B&H Photography Podcast

It is important to be reminded of the power of photography to educate and explore, and to be a vehicle of self-expression, even self-realization. Equally crucial—through process and through memory—photography’s ability to bring people together, to share and to collaborate, is vital.  On this week’s episode of the B&H Photography Podcast, we welcome a photographer who has built her life’s work around this idea of education through creative collaboration. For more than forty years, Wendy Ewald has lead documentary “investigations” and collaborative projects that encourage the participants to use cameras to examine their own lives, families, and communities, and to make images of their fantasies and dreams. During these projects, she also photographs—normally with a 4 x 5 camera—and asks her students and subjects to then manipulate her images and negatives, further engaging with the process and adding to the authorship of the final work. With support of the most prestigious fellowships, from universities, NGOs, even from camera and film manufacturers, Ewald has directed photography programs in South America, India, Africa, Canada, and most notably in Appalachia. In the 1970s, Ewald worked with schools and the Appalshop media center to teach photography to children living in rural Kentucky and in 1985 published the groundbreaking book Portraits and Dreams: Photographs and Stories by Children of the Appalachians. This book has been an inspiration to countless educators and community photographers and this year, Mack Books has published an expanded edition, which includes updates on the lives of several of the original students. Also, Ewald has co-directed a documentary film on the project and the reunion with her former students, which recently aired on the PBS program POV.  Join us as we speak with Ewald about teaching in Kentucky and elsewhere, about the power of collaboration and creative expression, and about reuniting with her former students and the making of her powerful documentary. Guest: Wendy Ewald Photograph © Russel Akemon, from the book, "Portraits and Dreams" by Wendy Ewald

For the headline of this week’s episode of the B&H Photography Podcast, we lifted a line from our guest’s own Instagram bio. It would have been too easy to title a show with Walter Iooss, Jr. “Sports Photography Legend” or some such, but that pigeonholes Iooss too easily, and does not recognize the scope of his engagement with photography and with the creative process. Yes, Walter Iooss, Jr. is sports photography. He has over 300 Sports Illustrated covers to his name, his first professional gig was at age 17, and for six decades he has photographed several Hall of Fames’s worth of athletes, including names like Arnold, Mary Lou, Muhammad, and Tiger, and his work with Michael Jordan is unparalleled. Also—every Super Bowl. But he has also photographed rock stars, models, fashion and commercial assignments, portraits, and documentary series. And he tells us of his love for music and that if not for a twist of fate, he might have been a musician. The man is a creator for life, a photographer for life. With Iooss, our conversation takes a leisurely approach, touching on a few of his more memorable photos and some of the interesting lesser knowns; the breadth of his work alone could keep us talking for hours. Along the way, we learn a little about his upbringing, the love for music, his mentors, and the time he shot for Atlantic Records. We discuss how he builds a composition, whether it be an action shot during a game or a complicated portrait setup. We also talk about using a giant Polaroid camera, the coming of auto-focus, and Canon DSLRs. Join us for this pleasant conversation that is sure to interest not only fans of sports, but fans of photography. Guest: Walter Iooss, Jr. Photograph © Walter Iooss, Jr.

As museums in New York and around the world begin to reopen in the wake of the COVID-19 pandemic, a brand-new museum is facing the challenge of its grand reopening in the competitive New York City art and culture world. We welcome to the B&H Photography Podcast the inaugural Director of Exhibitions of Fotografiska, Amanda Hajjar, to discuss the unique model of this for-profit arts center and their plans to make a mark on the photography scene in New York. After opening in December 2019, Fotografiska New York was forced to close after just ninety days, and of course, we will also ask Hajjar how they handled the quarantine disruption and are adjusting to the new protocols placed on museums. Fotografiska New York is the third of three like-named museums, with more scheduled to open around the world. The original began in Stockholm, Sweden in 2010 and adopted a different paradigm than the traditional museum—it displays a wide range of photography styles, it has no permanent collection, and it works with the artists themselves to design the exhibitions. It also relies on admission sales as well as café, restaurant, and special event business to generate income. It created much buzz in the months before opening in New York, and its initial reviews were positive, for both its events and photo exhibition programming. We speak with Hajjar about their exhibition philosophy and how their model facilitates an institution able to react to and comment on current social issues as well as examine relevant images from the past. We discuss their attempt to create a hybrid between gallery and museum and shine a light on their current exhibitions, including works by Cooper & Gorfer and by Martin Schoeller. Finally, we get to the bottom of what the word Fotografiska really means. Join us for this enjoyable conversation. Guest: Amanda Hajjar Photograph: Courtesy Fotografiska

