, sensitive 14.2-megapixel APS sensor and 921,000-dot, 3-inch
tilt-screen. It also has super-swift AF and LCD response, 7fps shoot-
ing speed, HDR and Sweep Panorama mode—and Full-HD 60i
AVCHD video, a rarity in this class. It even shoots in RAW format.
Maybe more unusual, though, is the NEX-5’s fraternal twin, a cam-
corder called the NEX-VG10 (right). It incorporates the same sensor,
lens mount and LCD screen as the NEX-5, not to mention most other
features, including still capture. That’s huge news, because it’s the
first of its kind with an APS-C-sized chip and silent-focusing inter-
changeable optics, thereby offering filmlike shallow focus, low-light
prowess and better video handling than any DSLR. And it costs a frac-
tion of any professional equivalent. About $650 (NEX-5, with 16mm
f/2.8); $2,000 (NEX-VG10, with stabilized 18-200mm); sony.com
infinite detail
GiGaPan EPiC Pro This NASA-derived robotic camera mount finally accepts
large DSLRs and lenses, advancing multi-frame gigapixel imaging to a new level
Once Only a fictiOn in the movies, the concept of a digital image
with practically infinite detail has become a reality, courtesy of Giga-
Pan motorized camera mounts. Derived from NASA imaging
technology, these systems precisely automate the pro-
cess of shooting dozens or even hundreds of separate
frames that, when stitched together in software, cre-
ate gigapixel-size (1000-megapixel-plus)
images. The first models supported
only smaller, less advanced cam-
eras, but the new GigaPan
EPIC Pro holds 10 pounds,
enough for full-frame 25-mega-
pixel DSLRs and bigger
lenses, significantly extend-
ing its microcosmic reach.
The battery-powered gim-
baled mount has a simple LCD
menu and four-way motion con-
troller, which you use first to
measure your camera’s vertical
angle of view, then to estab-
lish the top left and bottom right
corners of your planned image.
Press “OK” and the GigaPan goes
to work, tripping the shutter via
electronic cable while reposition-
ing itself for each new frame. The
number of shots depends on the
angle covered, focal length, mem-
ory card size, computer power—and
your patience while GigaPan’s soft-
ware renders these gargantuan files.
About $900; gigapansystems.com

a new breed
Sony SLT aLPha a55 A revolutionary translucent mirror
design finally brings the speed of DSLR autofocus to the small size
and optical advantages of an electronic-viewfinder camera
thOugh it physically resembles other Alpha APS-C-format
DSLRs, the SLT A55 is actually a live-view camera with a large, excep-
tionally clear 1.44-million pixel electronic viewfinder instead of a
conventional pentaprism and focusing screen. The SLT (Single Lens
Translucent) design replaces the DSLR’s instant-return reflex mir-
ror with a fixed semi-silvered mirror, which allows most of the light
from its lens to pass through to its new, high-sensitivity 16.2-mega-
pixel CMOS sensor. The rest is diverted to its 15-point autofocus
module, which uses a DSLR-type phase-shift detection system that’s
superior to the contrast-detection AF in other live-view cameras.
This ingenious system significantly reduces the A55’s size and
weight compared with conventional Alpha models. And with no
interruption in autofocus, it can continuously track moving sub-
jects during exposure. Plus it can shoot at an astounding 10fps—until
now possible only with pricey pro models. The A55 is also the first
Alpha that records video (Full HD). About $750; sony.com
a happy medium
Pentax 645D Designed like a consumer DSLR, the 645D drops
medium-format digital to less than half the price of its competitors—
yet still offers awesome resolution and a huge existing lens selection
Pentax’s first medium-format digital camera is a bombshell,
delivering 40-megapixel image quality for radically less money than
comparable medium-format systems. How does it do this? By bor-
rowing core technologies from the APS-C-format Pentax K-7 DSLR.
In fact, it will seem instantly familiar to any Pentax DSLR owner.
That said, the 645D’s gigantic 44x33-millimeter Kodak CCD boasts
two-thirds more pixels than a full-frame 24-megapixel DSLR and produces
23x30-inch native image size at 240dpi, ideal for big prints. The body itself
offers superb balance and ergonomics, a light but tough magnesium-steel
alloy frame with extensive weather sealing, and automatic sensor-dust
cleaning, a first in a medium-format digital camera. It also features built-in
automatic correction for a given Pentax 645 lens’s optical characteristics.
It shoots in RAW (Pentax PEF or Adobe DNG) or JPEG format and saves
to dual SD cards. Under $10,000 (limited availability); pentax.jp/english

a new direction
InDuro PHQ PanHeaD The world’s first five-way
tripod panhead combines speed, flexibility and precision
with unique features for panoramic and 3-D photography
tHis well-made, cleverly designed product
is the first of its kind to combine the best attributes
of a conventional panhead (precise and repeatable
framing) with those of a ballhead (speed, simplicity
and a wide range of movement). In fact, the “quin-
taxial” Induro PHQ offers precision adjustments
in five separate directions. Its range of move-
ment actually exceeds that of some very expensive
geared heads, but it’s a lot faster to operate.
The PHQ’s two rotating handles control vertical and
horizontal tilt (+90/-15 and +90/-45 degrees), and con-
veniently fold for easier transport. Both its base plate
(attached to the tripod) and its top plate (attached to the
camera) independently rotate 360 degrees. This allows
leveled panning at any tripod angle, eliminating distor-
tion in stitched panoramas. It also means you can level
the head on uneven terrain without endless tripod-leg
adjustment. Finally, the bidirectional Arca-Swiss-
compatible quick release conveniently slides up to
20mm left and right. This is useful for weight balancing
and creating stereo pairs for 3-D photography. The same
ability allows precise alignment of image pairs taken
with a perspective-control lens for stitching purposes.
Available in two versions: PHQ1 (to 25 pounds;
$315) and PHQ3 (35 pounds; $395); indurogear.com
the new view
Apple ipAd This one-of-a-kind touchscreen tablet is the classiest, most intuitive
digital photo album you can get—and it’s ideal for sharing images with a client
Apple’s much-hyped ipAd is the first entry in a transfor- in brushed aluminum and tempered glass. It’s not a full-function
mative new category of personal, Web-enabled multimedia computer, but it does include Wi-Fi and optional 3G, add-on
devices. The sheer size and stunning detail of its 9.7-inch LED- connectors for SD cards and digital cameras, a virtual QWERTY
backlit display practically clinches its appeal for photographers. keypad and touch-enabled software such as Safari, iWork, iBook
It’s also a wonderfully compact tool for offloading, managing, and YouTube. Photos, its elegant viewer and organizer, sorts
viewing and sharing photos on the road (though its internal pictures using Events, Faces and Places metadata and plays
memory is somewhat limited) as well as an elegant way for pro slideshows with music from iTunes.
photographers to bring pictures or videos to a meeting. You can now download more than 400 third-party iPad-com-
With 1024x768 resolution, the iPad’s screen is also great for patible photo apps. These include filters and effects, online
playing HD movies. And its incredibly responsive Multi-Touch photo services, editing tools and Eye-Fi card wireless file trans-
interface lets you show off your images with intuitive finger ges- fer straight from your camera. Available with 16GB, 32GB or
tures. At only a half-inch thick, this Apple is exquisitely crafted, 64GB of flash memory; about $500 to $830; apple.com

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Tamrac’s new Evolution Series backpacks
provide an unprecedented level of versatility.
With their unique harness system, the
Evolution Series backpacks can be carried
three ways while Tamrac’s Triple Access
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gear. In addition to a DSLR with a lens
attached, the Evolution 8 also carries a laptop,
tripod, and other accessories.
For a FREE 80 page Color Catalog, call toll-free 1-800-662-0717

