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SURFS AUSTRALIA
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CHOICE:
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AND BACKPACKS
Nothing stimulates great photography like an inspiring subjectand
New Orleans does so with its rich history, natural beauty and recovery from
Hurricane Katrina, displaying the true essence of this once-French colony. Let
the Mentor Series take you and your camera deep into the heart of the Big
Easy as we explore Americas liveliest city.
Photograph Metairie Cemetery, with shadows cascading across the
elaborate tombs of the elite and famous. Well experience the Mississippi
river aboard the Steamboat Natchez, where we will photograph a jazz band,
breathtaking views of the city and the graceful lines of riverboat architecture.
Take a trip to a working plantation, where well capture candid shots of
models dressed in period costume, preserved Doric columns and wrought
iron details. Photograph Oak Alley as the sunlight streams through a dense
canopy of branches to form a perfect balance of light and shadow in this
immaculate preserve.
The quiet waterways of the bayou swamp tour allow us to photograph
rare birds, snakes, turtles, and, of course, alligators. And we wont miss out
on New Orleanss famous French Quarter and Jackson Square. Flanked by
historic buildings, well wander among neon-lit, jazz-filled streetsfrom
Bourbon to Canalthat have made the French Quarter legendary.
REGISTER ONLINE AT WWW.MENTORSERIES.COM
For more information, call toll-free 888-676-6468.

NEW ORLEANS
Feb. 26 28, 2010
SOUTHERN CALIFORNIA
March 19 21, 2010

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The photo trek begins with a safari at the San Diego Wild Animal Park.
From the vantage point of open-top vehicles, we will get within close reach
of giraffes, elephants, zebras and rhinos. Head next to Balboa Park, where
our mentors will share techniques for attaining that perfect close-up at the
Moorish gardens of Casa del Rey Moro and Alcazar Garden.
Span one of the worlds most distinctive bridges to reach Coronado Island
where you can capture sweeping views of the San Diego skyline. For a fresh
perspective on flash photography, we will visit the Point Loma Lighthouse
during the evening light.
Drop by what is perhaps the most photographed spot in La Jolla: Ellen
Browning Scripps Park. With practical tips on landscape composition the
mentors will help you capture amazing images of the sandstone cliffs,
pounding waves, and Torrey pine trees at this awesome coastal location.
To pick up the pace and perfect the action shot, capture para gliders in flight
at the Torrey Pines glider port. Learn techniques for panning, reducing lag
time and latency, and get the most from burst mode at this world-famous
flight destination.
If you find gorgeous weather, abundant wildlife, rich culture, and the
rugged beauty of Californias coast inspiring, let the Mentor Series take you
on a journey thats sure to be picture perfect.
FOR THE PAST 12 YEARS, the Mentor Series has taken photo enthusi-
asts to destinations across the country and around the world. With top Nikon
professional photographers accompanying participants every day and
teaching them how and what to shoot, theres nothing like a Mentor Series trek.
You and your photography will never be the same!

Special thanks to our premier sponsor:

With additional support from:
BRYCE & ZION
April 28 May 3, 2010

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Join the Mentor Series as we navigate the dizzying altitudes and vast
expanses of Bryce Canyon and Zion National Park.
Head to the overlook that provides a glorious perspective of lower Zion
Canyon where steep sandstone cliffs tower in the distance. Discover the
Emerald Pools, where sunlight streams through cottonwood and box elder
trees, illuminating these hidden tarns, some of which are fed from waterfalls
running off looming cliffs.
Photograph the multicolored natural amphitheater in Bryce Canyon as the
sun rises. Along Queens Garden trail witness the majestic hoodoos - massive
haunting spires of sedimentary rock carved away by eons of erosion and
rising from the desert floor. The late afternoon sun will penetrate the narrow
gorges and provide a backdrop to capture a sunset like no other.
Spend time at Zion Mountain Ranch and photograph a herd of buffalo
roaming on several hundred acres, or a horseback rider with the sandstone
cliffs of Zion Canyon as the backdrop. Photograph mountain bikers
maneuvering the rocks along traversing trails and courageous rock climbers
rappelling down the majestic cliffs.
Join the Mentor Series on this National Park adventure and come away
with an individual artistic record of the unyielding impact of time and nature
and its effect on the American landscape.
