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The Crit House
United States
เข้าร่วมเมื่อ 7 มี.ค. 2022
The Crit House is here to highlight the critical importance of getting feedback and to provide thoughtful discussion on the art of photography.
It's hard to show your work to others and to put your art out there to get critical feedback. The Crit House is here to show discussions of projects and to demystify and de-stress the process.
We partner with photo professionals to discuss learning photographers' work to help them improve and move their work to the next level.
The Crit House is produced to help photographers see, understand, and appreciate the importance of feedback as well as learn the language of photography, and of having a community of people you can trust.
It's hard to show your work to others and to put your art out there to get critical feedback. The Crit House is here to show discussions of projects and to demystify and de-stress the process.
We partner with photo professionals to discuss learning photographers' work to help them improve and move their work to the next level.
The Crit House is produced to help photographers see, understand, and appreciate the importance of feedback as well as learn the language of photography, and of having a community of people you can trust.
Sarah Leen myFIVE
Sarah Leen is a photographer, a photo editor and a teacher. In 2013 she became the first female Director of Photography of National Geographic magazine. In 2020 she founded the Visual Thinking Collective.
In 1979, as a student at the University of Missouri School of Journalism, I was awarded a National Geographic internship after being the first female student to win the College Photographer of the Year competition. That summer, the renowned National Geographic magazine Director of Photography, Robert Gilka, had either enough faith in my skills, or took pity on me, and assigned me to my first magazine story; it was published in the July 1980 issue as "Return to Uganda".
www.sarahleen.com
After completing her internship, she went on to work for several newspapers, including the Topeka (KS) Capital Journal, the Columbia (MO) Daily Tribune, and The Philadelphia Inquirer. This pivotal time provided her with essential professional skills that would sustain a successful freelance photography career for over 20 years.
Her dream, however, was always to work again for National Geographic. In 1988, she left The Philadelphia Inquirer to begin freelancing for various publications, with a primary focus on National Geographic. Over the next two decades, National Geographic published 16 of her assignments, including five covers.
In 2005, she transitioned from the field to join the National Geographic magazine staff as a Senior Photo Editor, where she collaborated on numerous magazine features with exceptional photographers such as Lynn Johnson, Erika Larsen, John Stanmeyer, Evgenia Arbugaeva, Lynsey Addario, David Guttenfelder, Abelardo Morell, Jonas Bendiksen, Joel Sartore, Jim Richardson, and many others.
She was promoted in 2013 to become the first female Director of Photography for National Geographic Partners. In 2019, she left National Geographic to refocus her creative pursuits on photo editing and teaching, working directly with photographers and publishers. Editing photography books quickly became her passion, presenting a fulfilling challenge and an ongoing learning experience. Since 2019, she has had the pleasure of editing several books with publisher FotoEvidence, as well as with talented photographers publishing their own books.
In 2023, she had the unique honor of editing Ukraine: A War Crime, a FotoEvidence book compiling the work of 93 photographers documenting the first year of the war in Ukraine. This project was shortlisted for the 2023 Arles Historical Book Award, awarded the International Photography Awards Book Photographer of the Year award, and nominated for the Lucie Awards for both Book Publisher of the Year and Photo Editor of the Year.
Teaching and mentoring have become essential components of her mission. She currently teaches photography and photo editing at the Missouri Photo Workshops, the Maine Media Workshops, the Santa Fe Photographic Workshops, the Eddie Adams Workshop, and Syracuse University. In the summer of 2024, she will also host a workshop in Maine titled Female Perspectives on Visual Storytelling, specifically for women photographers and editors.
She serves on the Board of the International League of Conservation Photographers, is a member of The Photo Society, and holds a seat on the Advisory Council for the Eddie Adams Workshop. Additionally, she has curated exhibitions at Photoville NYC, the Annenberg Space for Photography LA, LOOK3, and National Geographic.
In 1979, as a student at the University of Missouri School of Journalism, I was awarded a National Geographic internship after being the first female student to win the College Photographer of the Year competition. That summer, the renowned National Geographic magazine Director of Photography, Robert Gilka, had either enough faith in my skills, or took pity on me, and assigned me to my first magazine story; it was published in the July 1980 issue as "Return to Uganda".
www.sarahleen.com
After completing her internship, she went on to work for several newspapers, including the Topeka (KS) Capital Journal, the Columbia (MO) Daily Tribune, and The Philadelphia Inquirer. This pivotal time provided her with essential professional skills that would sustain a successful freelance photography career for over 20 years.