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PHOTO, LUGGAGE & COMPUTER CASES
custom compact
CAnon powerShot S95 The world’s smallest RAW-
and HD-video-capable “professional” compact features a
unique click-stopped lens ring for customizable control
compAct cAmerAs good enough for serious pho-
tography are rare—and this stylish gem is the smallest
and lightest one yet. The sturdy, metal-clad S95 is
just half the size and weight of Canon’s top compact,
the PowerShot G12. Yet it incorporates that mod-
el’s 1/1.7-inch CCD image sensor, which is among
the biggest in its class. Because the S95 only has
to squeeze 10 megapixels of resolution into that
chip, it delivers remarkable quality at higher ISOs,
aided by advanced DIGIC 4 image processing.
What’s more, like the G12, the S95 can shoot in RAW
mode, recording more tonal and color data and permit-
ting much greater control in post-processing. Though
it sheds the G12’s vari-angle LCD, hotshoe and opti-
cal viewfinder, the S95 is actually better in some ways.
It has a bigger screen (a 3-inch, 461,000-dot LCD), a
faster 28-105mm (equivalent) zoom and 24fps, 720p HD
video with stereo sound. But the S95’s unique program-
mable Control Ring is its true innovation. Surrounding
the lens and click-stopped like a traditional aperture
ring, it can be assigned any of nine separate functions,
including ISO, exposure compensation, white balance,
manual focus and aspect ratio. About $400 (with Can-
on’s professional RAW software); usa.canon.com

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BEGINNERS TO PROS, EVERY FACET OF PHOTOGRAPHY

AND DIGITAL IMAGING AT YOUR FINGERTIPS
PRETTY IN THE CITY
The Trees: Japanese flowering
cherries at Newark, NJ’s
Branch Brook Park
The ThreaT: urban develop-
ment and poor maintenance
PhoTograPher: Yong Hee Kim
New York–based Kim has exhibited his
work in galleries from Poland to Seoul,
South Korea, where he was born. He
teaches part-time at the International Cen-
ter of Photography and Baruch College.

truNK
SHow
Why we sent 12 of our favorite
photographers to shoot some of
© YO N G H E E K I M
America’s most significant and

endangered trees By Russell Hart
NOV/DEc 2010 | ameRicanpHotomag.com 55
A
ny student of science will tell you WISE ELDER
The Tree: a historic tulip poplar
that life is untenable without the at washington, DC’s tudor Place
fresh air furnished by leafy trees. Historic House and Garden
The ThreaT: the tree’s age, which
One mature tree is said to dispense makes it more vulnerable to weather
and environmental changes
enough oxygen during its growing PhoTograPher:
season to keep 10 people breath- Amy Bedik • amybedik.com
ing. Even the least scientific human enjoys the more New York–based Bedik has prints
in the collections of London’s Vic-
obvious contributions of trees, from wood to fruit to toria and Albert Museum and the
Bibliothèque nationale de France.
shade from the sun. And while there may be few liv-
ing entities as ecologically important, photographers Nestled in a five-and-a-half-acre sanc-
tuary in washington, DC’s Georgetown
clearly believe that there are also few as magnificent. neighborhood is a tree that has wit-
That belief is expressed not just in the innumerable images of trees photographers nessed much of America’s history. the
have created, but also in the fact that a tree’s scale and visual complexity—along tulip poplar, which stands over 100
with human intrusions into its space—make it a challenging subject. It com- feet, has seen the burning of the capi-
pelled 19th-century photographer Carleton Watkins to set up his mammoth-plate tal by the British in 1814, the turmoil of
camera whenever he saw a noble specimen, and more recently led National Geo- the Civil war—all from its peaceful set-
graphic photographer Jim Balog to hoist himself up giant redwoods in order ting on the grounds of what is now the
to shoot them digitally section by section for stitched vertical panoramas. tudor Place Historic House and Garden.
Still, the magnificence of trees hasn’t deterred us from cutting down roughly 12 bil- Amy Bedik has photographed for-
lion of them each year for fuel, farming, building materials and other less necessary mal gardens for many years with a Diana
purposes. Even trees we take for granted in our own communities are endangered plastic camera, which contributes a pic-
by development, disease, climate change and other threats. To focus our collec- torial quality that softens the manicured
B E LO W : © A M Y B E D I K ( 3 ) ; O P P O S I T E : © J AY D I c K M A N ( 2 )
tive attention on great trees in our own midst that may need protecting, American nature of her subjects. rather than shoot
Photo and The Cultural Landscape Foundation (TCLF) have partnered to create a the tudor Place tulip poplar in its entirety,
traveling exhibition featuring photographs of such specimens. As part of its annual Bedik isolated representative details—
“Landslide” initiative, the foundation chose 12 trees from more than 100 nomi- leaves, limbs and massive trunk. “Its
nees that were solicited from landscape architects, horticulturists and the readers breadth formed a shelter from the hot
of Bonnier’s Garden Design magazine, one of the project’s sponsors along with AP sun that day,” she says. “So I explored the
and TCLF. The exhibition, which will be supplemented with TCLF’s educational idea of shelter through the photographs.”
signboards for a special opening next spring, is called Every Tree Tells a Story. the tree’s garden confines would
We chose the photographers not just for their geographic connections but also seem, in turn, to shelter it from the rav-
for the sympathy toward the natural world displayed in their work. Just as impor- ages of urban development. Yet its
tant, though, was the work’s aesthetic excellence, because we wanted these advanced age puts it at greater risk
artists to interpret the trees rather than simply record them. View a more com- from environmental contagions and the
plete portfolio at AmericanPhotoMag.com, where you’ll also find a touring changing, destructive weather patterns
schedule for the exhibition. And visit the site of The Cultural Landscape Foun- of the past few years. one big storm
dation, tclf.org/landslide, to learn more about this remarkable project. could fell it, silencing its many stories.
56 ameRicanpHotomag.com | NOV/DEc 2010

FOREST CATHEDRAL
The Trees: the old-growth forest of the aban-
doned Arborland tree Farm, Milliken, Co
The ThreaT: urban development, habitat destruction
PhoTograPher: Jay Dickman • jaydickman.net
A Pulitzer Prize winner, Dickman has shot many stories for National
Geographic; his work also has appeared in Time, Life and Sports Illus-
trated. He now runs the successful FirstLight workshop series.
Photojournalist Jay Dickman is inordinately skilled at bringing visual

order to chaotic subject matter. the proof of that talent has ranged from
his photographs of the civil war in El Salvador to coverage of national polit-
ical conventions—the former winning him 1983’s Pulitzer Prize for Feature
Photography. Yet when Dickman arrived at the abandoned Arborland tree
farm in Milliken, Colorado, he found hundreds of old-growth trees stand-
ing row upon row, as if they were expecting him. the photographer knew
that light was the key to capturing what he calls the “cathedral effect” of
this unlikely forest, so he shot at dusk and early in the morning, when sun-
light could stream down the grand corridors formed by the trees.
Situated in grasslands near the rockies, the grove in its maturity has greatly
benefited local wildlife, offering refuge to birds, deer and wild turkey. But it
stands in the way of urban development north of metro Denver, where Dickman
himself lives. the grove’s owner has sought a buyer who will develop the site
without harming the forest. that’s a tough sell, of course. So the fate of Arbor-
land remains uncertain—unless a tree-loving benefactor comes to its rescue.