This is a wonderful conversation for fans of mirrorless cameras, of classic lens design, of the venerable M-mount, and, really, of photography. The joy that our host Allan Weitz exudes while discussing a few of his current favorite lenses is as contagious as it is educational. And I feel that this episode provides a bolt of creative curiosity that might infuse my own photography. For this week’s episode of the B&H Photography Podcast, we asked Weitz to draw up a list of 10 favorite lenses from his personal collection. To be sure, these are not lenses sitting on a shelf or behind glass; these are accessible, affordable lenses that he incorporates regularly into his photography practice, but each has a certain signature or special feature that merits recognition.  Most, like the Voigtländer VM 40mm f/2.8 Heliar Lens for Sony E-Mount or the 7Artisans Photoelectric 50mm f/1.1 Lens for Leica M can be purchased new, while some, such as the Zeiss Hologon T* 16mm f/8 lens, are still readily found in the used market. Others, like the Nikon NIKKOR 50mm f/1.2 lens, are perennial favorites, while the Voigtländer Nokton 75mm f/1.5 Aspherical Lens seems classic but is relatively new to the market. While discussing these lenses, we stumble upon a mound of good photography chatter, including practical uses for these optics, tips for using extension tubes and mount adapters, notes on camera history, and plain simple fun facts. Toward the end of the episode we talk about the B&H Used Department, and Jason Tables and I share our current favorite lenses as well. Join us for this breezy but informative episode and let us know your favorite lenses in the Comment section below. Photograph © Allan Weitz  

On this week’s episode of the B&H Photography Podcast, we welcome editor, educator, and photographer Joan Liftin and Michelle Dunn Marsh, founder and publisher at Minor Matters. In the first half of the show, we speak with Liftin about her latest book, Water for Tears, and then we focus on Minor Matters and the unique business model this publishing house utilizes. We also discuss the person who brought them together, the late photographer Charles Harbutt.  Liftin was married to Harbutt and was his collaborator, and Marsh has recently published a book of Harbutt’s work and words, titled The Unconcerned Photographer. With Liftin we relate the genesis of Water for Tears, which is a sort of photo memoir—images from travel and family and fleeting impressions that tie together a lifetime. We discuss editing, sequencing, collaboration, and the subtle difference between narrative and story. We also talk about editing Harbutt’s work and, along with Marsh, about the making of The Unconcerned Photographer. After a break, Marsh elaborates on the publishing model they employ at Minor Matters—a hybrid of crowdfunding, support membership, and a direct, organic connection between artist, publisher, and consumer. Have a look at their catalog, which presents work from established photographers and new voices in the medium. Join us for this compelling discussion. Guests: Joan Liftin and Michelle Dunn Marsh Photograph © Joan Liftin