Morocco undoubtedly teems with rich history, fascinating culture, and
spectacular natural attractions. Join the Mentor Series as we take you
on a photographic adventure of a lifetime and teach you how to create
timeless images unlike anywhere else on earth.
The trek begins in Marrakech where photographic treasures are
around every corner. Capture endless color and bustling locals at Djemaa
el Fna Square - Moroccos busiest marketplace. As evening falls, enjoy a
special vantage point overlooking this crowded main square.
Well make our way to the enchanting fortified hillside village of
Ait Benhaddou along the Ouarzazate river. Be a guest in a traditional
adobe home and see firsthand how these beautiful manmade earthen
structures complement the striking diverse landscape.
As the sun descends, we will board camels and ride into the Sahara
to witness the dramatic evening light transform the dunes into infinite
shades of gold. Venture out to explore the majestic mosques, historic
architecture, and lively medina of Fes and learn how to best capture the
kaleidoscope of this imperial treasure.
From sunrise to sunset, landscape to locals, Kasbahs to camel
caravans travel to Morocco with the Mentor Series to experience the
expansive beauty, ancient traditions and exotic mysticism of one of the
most interesting places in the world.
.
MOROCCO
April 8 16, 2010

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JAN | FEB 2010
FEATURES
32 IMAGES OF THE YEAR
With their fresh, individualistic approaches, the
winners of our fourth-annual competition underscore
what a good year 2009 was for photography.
BY MIRANDA CROWELL
44 STREET SMARTS
Architectural photographer Tim Street-Porter keeps
on rocking. After four decades of shooting, lling the
pages of high-style magazines, producing sumptuous
books and capturing iconic Los Angeles modernism,
he shows no signs of stopping. BY PAUL LOVE
52 SURFING LOVERS LAND
Dustin Humphreys photos of his motorcycle/
surng/art expedition across Australia are at once
ephemeral and timeless, much like the waves he and
his buddies went there to ride. BY LAURENCE CHEN
DEPARTMENTS
9 FLASH
News & Trends in Photography
Q&A with Lynsey Addario + the Video/Still
Convergence + On the Wall + Sweet Spot: Vieques,
Puerto Rico
17 FOCUS
The People Behind the Pictures
One to Watch: Jordan Manley + Personal Project:
Pam Spaulding
25 FLICKR CREATIVE SHOWCASE
Art directors nd photographic talent and some-
times images for ad campaigns on Flickr.
63 GEAR
What Photographers Need
The new Leica M9 + Editors Choice: New camera
bags and backpacks + Shootout: Nikon 300s vs.
Canon EOS 7D
68 SKILLS
Know-How Now
Frame Work: Jordan Manley shoots in snow + The
Picture Biz: Using social-networking sites to boost
your business
80 PARTING SHOT
Irving Penns 1991 Miyake Fashion: Raining Hair re-
minds us that the master photographer never lost
his focus on fashion. His genius will be missed.
ON THE COVER
This shot of a reghter battling a blaze in western
Colorado won adventure photographer Tyler
Stableford a place among American Photos Images
of the Year. See page 32 for the rest of the story. T
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AMERICANPHOTOMAG.COM| JAN/FEB 2010
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AMY BEDIK
Amy Bedik, who interviewed risk-taking
photojournalist Lynsey Addario for her story
On the Front Line, is a photographer and
writer who lives in New York City. She has
worked in museums in London and Paris, and
her photographs look at historical artifacts in
contemporary settings.
PAUL LOVE
Paul Love wrote this issues Street Smarts
feature. The photo editor for Saveur and
Florida Travel + Life magazines, he also writes
for International Masters Publishers and MBK
Productions.
LAURENCE CHEN
Laurence Chen is a Seattle-based freelance
editorial photographer and writer who wrote
Surng Lovers Land, about surf photog-
rapher Dustin Humphrey, and this issues
Flash story about digital convergence. His
clients have included Saveur, Fortune, Sunset,
Peachpit Press and America 24/7. He writes
the Creative Thinking column for Popular
Photography and is also an adjunct professor
of photography at Seattle Pacic University.