Her dream, however, was always to work again for National Geographic. In 1988, she left The Philadelphia Inquirer to begin freelancing for various publications, with a primary focus on National Geographic. Over the next two decades, National Geographic published 16 of her assignments, including five covers.
In 2005, she transitioned from the field to join the National Geographic magazine staff as a Senior Photo Editor, where she collaborated on numerous magazine features with exceptional photographers such as Lynn Johnson, Erika Larsen, John Stanmeyer, Evgenia Arbugaeva, Lynsey Addario, David Guttenfelder, Abelardo Morell, Jonas Bendiksen, Joel Sartore, Jim Richardson, and many others.
She was promoted in 2013 to become the first female Director of Photography for National Geographic Partners. In 2019, she left National Geographic to refocus her creative pursuits on photo editing and teaching, working directly with photographers and publishers. Editing photography books quickly became her passion, presenting a fulfilling challenge and an ongoing learning experience. Since 2019, she has had the pleasure of editing several books with publisher FotoEvidence, as well as with talented photographers publishing their own books.
In 2023, she had the unique honor of editing Ukraine: A War Crime, a FotoEvidence book compiling the work of 93 photographers documenting the first year of the war in Ukraine. This project was shortlisted for the 2023 Arles Historical Book Award, awarded the International Photography Awards Book Photographer of the Year award, and nominated for the Lucie Awards for both Book Publisher of the Year and Photo Editor of the Year.
Teaching and mentoring have become essential components of her mission. She currently teaches photography and photo editing at the Missouri Photo Workshops, the Maine Media Workshops, the Santa Fe Photographic Workshops, the Eddie Adams Workshop, and Syracuse University. In the summer of 2024, she will also host a workshop in Maine titled Female Perspectives on Visual Storytelling, specifically for women photographers and editors.
She serves on the Board of the International League of Conservation Photographers, is a member of The Photo Society, and holds a seat on the Advisory Council for the Eddie Adams Workshop. Additionally, she has curated exhibitions at Photoville NYC, the Annenberg Space for Photography LA, LOOK3, and National Geographic.
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Doy Gorton myFIVE
มุมมอง 57321 ชั่วโมงที่ผ่านมา
Doy Gorton is a photographer from Greenville, Mississippi. He joined SNCC, the Student Non-Violent Coordinating Committee, in 1963 while at Ole Miss. He later went on to the Philadelphia Inquirer as Chief Photographer. He joined the New York Times and was transferred to the White House beat, where he photographed the Carter and Reagan administrations. He was a senior editor in "A Day in the Lif...
Arturo Soto myFIVE
มุมมอง 1.4K14 วันที่ผ่านมา
Bio Arturo Soto is a Mexican photographer, writer, and educator. He has published the photobooks In the Heat (2018) and A Certain Logic of Expectations (2021). Soto holds a PhD in Fine Art from the University of Oxford, an MFA in Photography from the School of Visual Arts in New York, an MA in Art History from University College London, and undergraduate degrees in Film and Photography from the...
Brooks Jensen myFIVE
มุมมอง 95121 วันที่ผ่านมา
Brooks Jensen is a fine art photographer, publisher, workshop teacher, and writer. He and his late wife (Maureen Gallagher) are the owners, co-founders, editors, and publishers of the award-winning LensWork, one of today’s most respected and essential periodicals in fine art photography. With subscribers in 72 countries, Brooks’ impact on fine art photography is worldwide. His long-running podc...
Ashly Stohl myFIVE
มุมมอง 750หลายเดือนก่อน
Ashly Stohl is a photographer based in Los Angeles and New York. She is also the co-founder of Peanut Press, an independent photobook publisher. Ashly was born and raised in Los Angeles. She earned a BS in chemistry from UCSB but spent more time with the creative crowd at the Brooks Institute of Photography. After college, she returned to L.A. and used her science education to create award-winn...
Tiina Loite myFIVE
มุมมอง 1.1Kหลายเดือนก่อน
Tiina Loite spent over 30 years as a photo editor at The New York Times. She was at first focused on being the photo assignment editor and working with news photographers. But instead she moved to the Style department when the Times started its Sunday Styles section in 1992. She remained in Styles for over two decades, then moved on to work on the new Cooking app and revamped Food section. She ...
David Campany MyFIVE
มุมมอง 1.7K2 หลายเดือนก่อน
David Campany is a curator, writer, editor, and educator. He teaches at the University of Westminster London and is a Curator at Large for the International Center of Photography, New York. davidcampany.com David has worked worldwide with institutions including Tate, Whitechapel Gallery London, MoMA New York, Centre Pompidou, Le Bal Paris, ICP New York, Stedelijk Museum Amsterdam, The Photograp...