One of the remarks that stuck with me from this week’s episode of the B&H Photography Podcast was Alison Rossiter’s casual mention, “I know how to rock a tray.” Rossiter is noted for her cameraless fine art photo prints, often made on expired photographic paper, some sheets dating back one hundred years or more. Her comment was a simple reference to how she guides developing solution over paper in the darkroom, but understanding the time and dedication she has put into her darkroom techniques, it seemed the ideal understatement for her refined yet simple processes, which include traditional photo printing, photograms, light drawings, and her current exploration, which enables vintage photo paper to speak for itself, processed and fixed, but free from the bullying dominance of projected light. With her ongoing exhibit, Substance of Density 1918-1948, at the Yossi Milo gallery, through September 26, 2020, Rossiter presents a “chronology of assemblages” made of expired photographic papers from her personal collection. Papers chosen from specific years create a minimalist narrative through three specific decades of the 20th Century, suggesting a relationship between these photographic “leftovers” and historical events of those years. The exposed photo papers are grouped and presented in such a way to form dynamic abstract compositions, made more contemplative by the paper’s own history. The work is a creative comment on a range of themes fundamental to 20th-century film photography: archival preservation, industrial production, physical and chemical degradation, social justice, and even the medium’s creative response to painting and sculpture. With Rossiter we speak about her darkroom techniques and supplies, about her evolution to cameraless photography, about sourcing expired paper, and the incredible gifts she has received in that regard. We also discuss the thrill of developing paper to find the clues of previous owners and the “fails” of the aged emulsion.  Primarily, we revel in imagination and the stories that can be told when the past speaks to us through the still verdant magic of the darkroom. Join us for this unique episode. Guest: Alison Rossiter Photograph © Alison Rossiter  

We present a fun conversation on this week’s episode of the B&H Photography Podcast,, perhaps due to the midwestern charm of photographer Julie Blackmon and the matter-of-fact discussion of her wonderful tableau vivants of family life in middle America.  We also welcome back to the show gallery owner Robert Mann, who is currently hosting an exhibit of Blackmon’s photographs titled Talent Show. Mann was a guest on our show in 2018 when we spoke about the work of Australian photographer Murray Fredericks. Blackmon also has an exhibit at Fotografiska New York titled Fever Dreams, which runs until October 18, 2020. The medium format compositions of Julie Blackmon infuse innocent playtime with a creeping sense of danger to create works with a wonderful dark humor. There is also a welcomed D-I-Y spirit to her work and we talk about the creation of her photos and the involvement of her own family and friends in the images; even photos that have up to twenty-five subjects are produced and organized with her sisters and fellow parents.  She is hands-on in all aspects of the work, including making the large prints herself. We also talk about her use of the Hasselblad H system and how she combines wide angle and normal perspectives in her detailed final prints. After a break, Robert Mann takes the lion’s share of the questions as we discuss the many challenges faced by photography galleries. In addition to the expense of a brick and mortar gallery and the proliferation of online viewing and sales, the COVID pandemic has forever changed the idea of a public art gallery.  Mann relates the decision to close his Chelsea gallery and receive collectors on a by-appointment basis, as well as his thoughts on creating editions and limiting prints and the general state of the fine-art photo market. Join us for this enlightening four-way conversation as we gain insight from the perspective of both the artist and the gallerist. Guests: Julie Blackmon and Robert Mann Photograph © Julie Blackmon

On this week’s episode of the B&H Photography Podcast, we welcome Kevin Rickert, who is a camera and lighting sales trainer for B&H. In other words, he teaches and updates the Pro Photo staff on all the features and specs of new cameras and often gets these cameras in his hands well before anyone else. Could there be a better guest for this episode, in which we discuss the many recent camera and lens announcements from the major manufacturers? Much of the chatter in new camera circles has been about the Canon EOS R5 and EOS R6, as well as the Nikon Z5 and the Sony Alpha a7S III, but Olympus and Leica have also put out impressive new cameras in recent weeks. There have in addition been several interesting lens announcements over the course of the summer, including the HD PENTAX-D FA* 85mm f/1.4 ED SDM AW lens and affordable fixed-aperture telephoto lenses from Canon and Tokina. We also take a look back at the XT-4 and X100V cameras by FUJIFILM that were announced toward the beginning of the year and discuss a few compact cameras from Sony and Panasonic aimed at the travel and vlogger set. Join us for this comprehensive and very informative discussion of the new photography gear announced in 2020. Guest: Kevin Rickert