CITY OF TREES
The Trees: Louisville, KY’s
olmsted-designed parks and parkways
The ThreaT: highway build-
ing and severe weather
The PhoTograPher:
Bob Hower • qphoto.com
recipient of an NEA fellowship,

Hower has prints in the Museum
of Modern Art and the Museum of
Fine Arts, Boston, among others.
Bob hower’s favorite subject is the

industrial landscape of the so-called
rust Belt, which makes him seem an
unlikely choice to photograph trees.
then, several years ago, he was commis-
sioned to do photography for Louisville’s
City of Parks initiative, a plan to set aside
thousands of acres of land around a
nearby watershed. So Hower’s strat-
egy was pure photography: “Nothing
to do but go walk in the woods and
keep your eyes open,” as he puts it.
Hower did just that when we asked him
to document Louisville’s first park system.
A network of three large parks connected
by six parkways, it was designed at the
end of the 19th century by the great Fred-
erick Law olmsted Sr. then came the
expansion of the interstate highway sys-
© Q U A D R A N T/ B O B H O W E R ( 2 )
tem and a series of severe storms, forces

that toppled many of the mature hard-
woods that provide the shady canopy that
is the parks’ hallmark. Hower’s images
capture that ongoing double threat, but
they also conjure the dazzling things that
big trees do to light—which is, after all,
the favorite substance of photographers.
ANCIENT MARKS
The Trees: the
boxed pines of wey-
mouth Heights, in NC
The ThreaT: develop-
ment, fire suppression
PhoTograPher:
Frank Hunter •
thomasdeans.com
A professor at the Center

for Documentary Stud-
ies at Duke university,
Hunter is recognized as a
master of platinum/palla-
dium printing. His work is
in the collection of Atlan-
ta’s High Museum of Art.
If they look closely, visi-

tors to weymouth Heights,
a subdivision in the North
Carolina town of South-
ern Pines, will find strange
carvings on many of the
long-leaf pines that popu-
late the area. the V-shaped
gashes and hollow cham-
bers date to the second
half of the 19th century,
when former slaves made
them to drain the trees
of their viscous sap. the
sap would accumulate in
a “box” cut into the tree
and then be used to make
turpentine and pitch.
these age-old marks
transcend their utilitarian
origins, according to Frank
Hunter. “one that I photo-
graphed reminded me of
a human torso,” he recalls.
“others were reminiscent of
African masks, mummies or
faces.” In fact, the remaining
stumps and shafts of boxed
pines are known as totems.
Like the intact boxed pines,
they are not protected by
any local ordinances.
Hunter challenged him-
self to shoot in color rather
than his usual black and
white. And though he
brought a view camera on
his trip south, he ended up
thoroughly exploring the
trees with a digital SLr. “I
often return to a subject
when the light is better,”
says Hunter. “using the
DSLr meant I didn’t have
to haul my view camera
back in 100-degree heat!”

AMAZING GRACE garie Waltzer describes her has killed millions of American elms. In
The Trees: the American black-and-white photographs of civic East Hampton, though, the remaining elms
elms of East Hampton, NY spaces—parks, pools, city streets—as are considered so important to the town’s
The ThreaT: Dutch elm disease “Baroque.” She means they are packed identity that they are regularly inoculated
OPPOSITE: © FRANK HUNTER;
PhoTograPher: Garie with active detail, both human and natural. to prolong their lives. In other places, lack
A B O V E : © G A R I E WA LT Z E R
Waltzer • gariewaltzer.com So when waltzer arrived in East Hamp- of funding for such programs means that
ton, New York, to photograph the arching diseased trees are simply cut down.
Formerly the chair of the photography elm trees that line the streets of east- “I wanted to highlight the trees’ heroic
department at Cuyahoga Community ern Long Island’s famous summer resort qualities,” says waltzer, who carried a
College, Cleveland-based waltzer has destination, she was faced with a “decid- ladder around town in order to get more
earned grants from the ohio Arts Coun- edly quieter” kind of subject matter. elevated views of its sidewalks. “It was
cil and National Endowment for the Arts. You may know that Dutch elm disease important to tell their stories.”
ROAD WARRIORS Late in world war II, the united States undertook a national road-building proj-
The Trees: three massive bark- ect to allow faster transport of military personnel. one such road cut through the
cloth ficuses in San Juan, P.r. erstwhile Puerto rican town of rio Piedras—skirting a handsome stand of mature
The ThreaT: a major highway pass- ficus trees. the canopy formed by three of the remaining trees now arches over
ing directly under the trees’ canopy several lanes of what has become one of Puerto rico’s busiest highways.
PhoTograPher: “I was so taken aback by the sheer size of the canopy that I thought I might have
Juan A. Pons • juanpons.org to use large banks of lights to selectively illuminate the trees,” says Juan Pons, a
respected nature photographer who hails from San Juan, which now incorporates rio
Based in North Carolina, Pons is Piedras. Instead, Pons shot the trees at dusk with long exposures that both turned
cofounder of the Digital Photog- speeding cars’ taillights into streaks and allowed him to paint the foliage with light.
raphy Experience, an online digital Pons’s experience with these vulnerable trees, the bark of which is harmlessly
learning center, and leads workshops stripped and beaten into cloth in their native Africa, went beyond solving photo-
through his own wild Nature tours. graphic problems. “Just about everyone walking by asked me what I was doing
His work has been published in and proceeded to tell me some personal story about the trees,” Pons recalls.
Sierra and Audubon magazines. “I realized that these trees were a cherished part of the community.”

FOR THE AGES Barbara Bosworth grew up in Novelty, ohio, east of Cleve-
O P P O S I T E : © J U A N A . P O N S / W I L D N AT U R E P H OTO . c O M ;
The Tree: a massive black oak at the land and south of the famous Holden Arboretum. “we would
Katewood estate, Bratenahl, oH go for walks there as a family when I was young,” says the pho-
The ThreaT: age and weather tographer. the tree we asked Bosworth to shoot forms a neat
PhoTograPher: Barbara Bosworth triangle with her hometown and the site of those walks. the
massive black oak at Katewood, as the property is known, over-
R I G H T: © B A R B A R A B O S W O R T H ( 2 )
A recipient of the coveted Guggenheim looked Lake Erie a lifetime before the adjacent house was built.
fellowship, Bosworth teaches at the Mas- the tree’s horizontal spread was a perfect fit for the panora-
sachusetts College of Art and Design mas Bosworth usually shoots. rather than use a panoramic
in Boston. Her prints have been shown camera, she shoots with an 8x10 view camera, carefully rotat-
at the Princeton university Art Museum, ing it to construct the image section by section. the result
the Addison Gallery of American Art and of this technique isn’t seamless, and that’s the way she
the Smithsonian American Art Museum. wants it. thin black lines divide the frames, and in her Kate-
She is the author of the 2005 monograph wood image, branches don’t always align perfectly—as if to
Trees: National Champions (MIt Press). echo the way time and the elements have battered the tree.

MALL WALKING The tree-lined avenue is an urban arche-
The Trees: Commonwealth Avenue Mall, Boston, MA type, and perhaps no city street in America hews
The ThreaT: heavy use and Dutch elm disease to it like Boston’s Commonwealth Avenue Mall.
PhoTograPher: James Sheldon For nine blocks running from the famous Bos-
ton Public Garden to the Fens (part of the city’s
Sheldon is an associate professor of visual and media arts at Boston’s Emerson Olmsted-designed “Emerald Necklace” of parks)
College. His work is currently on display at the Tate Modern museum in London. elegant brownstones wall the streets and a wide,

grassy median separates inbound and out- The mall is heavily trafficked by pedestri- 24 separate, overlapped frames—12 across
bound lanes. Mature trees in the middle and ans and cars alike, and that wear requires by two high—created by careful rotation of his
on either side meet to form a canopy through constant maintenance. Jim Sheldon has trav- DSLR on a tripod. Stitched together in the
which bits of iconic Boston buildings peek, eled it for decades, but he had never stopped computer in a process that can take Shel-
while the blocks are anchored by statues of to photograph it in its full expanse until we don as long as two days, the results ably
notables ranging from Federalist Alexander asked. For that task he turned to an elaborate capture the immersive experience of walk-
Hamilton to abolitionist William Lloyd Garrison. 360-degree panoramic technique involving ing down the Commonwealth Avenue Mall.
© JAMES SHELDON (2)

Time warp
PerhaPs the first thing about
these images that grabs you is the blaz-
ing streaks of color that create the
background landscape, like a rainbow
on steroids. Or maybe it’s the strangely
warped or disembodied forms, as if you’re
looking in a funhouse mirror. In both
© J AY M A R K J O H N S O N
cases, the mind wants to see the scenes as

three-dimensional space instead of the
Photographers adopt the slit-scan technique as a creative timelines that they actually are. These
tool, shape-shifting subjects into dramatic distortions “spacetime” images, as artist Jay Mark
Johnson calls them, come from using
By Laurence Chen an old photographic idea in new ways.
66 ameriCanphotomag.Com | NOv/dec 2010

“Priscilla Malibu Sunset #7-3,” Malibu, 2007.