Jeff Curto MyFIVE
มุมมอง 8312 หลายเดือนก่อน
Jeff Curto is a Professor Emeritus of Photography at the College of DuPage in Glen Ellyn, Illinois, where he taught from 1984 to 2014. jeffcurto.com He holds a Bachelor of Fine Arts in Photography from Illinois Wesleyan University and a Master of Fine Arts in Photography from Bennington College in Vermont. Additionally, he attended Ansel Adams’ last photography workshop in Carmel, California, i...
Debbie Fleming Caffery MyFIVE
มุมมอง 6652 หลายเดือนก่อน
Debbie Fleming Caffery, a native of the Bayou Teche in southwest Louisiana, continues to reside in the area. Her early career was greatly influenced by Dorothea Lange and other artists of the FSA and Federal Arts Project of the WPA during the Depression. Like these pioneers, she aims to tell stories through her photographs, but her work stands out for its blend of artful composition and documen...
Michael Kirchoff myFIVE
มุมมอง 9883 หลายเดือนก่อน
Michael has spent his years capturing still images of people, cultures, and landscapes from around the world around the block, with a very unique and distinctive style. www.michaelkirchoff.com A native Californian, Michael resides in Los Angeles, though equally at home trudging through Redwood forests, riding the rails deep into Siberia, or navigating the chaotic streets of Tokyo. He photograph...
Fred Conrad myFIVE
มุมมอง 1.2K3 หลายเดือนก่อน
fredrconrad.com/Home Fred Conrad began freelancing in New York after graduating from the University of Michigan. He shot for Sygma, Time Magazine, Newsweek, New York Magazine, Rolling Stone, and Ms. Magazine. The New York Times was one of his clients as well. He joined the staff there in 1977 and worked as a New York Times staff photographer until December 2014. His work has taken him through I...
Sharon Brody MyFIVE
มุมมอง 7653 หลายเดือนก่อน
Sharon Brody is the voice of WBUR's weekends. On Saturdays and Sundays, she's your @WBUR host for Weekend Edition and other popular programs. During the week she frequently anchors the midday and afternoon news shifts. She also reports features, and contributes essays to Cognoscenti. She originated WBUR's CitySpace StoryTime, a virtual read-aloud series. A Boston radio veteran, Brody's experien...
Jeff Larason myFIVE
มุมมอง 7704 หลายเดือนก่อน
Hey, it's me. www.jefflarason.com @Jeff_larason I'm the host of this here program. Thanks for watching. I like puppies.
Stephen Crowley MYFIVE
มุมมอง 1.2K4 หลายเดือนก่อน
Stephen Crowley, a staff photographer based in The New York Times Washington bureau since 1993, joined the paper as a photographic printer in Washington in 1992. He had been a staff photographer at The Washington Times since 1985. www.crowleygraphs.com On Feb. 5, 2002, the White House News Photographers' Association cited Crowley as "Photographer of the Year" for a portfolio that included his e...
Stephen DiRado myFIVE
มุมมอง 1.3K4 หลายเดือนก่อน
Stephen DiRado is a documentary photographer, filmmaker, and educator. He is recognized internationally for his sometimes raw yet deeply empathetic portraits, often devoting decades to several chosen themes. Born in Worcester, Massachusetts, in 1957, Stephen grew up in Marlborough, a suburb of Boston. His father, employed as a graphic artist, was profoundly influential as a mentor, encouraging ...
A properly good series of interviews. So I subscribed
Welcome to The Crit House. Thanks for subscribing
Excellent episode.
Thanks so much
Great video, thanks!
Glad you liked it!
@@TheCritHouse been spreading the word about your channel - can't believe you only have 4.5k subs considering the quality of production and calibre of guests - will keep pushing - and please keep up the great work :-)
@MightyCraicDJ thanks so much. We're too lazy to do all the things TH-cam asks to increase subs.
It was Hillary Clinton who referred to half of her Republican opponent’s supporters as a ‘basket of deplorables,’ in her 2016 presidential election campaign. Doy reminds us of the power of the photograph. Sometimes, the Crit House contributors reveal uncomfortable realities of the society we live in.
That's what photography can do. Thanks
Well done. Thank you.
Thank you too!
We are all so fortunate that you, Jeff, expose us to, not just photography, but the overarching question of why we photograph and what we're try to say. Arturo has really opened a new door for me. Thanks so much for having him on your program.
Thanks so much.
really interesting, thank you for bringing Doy to us!
You bet!