THEANO NIKITAS
A freelance journalist and photographer,
Theano Nikitas contributed this issues
Editors Choice, presenting the latest and
greatest camera bags on the market. For more
than 15 years she has written about all things
photographic from analog to digital for
numerous magazines and websites, and
maintains a special interest in alternative
processes.
CONTRIBUTORS
EDITOR SARAH KINBAR
EXECUTIVE EDITOR Russell Hart
ART DIRECTOR Donna Reiss
SENIOR EDITOR Jenny Andrews
MANAGING EDITOR Leigh Ann Ledford
PHOTO EDITOR Chelsea Stickel
COPY EDITOR Cindy Elavsky
FACT CHECKERS Rebecca Geiger, Judith Myers
ONLINE EDITOR Stan Horaczek
ONLINE ASSOCIATE EDITOR Patrick Parker
CONTRIBUTING EDITORS Jonathan Barkey, Greg Ceo,
Jack Crager, Vicki Goldberg,
Dirck Halstead, Michel Leroy,
Lindsay Sakraida
EDITORIAL DIRECTOR MARK JANNOT
PHOTO DIRECTOR Larry Nighswander
BONNIER TECHNOLOGY GROUP
GROUP PUBLISHER GREGG R. HANO
ASSOCIATE PUBLISHERS Wendi S. Berger, Anthony Ruotolo
EXECUTIVE ASSISTANT Christopher Graves
MARKETING DIRECTOR Mike Gallic
FINANCIAL DIRECTOR Tara Bisciello
SVP, CORPORATE SALES & MARKETING Mark Wildman
NORTHEAST ADVERTISING OFFICE Lauren Brewer, Scott Constantine,
Susan Faggella, Sara Schiano Flynn,
Taryn Guillermo, Tara Weedfald
MIDWEST MANAGER John Marquardt 312-252-2838
AD ASSISTANT Krissy Van Rossum
WEST COAST ACCOUNT MANAGERS Robert Hoeck 310-227-8958,
Bob Meth 310-227-8955
AD ASSISTANT Kate Gregory
DETROIT MANAGER Edward A. Bartley 248-282-5545
AD ASSISTANT Diane Pahl
SOUTHERN MANAGER Jason A. Albaum 404-892-0760
BUSINESS DEVELOPMENT MANAGER Phil Mistry 205-249-0510
CLASSIFIED ADVERTISING SALES Patrick Notaro 212-779-5555,
Chip Parham 212-779-5492
INTERACTIVE SALES MANAGER Chris Young
DIGITAL SALES DEVELOPMENT MANAGER Brian Glaser
SALES DEVELOPMENT MANAGERS Alexis Costa, Mike Kelly, Kerri Levine
GROUP DIRECTOR, CREATIVE SERVICES/EVENTS Mike Iadanza
DIRECTOR OF SPECIAL EVENTS Michelle Cast
SPECIAL EVENTS MANAGER Erica Johnson
DIGITAL DAYS COORDINATOR Athos Kyriakides
MARKETING ART DIRECTORS Lindsay Krist, Shawn Woznicki
PROMOTIONS MANAGER Eshonda Caraway
ADVERTISING COORDINATOR Irene Reyes Coles
CONSUMER MARKETING DIRECTOR Diane Potter
PUBLICITY MANAGER Amanda McNally
HUMAN RESOURCES MANAGER Kim Putman
GROUP PRODUCTION DIRECTOR Jef Cassell
PRODUCTION MANAGER Kristin Prohaska
CHAIRMAN JONAS BONNIER
CHIEF EXECUTIVE OFFICER TERRY SNOW
CHIEF OPERATING OFFICER DAN ALTMAN
CHIEF FINANCIAL OFFICER RANDALL KOUBEK
VP, CONSUMER MARKETING BRUCE MILLER
VP, PRODUCTION LISA EARLYWINE
VP, E-MEDIA BILL ALLMAN
VP, DIGITAL SALES & MARKETING JOHN HASKIN
VP, ENTERPRISE SYSTEMS SHAWN LARSON
VP, HUMAN RESOURCES CATHY HERTZ
VP, CORPORATE COMMUNICATIONS DEAN TURCOL
BRAND DIRECTOR JOHN MILLER
PUBLISHING CONSULTANT MARTIN S. WALKER
CORPORATE COUNSEL JEREMY THOMPSON
SUBSCRIPTIONS: American Photo (ISSN 1046-8986) (USPS 526-930) is published bimonthly (Jan/Feb, Mar/Apr, May/June, July/Aug, Sept/Oct, Nov/Dec) by Bonnier
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The paper used for this magazine
comes from certied forests that are
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to meet the social, economic and
environmental needs of present
and future generations.