Working with dancer Priscilla Jung Park, art-
ist Jay Mark Johnson used what he learned
from capturing landscapes to expand what
he calls “spacetime” choreography explora-
tions with his slit-scan camera technique.
Slit-scan photography has been applied seismograph of whatever moves past the tal plane not as a timeline but as a shape
to science and engineering work for more camera during an interval of time. Most that sometimes clarifies, sometimes
than 100 years. Employing a fairly narrow photographs capture a brief sliver of time confuses and often intrigues by jolt-
slit to record changes in the field of view and depict a scene’s height and width, ing our normal sense of proportion or
over a period of time, slit-scan images and sometimes its depth. The slit-scan motion. In addition, only movement is
infrequently find their way into art and technique retains the height dimen- recorded; stationary objects are typi-
commerce. When they do, the images are sion but substitutes time for width; the cally abstracted into a series of hues
typically used for special effects, such as horizontal dimension is an accumu- that form a visual element unto itself.
Douglas Trumbull’s famed use in 2001: lation of vertical slices captured over In the right hands, such techniques
A Space Odyssey’s Star Gate series. What time and plotted from left to right, or can yield surprisingly expressive results.
has long been underappreciated, however, right to left, like a data chart. The result- Here are three photographers who are
is the technique’s aesthetic potential. ing image may yield unexpected visual exploring slit-scan’s potential as an artis-
A slit-scan image is like a photographic distortions. We perceive the horizon- tic rendering of movement over time.
NOv/dec 2010 | ameriCanphotomag.Com 67

Motion and eMotion One slit-scan attribute that Johnson Johnson brings a cinematic quality of
Jay Mark Johnson has exploited is the crisscrossing of shad-
ows produced by the same moving subject
light to his work. He selects the vertical
plane that will be his background based on
Discovering and defining new directions at different positions. This apparent visual how the hues and tones will complement
in “spacetime” imagery is the specialty contradiction occurs because the direc- his subjects’ motion to render a paint-
of Los Angeles–based visual artist tion of a subject’s travel in front of the erly sense of depth. The prismatic streaks
Jay Mark Johnson. Using a custom- camera determines whether the subject add to the atmosphere of the scene.
© J AY M A R K J O H N S O N ( 2 )
modified digital panorama camera, itself or the subject’s shadow is recorded
Johnson has traveled all over the world first. Yet in the captured image, all sub- Above: “Storm at Sea #2,” Los Angeles, 2010.
to slit-scan subjects from tai chi prac- jects appear to be moving in the same Ocean waves appear as seismic waves in
Johnson’s surreal slit-scan panoramic rendering
titioners to storm-tossed waves to direction, because the front of an object
of stormy Pacific breakers.
amusement park rides. His technique is always recorded first, no matter what Right: “Pacific coast Highway #1,” Los Angeles,
translates the motion of these sub- direction of travel, while the image cap- 2006. Traffic along the shore traverses a pris-
jects into compelling visual timelines. ture builds from left to right or vice versa. matic landscape of separated hues and tones.

[5x]
YOU BEGIN TO APPRECIATE
NATURE FROM A SAFE DISTANCE.
Simulated representation of zoom capability. Equivalent to 120mm

Although Johnson originally pur- until I get something that’s exciting.” illuMinating the Way
chased his camera (from Spheron-VR Johnson says he intends for his space-
AG, in Germany) for its intended use—in time imagery to “challenge our normal Andrew Davidhazy
motion-picture visual effects—he recog- perceptions, thereby helping us under- “We are used to perceiving images as
nized that its design offered tremendous stand what normal perception is.” By instantaneous—one click,” says Andrew
potential for artistic expression. “This blending the familiar with the unusual, Davidhazy, describing the disconnect
particular technology is so versatile,” the images force the viewer to grapple between how a slit-scan image is made
he says. “I watch [the image] as it hap- with the meaning of the transforma- and how it’s viewed. “In this case, how-
pens, and I’m fine-tuning it until I get the tions. “I look at timeline photography ever, there are a gazillion clicks. Every
right emotion and effect that best repre- as a cognitive and cultural phenom- vertical line is a click. We’re look-
sents what I’m looking at. Either I get it enon, not as a technology,” he says. ing at a time-based image, but we’re
right away, or I might do several iterations Old ways seen anew, indeed. looking at it instantaneously. That’s
Above: davidhazy’s “rollout” portrait for his MFA thesis in 1968. His subject, Bruce Porter, stood on a what causes the brain to get taxed.”
rotating turntable in front of a slit camera, changing expressions with each revolution. Below: An exer- A professor at the School of Photo-
cise in davidhazy’s special-effects class involves a slit-scan camera with people walking in front of it. graphic Arts and Sciences at Rochester

This page:
davidhazy’s
circular panoramic
slit-scans.
© A N d R e W d Av I d H A Z Y ( 5 )
[15x]
YOU START TO QUESTION YOUR
PLACE IN THE FOOD CHAIN.

Institute of Technology (RIT), David- do-it-yourself slit-scan camera builders Davidhazy notes that use of the slit-
hazy has been studying and promoting (see page 74). Technically speaking, there scan technique has evolved since he
slit-scan techniques for more than 40 are variations of the method that produce first championed it in its film incarna-
years. He became interested in the tech- slightly different results. Most of David- tion. “People using it now [digitally]
nology in 1965, after seeing the slit-scan hazy’s slit-scan work uses a stationary slit are much more interested in the art
sports images of Life magazine photog- with moving film or a slit with a linear- part of it, and they have made the con-
rapher George Silk, and he adopted the array digital sensor sampling over time. nection between time and the image
technique for his own sports-photo proj- Above: At the 2005 Long Beach Marathon, Graves shot elite runners sprinting toward the finish. The
ect to earn his bachelor of fine arts degree. elongated feet represent runners who stepped on the slit camera’s vertical plane of view. Middle: Dancers
Davidhazy’s online articles dem- at the Ballet Conservatory in Aliso Viejo, California, perform a grand jeté circuit in front of Graves’s
onstrate the basic principles for DistaCam. Bottom: Las Vegas Boulevard, 2008, captured with the DistaCam mounted in Graves’s car.

at a very high intellectual level.” Stretching the Form a method he had used in the ’70s, with
But, he adds, there’s a rub: To push the
envelope, a robust camera with no shut- Rick Graves a Cokin linear filter and a manual cam-
era (he had learned about the process
ter is desirable. Such cameras—with the Former automotive photographer Rick from the slit-scan sports photography
capacity to precisely record extended Graves now specializes in slit-scan pho- of another Life veteran, Neil Leifer), and
periods of time—are not that hard to tography for commercial and fine-art decided to try the method again. The cli-
© R I C K G R AV E S ( 3 )
build or operate (if you follow precise purposes using a self-modified Has- ent was impressed and approved the
instructions), but they are expensive to selblad film camera. In 1999, a creative job, but Graves recalls that he himself
buy. With some innovation, this method director challenged him to come up with “walked out scared to death” because
can be mastered, as a Davidhazy dis- some new and different imagery for a he had no idea how to deliver profes-
ciple named Rick Graves discovered. Mazda auto promotion. Graves recalled sional results with the technique.
[30x]
YOU TAKE THE SHOT
AND RUN FOR YOUR LIFE.