Well done, loved the stories.
thanks Richard.
Very good, thanks.
Thank you too!
Another incredible video. Thank you.
Our pleasure!
Fantastic discussion. The Russell Lee story 😂
It was a great talk. Thank you.
Wonderful episode. I've never heard to Doy Gorton, but his selections are familiar to me, and he's right, they're classic. Interesting stories too. Thanks for presenting.
Thanks for listening
Great episode. Interesting guest, fascinating stories and photos to talk about. Heartfelt with a lot of substance. Thank you!
Glad you enjoyed it!
Fascinating and insightful interview. Love the stories. We need more documentarians like him.
Agreed. His book is important
This is another excellent video for myFIVE.
Thank you
So interesting what an academic education does to the way you see things. Thank you for this!
There are a lot of ways of seeing.
I must admit I found this presentation confounding. For me, It really invites the bigger question of what is photography? And, granted it can be many different things to many different people which is totally valid. And, with that said, I would like to suggest that sometimes a pile of bricks is just a pile of bricks.
That may be true. It might be a pile of bricks to you. What it is to you, it is to you. But it can mean something else to others, and we respect and honor that. We don't all have to agree, but we hope to be able to show as many different views as possible.
Wow great discussion 😊 thank you
You are more than welcome.
You should come on The Crit House. What is your myFIVE?
@@TheCritHouse your not serious are you ?
Brooks has a very good website of which i am an online member, and have been for years, a tremendous resourse - highly recommend
First I would like to thank you for your channel. It is a great gift for the photographic community. Thanks again! Now just a few details to clarify facts about this video (as someone else pointed out the response are sometimes to the point, other times vague, and a few times erroneous. First New Topographics was never a group per say, not even close to the rather short-lived f/64 of 1932. Some photographers had never met, Baltz was an outsider although he knew of the Becher. In the beginning R. Adams wondered why he was there. Jenkins, Deal, Gohlke and Nixon did know each other as their paths had crossed. Jenkins and Deal knew each other well as they both lived in Rochester NY and were acquainted through Visual Studies Workshop and the (then) International Museum of Photography at the George Eastman House where they both worked. New Topographics was just the title of what happened to not such a visible show: few people saw it and it only went to an extra venue. However the participants were included in many exhibitions following New Topo: first the already somewhat known in the photographic community (Adams, Baltz (who was already exhibited by Castelli), the Bechers and somewhat Shore), then Deal, Gohlke, and Wessel who established a deserved reputation. What was knew was they all had an academic education, most of them taught or would teach, and they got grants either from the Guggenheim Foundation or the NEA. They all had conceptual bases for their work and they all exhibited series and not groups of individual images. Although the denial of authorship was proclaimed in the introduction of the catalogue it was quite obvious that everyone of them had their own style and Baltz and R. Adams had a societal if not political background. Then they all took the man-made landscape as subject matter. All this was radically knew and the label "New Topographics" helped photo historians and educators to identify a trend that is still developing. Now about facts: Baltz always declared he had always wanted to be an artist first, photography was just the medium he used to get there (and that is why he was represented by Castelli, a gallery mostly dedicated to contemporary art. He even made R. Adams joined him there after New Topographics. The film that Baltz used for Industrial Parks was not Panatomic (a 50 ISO film manufactured by Kodak as said in the video) but a high contrast, high resolution film produced to reproduce documents whose sensitivity was between 6 and 8 ISO (ASA at the time). ["I use Kodak High Contrast Copy film rated at 6 ASA" Lustrum, 1980] .It would be improved and sold as Technical Pan in 1982. Baltz processed it in Perfection Micrograin developer (and not the one named in the video, Agfa's Rodinal). He printed on Agfa Bravura in a 1:2 Dektol solution, and selenium-toned his prints (better conservation, and higher maximum density). Now regarding Robert Adams: reading the various texts he wrote (among which I recommend "Beauty in Photography" [Aperture] may help getting deeper into his work but most of it does not require any text. The point seems pretty obvious from the "New West" to the recently beautiful reprinted "Los Angeles Spring" [Steidl]. That's all from me regarding added details. All the best!
Bruno, thanks for the information and the clarifications on some of the things presented on this video. You clearly have studied these things beyond where others of us have not. It's greatly appreciated.
These pictures show us that many photographers are not understandable by the majority of people, but they make work that is just for other photographers, like many other photographic books, especially in modern times. These pictures need a lot of effort to be appreciated, I personally like this kind of photography. Thanks for sharing your thoughts
Agreed. The strength of these images were not immediately apparent to me. That's why I appreciate these conversations - it helps me understand how some images are important, and affect people in ways that I cannot see.