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anasonic continues to
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photographers who demand exceptional
qualitywhether for video or still
photosultimate flexibility with small,
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and a broader selection of creativity
options. With Panasonics award-
winning LUMIX G Series, the company
makes all this, and a more, a reality.
Panasonic revolutionized the digital
photography industry in September, 2008,
with the introduction of the worlds first
Micro Four Thirds digital camerathe
Panasonic LUMIX DMC-G1. At the time,
the G1 took claim as the worlds lightest
and smallest digital interchangeable lens
camera and proved to the photo industry
that a non-DSLR camera could still
produce DLSR-like quality resultswith a
smaller and lighter camera system. Taking
the bold move of removing the very same
mirror box that traditionally defined a
single-lens reflex camera led Popular
Photography to recognize Panasonics
ambitious vision and name the G1 as the
magazines Camera of the Year in 2008.
Pop Photo noted that the G1 camera
best refined or redefined photography,
and was a forward-thinking product that
represented the next big thing for the
industry. And this was just the beginning.
Setting the stage for a platform that could
truly shrink the size of digital cameras,
Panasonic then went one step further
by adding full high definition 1080p
video to its LUMIX G Series with its
announcement of the LUMIX DMC-GH1.
The GH1 not only produced exceptional
still images, just like the G1, but it could
also record 1080p high definition video
comparable to footage produced by more
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5.8 ASPH./MEGA O.I. lens, which is the
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The GH1 was recognized by American
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More specically, they noted, Perhaps
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Panasonic Lumix G Series digital cameras
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Most recentl y, Panasoni c i ntroduced the
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The Panasoni c LUMIX G Seri es di gi tal
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offer peopl e who are seri ous about
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JAN/FEB 2010 | AMERICANPHOTOMAG.COM
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Photojournalist Lynsey Addario was at home in Turkey last Sep-
tember when she received a call that she had been awarded a
2009 MacArthur Fellowship genius award for her work record-
ing conicts and humanitarian crises in the 21st century. Here she
talks about the freedom the award will bring and why she contin-
ues to work in some of the most dangerous places on Earth.
AP: $500,000 with no strings attached! How will the award change
things for you?
LA: I dont think Ill work any less! I am already doing exactly the
type of photojournalism I set out to do covering humanitarian
and womens issues, and the toll conicts take on civilians and
soldiers alike, but the MacArthur grant will enable me to be a bit
ON THE FRONT LINE
Lynsey Addario goes deep inside conict zones
to tell the stories of victims of violence BY AMY BEDIK
NEWS & TRENDS IN PHOTOGRAPHY
NEWS 12
|
ON THE WALL 14
|
SWEET SPOT 15
LAfghanistan et nous, 2001-2009
Muse de lArme,
Htel national des Invalides,
129 rue de Grenelle, Paris
Through Feb. 26
Lynsey Addarios work will be included in
this exhibition of more than 100 photo-
graphs of Afghanistan by photojournalists
from around the world. Through
unpublished and previously shown images,
the exhibition explores a country in
the grip of conict and violence.
LOOK
Above: Lynsey Addario was on location in Baghdad after the fall of Saddam
Hussein in April 2003 when she photographed an Iraqi man who brought
his wounded son to an American base for care. Chang Lees photograph of
Addario is witness to her fearlessness and ability to get close to her subjects.
CLOSE-UP: LYNSEY ADDARIO
AMERICANPHOTOMAG.COM| JAN/FEB 2010
more selective with my assignments and focus more on long-term
stories rather than daily news stories. Id also like to nally try to do
a book.
AP: Your work in conict zones like Afghanistan, Iraq and Darfur takes
you into places that would be terrifying to most people. What drives
you to work in such difcult environments?
LA: The desire to document whats happening. While working in the
Congo, I spent 10 hours a day for two weeks talking with women
who were victims of sexual assault and unimaginable violence. Each
womans story was more violent and raw than her predecessors. On
the nal day of that assignment I was a complete basket case, crying
all the time and so sad. And I thought, my life is great compared with
these poor people. What right do I have to cry?