So Graves, the son of an engineer, ized that industry trends made slit-scan breaking sixth Tour de France win. The
spent a month building not one but two photography a viable commercial niche. resulting image inspired him to start a
35mm slit-scan film cameras. His source Digital technology was overcoming the company, DistaVision (distavision.com),
of information was none other than limitations of optical enlarging, and ink- specializing in the technique. His largest
Professor Andrew Davidhazy. Graves jet printing on roll media was just coming installation to date: a 7x300-foot build-
managed to finish and test his cam- into its own. It was a natural fit for dis- ing wrap in Bakersfield, California.
era on the day before the shoot, and playing the extreme horizontal images “I firmly believe there are commercial
the images turned out “sensational.” Graves produced, so he set out to build the applications for this work that have yet
Graves, who’s based in Santa Ana, Cali- ultimate slit-scan film camera, based on to be discovered,” Graves says. “Because
fornia, considers himself lucky. “I did it the Hasselblad 500 C/M camera system. of [new technology in] printing, now it
on a lark, sold the client on it, and then I In 2004 he put his latest camera incar- can be utilized, and now people can put
had to make it a repeatable, professional nation, dubbed the DistaCam, to the test, these pictures on their walls and actu-
technique,” he says. In doing so, he real- capturing Lance Armstrong’s record- ally enjoy them in their daily lives.” AP
The SliT-ScAn SeTuP

What you need to know to turn your SLR into a slit-scan camera By Laurence Chen
To turn your existing camera into a slit-scan camera, you’ll ting or with a cable release. Start the exposure with the slit
need to buy or build an attachment known as a matte box. For at one end of the matte box, in a position that won’t admit
slit-scan purposes, this is simply a lens-mounted, light-tight any light until you start moving it. You can control expo-
box that supports a coiled strip of opaque, flexible material sure both with f-stop and the speed of the slit’s movement,
drawn taut across its front opening, covering the opening’s though the former won’t have a great effect on depth of field
full height and width. Cut a narrow vertical slit (about two mil- given the slit’s narrow effective aperture. In any case, expo-
limeters wide) in the middle of the material. The interior of sure will be largely a matter of trial and error, and of course will
the box should be painted matte black to reduce film-fogging also depend on the sensitivity of your film or image sensor.
reflections, and its inside dimensions must be big enough to Once the slit has completed its transit across the lens front
prevent vignetting when used with shorter focal lengths. and is in a position on the other side that blocks any further light
The opaque strip must be attached and held in place in from entering, release the shutter. (Don’t worry about jiggling
such a way that the slit can be pulled across the front of the the camera—since you’re only capturing a narrow slice of the
lens for the exposure. Though RIT’s Andrew Davidhazy and subject in any given instant, it will have little effect on the sharp-
other slit-scan artists recommend using motorized systems, a ness of the image!) Then check your DSLR’s LCD screen to
pair of hand-cranked rollers on either side of the matte box’s see if you’ve achieved the effect you wanted; if not, try again.
front opening can work, provided no light leaks around the If you’re shooting film you’ll have to process it to see the
edges of the coiled strip when it’s being moved. (You’ll prob- results, in which case you should bracket your exposures by
ably need to use a tripod so your hands will be free.) adjusting the lens aperture, varying the speed of the slit’s
You may be able to improvise a more primi- movement, or both. In the wacky world of slit-
tive system in which you actually pull on scan photography, of course, such adjustments
the strip of material to move the slit—just will also affect how the subject is rendered.
make sure there’s enough extra mate- If you opt not to build your own matte box,
rial to allow the slit to travel from commercial versions can be had; most are
one side of the box to the other, from makers of film and video gear such as Arri
(far left). Even with a commercial unit, you’ll
across the full front rim of the lens.
have to ensure that it mounts securely and is
Once everything is in place, light-tight, and devise a way to advance the
pre-focus your camera and lock slit across its outer frame. (Go to arri.com.)
its shutter open on the “bulb” set- If you’re willing to shoot 35mm film in
panoramic format, the new Lomography
Spinner 360° (left) is a slit camera that oper-
ates on a different premise: It actually winds
the film past the back of the lens and slit as it
rotates on its handle. You just pull its ringed
cord to power up its rubber-band drive—we
kid you not. (Visit usa.shop.lomography.com.)
Online ResOuRces
For more information about matte boxes
and slit-scan techniques, check out
Andrew Davidhazy’s articles online:
• people.rit.edu/andpph/text-
digital-strip-camera.html
• people.rit.edu/andpph/text-strip-basics.html
• people.rit.edu/andpph/text-slit-scan.html
• people.rit.edu/andpph/text-streak-strip
scanning-imaging-overview.html
74 americanphotomag.com | noV/dEc 2010

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FUJIFILM, FINEPIX, and EVERYPICTUREMATTERS.COM are trademarks of FUJIFILM Corporation and its affiliates. © 2010 FUJIFILM North America Corporation and its affiliates. All rights reserved.
Right: A donkey tied to a tree braces itself
against a sandstorm blowing into Gaga refugee
camp in eastern Chad. Above, from left: Bales
of straw used to repair roofs in the Goz Amer
camp; a sheikha, or female community leader,
at the Oure Cassoni camp; a Darfurian man at
the Am Nabak camp; a student reading a book
in his family’s compound in the Iridimi camp;
two men playing soccer at the Djabal camp; a
medical center behind a stand of trees at the
Goz Amer camp; a sheikh, or leader, of the
Messeriya Jebel community at the Mile camp;
a woman and her baby looking away from
an oncoming sandstorm in the Gaga camp.
76 americanphotomag.com | NOv/DeC 2010

advocacy
in africa
Chris Farber’s work is designed to illuminate
the experience and perspectives of Sudan’s
genocide refugees. He works for an NGO.
Is this journalism, PR, or something
else entirely? By aimee Baldridge
© C H R I S FA R B E R ( 9 )
‘‘I tell our children that when we were
in Sudan, we were in our homeland,”
says a woman speaking directly into
photo documentary projects that most
newspapers and magazines can no longer
assign. The shift has led many photogra-
the camera’s lens. She is sitting in a refugee phers—both veteran photojournalists and
camp in eastern Chad; photographer Chris younger pros who are developing their skills
Farber and video editor Justin Madden in the new environment—away from get-
are viewing the footage in a postproduc- ting the story for an editor who’s sworn to
tion studio in Brooklyn. And no setting uphold the journalistic principle of objec-
could be more appropriate, because pro- tivity and down the path of telling the
viding a window into her experience to story for an organization with a specific,
people a world apart is exactly the purpose and in this case humanitarian, agenda.
of the presentation Farber and Madden How is our connection to the lives of peo-
are finishing up. Titled Darfurian Voices, ple we’ll never meet forged by the images
it’s part of a body of work that Farber cre- and multimedia projects these photogra-
ated during four months of photographing phers create? Farber’s work with Darfur
and conducting video interviews in all 12 refugees, and with the organization that’s
of the Chadian camps that have become dedicated to amplifying their voice, offers a
temporary homes to an estimated quar- glimpse at an answer.
ter million refugees of the seven-year-old
crisis in the Darfur region of Sudan. Homeless and Voiceless
Perched on an office chair in Madden’s In 2003, when a rebel uprising in Darfur
studio, Farber cuts a genteelly athletic fig- challenged the authority of the Suda-
ure. A former college swimmer who can nese government, the regime of President
not infrequently be found squeezing in Omar Hassan al-Bashir responded with
an 8 a.m. match on one of New York City’s a wave of attacks on the region’s civil-
public tennis courts, he’s a thirtyish man ian population. The violence escalated
with dark, wavy hair and the casually styl- into what both the International Crimi-
ish sartorial taste of someone who has nal Court and the Bush administration
spent most of his adult life as a city dweller. deemed a genocide against several ethnic
Thick-rimmed black glasses and a touch of groups. More than seven years later, the
gray at the temples give him a mix of ner- conflict remains unresolved, and refugees
diness and gravitas; it’s an impression he who fled the violence languish in camps
reinforces when discussing the often run by international aid organizations.
complicated issues surrounding his work. In 2007, a group of Yale University law
Farber has devoted a good deal of students launched a campaign called 24
thought to both the subjects of his images Hours for Darfur to focus public attention
and his role in relation to them; they’re top- on the crisis, soliciting video clips address-
ics he can talk about energetically and at ing the conflict from contributors around
length, filling the occasional pause with an the world. They edited the clips and showed
endearingly open smile. He’s just the sort of them at a rally where they were screened on
photographer you could imagine packing a JumboTron outside of the United Nations
a set of scuffed-up Pelican cases and head- headquarters in New York City. Gaining
ing out into rough terrain to charm his way momentum, the campaign kept the name
into the good graces of the locals and tackle and grew into the nonprofit group it is today,
complex subjects. But if your reverie culmi- an NGO specializing in research and advo-
nates in a photo essay in Time or National cacy. The group’s Darfurian Voices project
Geographic, that’s where your fantasy and is intended to communicate the opinions of
Farber’s reality part ways. He didn’t travel to those most directly affected by the conflict. results is being presented to policymak-
Chad at the behest of a news outlet or a mag- As the group’s managing director, Jonathan ers around the world and made available
azine. Like many Western photographers Loeb, explains, “The purpose of the proj- to the public online at darfurianvoices.org;
practicing their craft in the developing ect is to document and broadcast the views it will be distributed to the refugees them-
world these days, Farber was working for a held by Darfurian refugees living in Chad on selves in a version translated into Arabic.
nongovernmental organization, an NGO. issues of peace, justice and reconciliation.” In addition, the Darfurian Voices video
While the media industry has been con- The organization turned to academics has been distributed online and on DVD.
tracting, the NGO sector has grown into a to design a survey of about 2,200 refu-
$1.1 trillion industry; if it were a country, gees, and it hired Chris Farber to create Developing a Career
it would now constitute one of the larg- the video and photographic documenta- For Farber, working in Africa was, in a
est economies in the world. From large tion to accompany the survey’s results. sense, a return to roots. It was while shoot-
organizations such as Doctors Without “People can read our report and then ing and editing photographs of a semester
Borders to smaller ones like 24 Hours for watch people talking about these same in Kenya as a McGill anthropology stu-
© C H R I S FA R B e R
Darfur, the group that commissioned Far- issues,” Loeb says. “It adds a more per- dent that he first realized he wanted to be a
ber’s Darfurian Voices work, NGOs have sonal aspect and gives people a better photographer. After graduating and spend-
become an increasing source of support sense of being able to visualize the refugee ing a year teaching English and shooting
and exposure for the kinds of extended camps.” The group’s report of the survey on spec for publications in Beijing, Farber
78 americanphotomag.com | NOv/DeC 2010