Well done. Inspirational. Thank you.
Many thanks!
Arturo Soto, you introduced me to photographers I had never heard of. Thank you for that. Man, do I like photography even more. So many subjects to photograph. So many new ways to see things.
Thanks for such a great comment
really great discussion. I especially enjoyed learning about Dickens and Wright Morris
Glad to hear it! I learned a lot too.
The story about the patches…wonderful! (You forgot the link to Cig Harvey)
Oh, my. I'll correct that now. Sorry green.
thank you
You are more than welcome
An excellent inspiring video, thank you. The only problem I had with it is that it was to short.
Glad you enjoyed it! I understand your comment about the length. We've been expanding the length of our episodes recently for just this reason.
@@TheCritHouse Thank you, I think even two hours of listening to Brooks Jenson for two hours would have felt to short for me.
Yet another wonderful episode. Having been exposed to LensWork (and Brooks) many years ago I'm still enjoying his magazine and work. This episode was a great insight into his way of seeing. Well done, Jeff.
Thanks Z. It was a great discussion
Just awesome! Thank you for introducing me to my new hero!
Our pleasure!
Wonderful discussion! Thank you
Hi Sandy, glad you liked it
I am speechless and inspired to no end. Brooks validates what I have been trying to do with my photography for all these years. I checked out his website and have shared this video with my friends. Storytelling, that is the key. Wow.
So glad it hit home for you
A very inspiring conversation. Thank you very much.
Happy to hear it
Your guest is a calm and articulate voice in the world of photography. His encouragement to see "beyond" is rich and instructive. Good job.
He is. Thanks, man.
At first i thought you are talking to your brother .... great talk! thanks
I wish!
I love Vivian Maier's work :)
Us too.
Thank you!
You're more than welcome
Excellent....Big fan of Henry Wessel
Love it. This conversation was my first introduction to his work.
Great video. I've done that timer thing - maybe once an hour. It might be time to do it again.
Us too. We're going to try it next week
Two weeks is a lot to wait, but certainly worth it! thanks!
I know. I'm trying to balance this with my own work. I'm trying, man.
@@TheCritHouse You are doing a great job, beautiful and inspiring content.
Great episode. One of your best. Thank you!
Glad you enjoyed it!
excellent image selection and discussion on why they were chosen. It was great to hear the back story of the Richard Avedon shot, especially about it being a YSL designed dress. The final image was confronting, but what an amazing story about how it was captured. Keep up this great series Jeff and thank you Tina for such an entertaining discussion on your 5 images.
We will. Thank you
This was the best episode of this series so far! Absolutely amazing! Thank you for doing this!
How nice of you to say! Thank you
I once heard Richard Avedon regret that he did not have a gentle breeze blowing the scarf to the left.
I had not heard that. Brilliant.
@@thomasclark631 In a biography of Avedon I read!
Brilliant choices and Tiina is so entertaining!
I know. All of them were fascinating.
This was fantastic! I've always thought about the model standing with the elephants the same way, by the way. These days she'd be ai'ed into the picture. I have Cindy Sherman's book; another great project. Excellent video.
Thanks, Dorie.
The Avedon photo is for me both beautiful in a very international controlled manner and at the same time intensely melancholy. The composition works wonderfully the echoing of the trunks and the large ribbon of the model is great fun. But I think the subtext of the image is the relationship between humans and animals. Avedon does this yes by the use of models hand on the trunk but the I think also by use of the feet of all those posing. Scale and shape the models feet coming towards the viewer almost the the first element in the image nearly breaking the picture plane coming into viewers space, stating the importance of the person. The hand on the trunk doesn’t do this other than echoing the dominance of humans. The chains on the elephants legs does place them lower in the cast system of human and animals. A sort of Chantel ownership.
Thanks John. Great thoughts and ideas.
Wonderful and insightful. Thank you for sharing. I think photographers can gain a lot of insight into what makes a great photograph from the perspective of photo editors.
Totally agree!
This was another one I enjoyed and by a photographer I did not know. Wonderful images selected by Debbie, and I love her work with that high-contrast look...well done. Thanks.
Glad you enjoyed it
Jeff, this was a particuarly rewarding episode. I like the more leisurely, conversational nature of it. It seemed very organic and more relaxed; less of a slave to the clock or format. Very accessible, interesting and knowledgeable guest . Many thanks.
Thanks. I'm going to be less focussed on the clock going forward.
Phil Penman is a great photographer
Agreed. And a good guy as well