With great thanks to Vikki Tobak and the Contact High Project, we welcome three photographers to our studio who are responsible for some of the most iconic images from the history of hip-hop. Janette Beckman, Eric Johnson, and Danny Hastings join us to tell the stories behind their photos of RUN-DMC, Wu Tang Clan, Lauryn Hill, and many others. We also speak about issues important to photographers, from on-set technique, to artistic collaboration and influence, to gear, to networking and, of course, licensing of images. For us, this was a highly anticipated recording and it did not disappoint. Whether you are a hip-hop fan interested in behind-the-scenes stories or a photographer looking for insight, join us for this incredible conversation. Janette Beckman began her career at the dawn of punk rock in the U.K., photographing The Clash, Sex Pistols, and Boy George, as well as three Police album covers. Moving to New York in 1982, she was drawn to the underground hip-hop scene and photographed pioneers such as Run DMC, Slick Rick, Salt’n’Pepa, Grandmaster Flash, and Big Daddy Kane. She has published four books and currently has an exhibition of silkscreen prints at 212 Arts in New York. Eric Johnson has created iconic hip-hop images of Notorious B.I.G, Lauryn Hill, Dipset, Li’l Wayne, and newer artists like G Herbo and Cakes da Killa. His work stretches across music genres to include Lady Gaga, Bruno Mars, and Maxwell and, for the past decade, he has helmed Upstairs at Eric’s, a loft space in Manhattan that is equal parts studio, gallery, disco, lounge, and design studio. Danny Hastings has shot 150 album covers and directed more than 40 music videos. Listed in Complex Magazine as one of the rap photographers every rap fan should know, his most notable album covers include Enter the Wu-Tang (36 Chambers), Big Pun’s Capital Punishment, Nas’s IA, as well as album art for Raekwon, Eminem, and Jeru the Damaja. Hastings is now directing his second feature film. Vikki Tobak is a journalist, correspondent, and former CNN producer who currently writes and produces for Complex, Mass Appeal, and The FADER. She is the author of Contact High: Hip-Hop Photography + Visual Culture, an upcoming book from Penguin/Random House. Guests: Janette Beckman, Eric Johnson, Danny Hastings, Vikki Tobak

On this week’s episode of the B&H Photography Podcast, we present a conversation with two photographers. We start with Aaron Turner, who is also a scholar, an archivist, and the host of the podcast “Photographers of Color.” Turner will stay with us as we later speak with Laylah Amatullah Barrayn about her street portraiture during the COVID-19 outbreak in New York and  the recent uprising in Minneapolis. With Turner, we talk about the genesis of The Center for Photographers of Color, which is currently located at the School of Arts at the University of Arkansas, and how it grew from a Twitter feed as an attempt to recognize and connect the many African-American photographers both currently working and of historical significance and influence. We discuss the Center and its research, exhibition, archiving goals, and overall mission to develop and maintain a community of photographers. We also chat with Turner about his personal photography and how that has evolved over the years from photojournalism to documentary to a more conceptual form integrating personal and cultural histories. After a break, we welcome Laylah Amatullah Barrayn and jump right into a conversation about her decision to return to her Brownsville, Brooklyn neighborhood to photograph the residents during the early uncertain days of the COVID-19 outbreak.  In addition to an assignment on funeral directors, she created a wonderful series on the fashion and cultural statements of wearing a mask. We also speak about her work in Minneapolis during the June uprising there, and how she focused on portraiture of the residents, as opposed to the protests themselves. We also discuss technique with a FUJIFILM mirrorless system and a 35mm lens, the need to bear witness, the value of working with a community of photographers, and the “power of the archive.” Join us for this wide-ranging and passionate conversation about the importance of recognizing tradition, supporting your fellow photographers, and pushing for necessary changes within the photography sphere and the culture at large. Guests: Aaron Turner and Laylah Amatullah Barrayn Photograph © Aaron Turner