A man takes a break from tending a vegetable

garden to drink water from a gourd in the Goz
Amer camp, the only refugee camp where
Farber saw enough fertile land to plant and
grow food. Farber hopes to convey what
Darfurian life was like before the refugees
fled to the desert. “They were farmers before
they got removed from Darfur,” he says.
came to the U.S. and learned the ropes of York City, where he expanded his reper- there and back, and I just got on a plane.”
professional photography while working toire by exploring different genres, both The leap of faith paid off when he not only
with Philadelphia area portraitist Bill Cra- as a shooter and as an assistant to photog- completed a project for the UNHCR but also
mer. As an assistant and then a shooter for raphers working at the highest levels of found work with other NGOs in the area.
Cramer’s studio, he absorbed the technical documentary, fashion and editorial image But this isn’t simply a romantic story of
and business aspects of photography. Cra- making. He also got in touch with friends fate rewarding zeal with success. Farber’s
mer also introduced him to pros working in from his student days who had gone on efforts succeeded because his contacts in
other photographic veins, and the result- to work in international development in the world of international development
ing income gave him the freedom to take Africa. When one of them suggested he had helped him gain an understanding
time off for personal projects. Those experi- travel to Juba, in southern Sudan, to work of how NGOs function in the developing
ences led him to a realization that changed on a media project that the O ce of the world. “You need to speak the language of
the course of his life. “The epiphany I had,” United Nations High Commissioner for international development to work with
he recalls, “was that the photographer I Refugees (UNHCR) had expressed tenta- these organizations in these places,” he
wanted to be was not the photographer I tive interest in supporting, Farber seized says. After deciding to go to Sudan to pur-
had learned to be or was. I had a lot more to the opportunity: “I sold my car, I sublet my sue work on the UNHCR project, Farber
learn, a lot more to practice.” apartment, bought a ton of new equipment put his knowledge of NGOs into play. “I
His epiphany spurred a move to New and Pelican cases to make sure my gear got e-mailed every other organization doing
NOv/DeC 2010 | americanphotomag.com 79

work in Juba,” he says, “and basically said, eras down and have some fun and make Photographer for Hire
‘I’m coming to do this project for UNHCR, those connections and get in and become Photographers working with NGOs need to
and if I can help you with your media, let part of the community,” he says. This isn’t have a strong understanding of their sub-
me know.’” He notes that an element of just social advice: Being part of the group jects, their audience and the ways in which
rivalry for attention between organizations can bring photographers access to NGO the organization is trying to connect the
can work to the advantage of photogra- resources such as local transportation and two. “If you don’t understand the bigger pic-
phers trying to nail down a project: “They contacts, as well as opportunities to tag ture of it,” Farber says, “I think you don’t do
can be very competitive for funding, and along when NGO staff members respond to enough service to these organizations as cli-
when they hear that one is going to do a unfolding events. And being clued in on the ents.” He stresses the importance of being
media campaign, a lot of times they think, internal politics of the NGO sector doesn’t knowledgeable about the political, social
‘Well, we’d better do one, too.’” hurt, either. Farber recounts an early mis- and economic factors in play, especially
Becoming part of the development com- step when he arrived to meet the local staff when working with multimedia. “When
munity on the ground was also vital to of the International Organization for Migra- you move from photography into multi-
Farber’s success in working with NGOs— tion in Juba wearing a UNHCR hat: “It was media,” he says, “you have to be a reporter,
especially when traveling to areas where like showing up to introduce yourself to the to be an interviewer. You have to be ready
small staffs had been living and working Mets wearing a Yankees hat,” he says. “They to not just ask people why they’re sad. You
together over long periods and formed a just took one look at me and they didn’t have to understand what the relevance of
tight-knit group. You have to “put the cam- want anything to do with me.” the issue is, not just the suffering. In a par-
Kids play with kites they’ve made from plastic

bags in the Goz Amer camp. The children were
babies and toddlers when they left Darfur;
some were born here. Their community has
spent seven years in the limbo of refugee sta-
tus. “It’s a major issue to have an entire gener-
ation growing up in these camps,” says Farber.
80 americanphotomag.com | nov/Dec 2010

ticular issue, do we understand what the

real complexities are? I think that’s why a
lot of multimedia photojournalism now all
seems sort of similar. It’s compassionate,
it’s heartfelt—and it’s not that informed.”
Farber used the month he had in the cap-
ital of Chad before the project to hang out
with leaders in the Darfurian diaspora and
just listen to them talk over the situation. “It
was like living inside of a reference manual,
living inside of a textbook,” he says.
Jonathan Loeb explains how crucial this
Chris farber’s paCking list

kind of preparation was from the perspec-
tive of the NGO. “We needed someone who
had a really great eye for the photography
and also had a great eye for the filming,” he
For trips to East and Central Africa, Farber packs his equipment into
says, “but we were also looking for someone
above and beyond that traditional role, who hard-sided Pelican 1510, 1610 and 1200 cases, then uses them to
create a makeshift workstation in the field (above, right).
Bags: Lowepro CompuTrekker Plus AW; Crumpler 6 Million Dollar Home; The North
Face duffel bag; Lowepro S&F Light Belt and add-ons; two Domke pouches. And, says
Farber, “Ziploc bags are super important to separate everything and keep dust off of things.”
sLRs: two Canon EOS 5D bodies; Canon EF 28mm f/1.8 USM, EF 50mm f/1.4 USM,
EF 16-35mm f/2.8L II USM, EF 24-70mm f/2.8L USM lenses; 85mm UV filter. Farber
also brings sensor-cleaning swabs and gaffer’s tape, which he uses to seal his cam-
era bodies to keep dust out of spaces around buttons, dials and other camera parts.
CamCoRdeRs: two Panasonic AG-HVX200 camcorders; Canon HV20 (for backup);

Century Precision Optics 0.6X Wide Angle Adapter Lens; Petrol Mini Hood; Petrol Rain
Cover. Farber also brings neutral density filters for times when it’s so bright out that the
camcorders’ internal ND filters aren’t sufficient to prevent overexposure.
Lighting: two Canon Speedlites 220EX; Litepanels Micro LED panel; two 36-inch Calu-
met reflector disc with white diffusing and gold/silver zebra reflective surfaces; Impact 42-inch
Collapsible Circular Reflector Disc in Soft Gold, White. Generally employed in daylight hours,
the lighting Farber uses is usually combined with bright sunlight, often to fill strong shadows.
ComputeRs: two Apple PowerBook G4s; 17-inch MacBook Pro; Antec Notebook Cooler
audio geaR: Marantz Professional PMD660 recorder; Sony MDR-7506 head-

phones; Beyerdynamic M58 mic; RØDE NTG-2 shotgun mic; Audio-Technica AT899
lavalier mic; 6-foot XLR cable; Sennheiser circumaural headphones; two Sennheiser
ew1000 G2 receivers; two ew1000 G2 transmitters; two Sennheiser MKE2-5 lavalier
mics; two CL 100 1/8-inch male mini jack to XLR cables
suppoRts: Manfrotto 681B Monopod; Manfrotto 488RC4 Ball Head; Manfrotto

3021BPRO tripod; Manfrotto 501 Pro Video Fluid Head; Manfrotto 555B Leveling Center
Column; two Manfrotto 5001B Light Stands; Davis & Sanford Pro Steady Stick
poweR: “Three-way outlet splitters are very important,” says Farber, “because a lot of
times you need to recharge your batteries in shared NGO compounds where you’re only
T H I S S P R E A D , F R O M L E F T: © C H R I S FA R B E R ;
going to get one outlet because you’re sharing a power strip.” In addition to plenty of batter-
© M AT T H E W B O W L B Y; © C H R I S FA R B E R
ies, Farber packs these power devices: Anton Bauer ElipZ 10K; two Apple Portable Power
Adapters 65W; Apple 85W MagSafe Power Adapter; General Brand ST-3000 Voltage
Converter; three Enercell 150W Power Inverters; Brunton Solo personal power plant.
stoRage: Farber carries multiple high-speed memory cards and a Lexar FireWire card
reader to download and make three backups of his image files every night. His backup devices:
two SmartDisk FireLite 80GB hard drives; two FirmTek SeriTek/2EN2 eSATA dual-bay enclo-
sures with a terabyte drive in each drawer. Plus plenty of video cassettes: “We were always
sending the tapes back to a secure location in the capital. Someone would keep copies in their
backpack so that if we had to just get on a helicopter and leave, one guy had all our tapes.”
the ngo Crib sheet
Considering work with an NGO in the developing world? Here’s
Farber’s checklist of things that ought to be on your radar.
Fitness Working in the developing Right to pRivaCy The U.N.’s Uni-

world can be physically demanding, so versal Declaration of Human Rights
in addition to consulting a doctor about asserts a right to privacy, which NGOs
immunizations and other preventive mea- uphold. Talk to the organization you’re
sures, you need to be in good health. planning to work with about how this
In places like refugee camps, Farber may limit the circumstances in which you
explains, “you lose a lot of weight, sim- can take photographs, especially if your
ply from not eating and working a lot and subjects are children. Rules about photo-
getting sick. So you have to be in shape graphing them are usually more restrictive.
going into it.” There’s a mental health
aspect too. Farber points to exhaustion, goveRnment peRmits Pho-
lack of privacy, uncomfortable work- tography isn’t legal everywhere. You
ing conditions, cultural differences and may need special permission from
being with the same people for a long government authorities. Consult your
time as sources of stress to be ready for. NGO about the requirements in the
region and whether it can obtain the
seCuRity pRotoCoLs While appropriate documents for you.
most places where NGOs work are
pretty safe, some are not. In areas that Cash Where you’re going, there’s
are unstable or where there’s a military probably no ATM, and traveler’s
presence, it’s important to know and fol- checks may not be accepted, either.
low U.N. and NGO security protocols Bring cash, and make sure you’re
and stay abreast of dangerous condi- prepared for the way financial mat-
tions or developments. A good starting ters are handled at your destination.
point is the U.N. guide “Basic Security in
the Field—Staff Safety, Health and Wel- in-kind payments If you’re
fare,” available at dss.un.org/BSITF. working on a personal project in the
developing world and are not employed
go Bags If you’re working in a poten- by an NGO, you may still be able to
tially unstable region, have a “go bag” do a little work for organizations in
ready in case you need to make a quick exchange for resources such as local could act as a director as well. And it had to
exit. In addition to personal items and transportation, accommodations and be someone who very much understood the
travel documents, keep backups of your food. Photographers who have good objective of the project specifically and had
work in it. Farber points out that if a cri- relationships with NGOs can ask to be an understanding of the conflict in general.”
sis arises and you end up being airlifted put on the manifests for U.N. flights. While photojournalists working with
out of the region, you may never get a media organization often rely on edi-
back there again. Which brings us to... CapaCity BuiLding One way tors and writers to help give their work
that NGOs contribute to beneficiary direction and put it in the context of other
insuRanCe and Customs communities is by helping people in the relevant reporting, NGOs tend to provide
Insure your gear for international travel community acquire new skills. If you work much less editorial support or oversight,
(Farber uses Taylor & Taylor). Some pro- with translators or assistants, show them relying on the photographer’s knowledge
fessional organizations offer equipment how to handle a camera or audio equip- of the subject matter and ability to create
insurance discounts. You’ll also need ment, or teach them computer abilities. a narrative about it. “When you work for
international health insurance that cov- That experience can lead to temporary an NGO,” Farber says, “you basically have
ers medical evacuation—ask the NGO but lucrative jobs for them if international to create a media campaign for them.”
you’re working with to put you on their media organizations show up later. Although very large organizations have
plan. Before heading to the airport, Far- in-house media staff, the more numer-
ber calls U.S. Customs to let them know CopyRight and use Most NGOs ous small groups “are not going to have a
he’s coming in with a large amount of expect to have unlimited rights to use the media person, a dedicated person who’s
gear. He arrives with a detailed inven- work photographers do for them. On the going to look at your work, who’s going
tory, including serial numbers and other hand, many do not ask for the copy- to go over it and find what you’re missing
dollar values, and makes sure he gets right to the images, leaving photographers and what you need to go back and revisit
the appropriate stamps on all relevant free to use the work in book projects, topically or aesthetically to make sure
documents. Getting the right documen- exhibitions or Web sites. It’s considered that they have all their needs met,” he
tation on your way out can prevent both unethical to present yourself as a photo- says. “You become the media expert for an
hassles in foreign airports and import journalist when interviewing subjects for organization. It’s not enough to just create
charges when you come home. work that will be part of an NGO project. the content in the field.”
82 americanphotomag.com | nov/Dec 2010

That’s not the only distinction Farber Forging the Connection Above: Community leaders convene in Touloum
sees between photojournalism and NGO Ultimately, in any genre, it’s the quality of camp. Opposite, from top: Students dig up earth
work. “The photo industry has started to the photographer’s communication with his to make bricks for a school addition in Gaga camp;
a man repairs his roof in Kounoungo camp; a
use the idea of being a photojournalist and subjects that proves most vital. When the 13-year-old girl in Goz Amer talks to Farber about
shooting for NGOs interchangeably,” he team from 24 Hours for Darfur showed up at the violence she suffered as a 6-year-old in Darfur.
says. “The truth is that they’re not inter- each camp, its first step was to sit down with
changeable.” Working for an NGO, he says, community leaders to explain the purpose
“you’re a photographer for hire by what is of the organization’s work and ask for their explains. “There’s just so much more give
essentially a company. You’re not there as an blessing. “There was really a sense of rever- and take in the interview process than there
independent journalist.” ence for the way that we were approaching can be in the photography process. The video
In some ways, the networking that’s making a connection,” Farber says, “that we created so much context to what was going
necessary to get the work and to do it were coming in and asking permission.” on in those camps through the interviews
well also contributes to this lack of inde- Farber also discovered that shooting video that it was like doing four days of intensive
pendence. Farber compares it to the became a key part of the process of connect- research on a neighborhood before you go
experience of covering a conflict while ing with his subjects. On his earlier African and photograph it—it really helped.”
embedded with the military: “You’re just projects, he recalls, “I was shooting video When communication is handled well,
in a place where everything you know and trying to shoot photographs, put one set Farber says, “a lot of people really get—even
and understand about the situation is of cameras down and shoot with the other, when they have acute needs—what you’re
being told from your interaction with that and it proved to be impossible.” By the time doing there, and they become part of the pro-
development community.” he started work on Darfurian Voices, he had cess. They invite you into their homes and
But if NGO media work isn’t traditional realized that the process of conducting video their lives, and you need to connect with that
photojournalism, Farber emphasizes that interviews could serve as an icebreaker person, really just person to person. That
© C H R I S FA R B e R (4 )
it’s not PR either. “The work still should be as well as a way of expanding his knowl- is the point where the separation between
true and it should have integrity,” he says. “It edge of the subjects before he picked up his photojournalism versus PR versus work-
shouldn’t just be to make an organization SLR. “Everything in this project began with ing for NGOs just disappears, because you’re
look good or make a group of people who the video, and that ended up being a real just there as someone who is creating photo-
are suffering look desperate and needy.” asset when it came to the photography,” he graphs, creating a connection to people.” ap
NOv/DeC 2010 | americanphotomag.com 83

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moves a overlook in Dubois, Wyoming. It’s the first

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a form that has become a mainstay of
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story here, and the instructors and students

had planned to meet up after dinner for a
Times Web site. In an era of ubiquitous
imagery, Dickman says, if photographers
Students in FirstLight slideshow of each other’s work. When the
rainy afternoon gave way to an especially
want to engage their audiences, it’s
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workshops focus on more gorgeous sunset, Dickman switched gears struct a narrative. “We’ve got the most
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delve into the fundamental When it comes to photography, all plans turns to a National Geographic page or a
craft of storytelling are subject to change.
But Dickman’s students have come to
Web page, you’ve got about half a second
of time to engage them. So you have to do
| BY AIMEE BALDRIDGE Dubois to tackle more difficult tasks than it on multiple levels.”
capturing an exceptional sunset. They’ve
© G.S. MEILING
“Follow me! And make it snappy!” signed up to work hard, get an immersion Above: Workshop participant Gerald S. Meiling
Jay Dickman shouts with a broad grin, course in a new media language, and photographed a fisherman at Brooks Lake, near
calling out the window of his SUV to the tread journalistic ground that is usually Dubois, Wyoming, during an exploratory shoot-
woman at the wheel of the car next to the domain of seasoned pros. Instead of ing session at a FirstLight workshop in July.

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Above: FirstLight director Jay Dickman gives a

workshop student a hands-on demonstration of
a filtering technique. Right: John H. Ostdick’s
® atmospheric shot of downtown Dubois.
Dickman developed the idea for

FirstLight workshops in 2002 with Becky
Dickman, his wife and collaborator in
all things photographic, to give students
an opportunity to go in-depth with
documentary subjects and create works
of lasting value. (After being named as
an Olympus Visionary that same year,
Dickman impressed the company with the
workshop’s concept, and Olympus has been
an enthusiastic sponsor of the effiort since The July workshop was FirstLight’s
the initial FirstLight workshop in Auvillar, third session to incorporate multimedia
France, in 2003.) The Dickmans seek out work. But whether using multimedia
SAVE TIME! small, tight-knit communities where they
can tap into local networks. They create
or photography only, the program’s
objectives have always been the same: to
F R O M TO P : © S K E E T E R H A G L E R ; © T H E W R I T E H O U S E /J O H N H . O S T D I C K
a list of potential assignments in advance develop the photographer’s eye through
24/7 Customer service by finding compelling profile subjects who the process of crafting a visual narrative
is only a click away! are willing to let photographers spend a and to hone skills through daily critiques.
substantial amount of time with them. The participants spend several days
Change Your Address “They’ve got to be almost like what I’d be shooting the same subject and receive
Check Your Account Status looking for with a Geographic assignment,” daily feedback from the instructors.
Renew, Give a Gift or Pay a Bill says Dickman. “The assignments are “I love it when somebody has the
Replace Missing Issues something I’d want to shoot.” opportunity to go back out to the same
As soon as the students arrive, they meet assignment and continue shooting it,”
Just log on to: with instructors to select from Dickman’s says Dickman, “because then they’ll take
www.popphoto.com/ap/cs list of subjects—which may range from that refreshed eye, that new energy, and
a bronze artist to a ranch cowboy to the apply them.”
Our online customer service area denizens of a popular tavern—and get The effiectiveness of this approach is
is available 24 hours a day. to work. At the end of each workshop, borne out by the students’ observations:
selections of the students’ work are “By that last Saturday,” participant
shown at a public event and published in Chad Wilcox says, “almost every image
a FirstLight magazine, to be sold in the I made was technically correct, the
community to benefit a local organization. compositions were much better, and I

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Throughout the week, students shuttle
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Above: FirstLight participant Michael Slider’s

photograph of a horse corral at the CM Ranch,
included in one of the multimedia projects
that students created in a week-long workshop.
conduct the audio interviews, each team

develops questions together, then splits
photographing and interviewing duties.
“Everybody! One and a half hours until
deadline!” Bert Fox calls out. It’s 1:30
p.m. on the last day, and the Headwaters
feels more like a newsroom than a
classroom, with students and instructors
hunched in front of laptops making final
edits to their multimedia shows. That
evening, after the Headwaters opens
its doors to the public, the audience
watches the presentations with rapt
attention, responding as if on cue to
their creators’ careful arrangements
of sound and images with chuckles and
thoughtful expressions.
Their reactions attest to FirstLight’s
success in teaching its students the key
purpose of documentary photography—
© MICHAEL SLIDER
and the approach that sets it apart from

other photographic genres. As participant
Greg Lansing observed, rather than
emphasizing the photographer’s ideas, “it’s
about relating somebody else’s story.” AP
STORE: 212-675-6789
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Presentations by:
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Microbrews with Alex Webb and
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Portfolio reviews by: Russell Hart,

Ricardo Viera, Rebecca Norris Webb
Celebrating the Photographic Vision and others.
November 5-7, 2010
The Banana Factory | 25 W. Third St. | Bethlehem, PA Special Exhibitions
© lArry Fink
Tickets:
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610.332.1300
© niCk niCholS © Alex WeBB
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friday, november 5
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Enjoy a dynamic presentation by this artist whose work has 11 am-1 pm, Ticket required.
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Limited seating; only 30 spots available.
First Friday
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The Indiana Jones of Photography (Paris Match) takes
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exhibitions
Emerging artists and the masters who inspired them

Magnum and Microbrews
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Sample handcrafted beers while chatting with and enjoying
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EDITOR’s CHOICE 2010

Introducing the new Canon EOS 60D. Featuring

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on thE CovEr: This issue features three diﬀerent

BELow, CLoCkwisE: The Leica M9, one of the

NOvEMBER | DECEMBER 2010

© JAY MARK JOHNSON

NOv/DEC 2010 | amEriCanphotomag.Com 3

FirstLight workshops delve into the

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“I want an image to have

Remarkable photographs and rare

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SONY AR TISANS OF IMAGERY: MASTERS OF HIGH-PERFORMANCE IMAGING

“My underlying goal is to convey the

Critics and top photographers have described Katz’s photo

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Whether he’s shooting close-ups or large-scale

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Accelerate your photography workflow

Church of Christ, Haiti, November 19, 2009 © Peter Pereira/4 SEE

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