AP: How do you manage to get so close to your subjects?
LA: It takes some perseverance. While on assignment for The New
York Times Magazine in Afghanistan with Dexter Filkins, I accompa-
nied him to a meeting with a Taliban commander. The translators
kept saying, no women, no women, no women, but Dex introduced
me as his wife and said that he didnt want to leave me alone at the
hotel in Peshawar. I sat in a corner, totally veiled, and after a while,
Dex asked if I could take some pictures. I was terried. There is a ne
line when photographing in these delicate, dangerous situations I
always try not to look too professional (it probably helped that I was
shooting through my veil at this point!). I really calculate my shots
and shoot sparingly.
AP: Some of your photographs are in black and white, while others are
in color. How do you decide which to use?
LA: Although I work primarily in color, sometimes I cant control
what time I go out shooting. If I have to shoot at high noon, the
colors are likely to be washed out, so Ill sometimes convert to
black and white, which ofers more tonal latitude. There are some
stories that I have to shoot in all uorescent light or ofces, which
would also inspire me to convert to black and white. Also, I dont
Photoshop my images much, so I try to shoot at dawn or dusk when
the light is rich. AP
Training: Started shooting as a teenager, picked up
darkroom rudiments from a family friend in high
school, then learned on the job as a stringer for the
Associated Press.
Inspired by: Her subjects and her desire to document
their stories.
Accolades: In addition to the MacArthur, she won
the 2009 Pulitzer Prize for International Reporting as
part of The New York Times team and the Getty Images Grant for Editorial
Photography in 2008 for her work in Darfur, Sudan.
Best advice: Get out there and do it. Hone skills through experience.
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Opposite: Addario traveled around Darfur in 2004 with a rebel group to see how civilians were
sufering at the hands of the government. To get this shot, she spent 10 minutes at on her stomach,
waiting for someone to walk past to add a human element to the scene of devastation. Top: Addario
had spent six days along the Abas Ghar ridge while embedded with a battle company patrolling the
area in the Korengal Valley in Afghanistan. She took this picture following an ambush that killed a
young soldier. The soldiers somber faces stand out in relief against the unforgiving landscape, em-
phasizing the unreality of life in wartime. Above: On assignment for The New York Times Magazine in a
Taliban compound in Afghanistan, Addario was able to photograph with more freedom than she could
on the streets of tribal villages. This image of a truckload of heavily armed young ghters illustrated
the 2008 story, Right at the Edge, which won the Pulitzer Prize in 2009.
AMERICANPHOTOMAG.COM| JAN/FEB 2010
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Left: A street racer attempts
to intimidate his opponent in
Jefrey Browns Fast and
Furious commercial for Dr
Pepper (jefreybrown.com).
Center: David Harry Stewarts
Chess-Dance (dhstewart.com)
is a hybrid of video and still images
made with the Canon EOS 5D
Mark II. Below: Vincent Laforets
now-famous Reverie got about a
quarter-million views within four
hours simply by being posted
on his blog.
Uncertain consequences of the video revolution BY LAURENCE CHEN
CONVERGENCE OR COLLISION?
When a digital acorn hit photographer Chicken Little on the
head he proclaimed: The Industry is Falling! Since then we have
embraced the digital convergence. Were making behind-the-
scenes videos. We are rock stars on Facebook, and we tweet.
But is there a Foxy Loxy in our story? Vincent Laforet who
shot Reverie, the rst 1080p short lm shot with the Canon EOS 5D
Mark II DSLR (vincentlaforet.com/index_reverie.html) thinks
so. Suddenly, lm and video cinematographers are competing for
work that was once the mainstay of photographers.
The convergence has some positive side efects, but you cant
ignore the reality that two independent professions are on a colli-
sion course, he says. After the success of Reverie, Laforet has met
many cinematographers who conde that they too are excited
about the new low-cost tools, because their clients are always ask-
ing them if they can shoot stills while doing video.
The gap between the still and motion industries is closing fast,
accelerated by the economic climate. When budgets shrink, people
lower rates or ofer more for less. Photographers throw in Internet-
friendly video, and cinematographers ofer still images.
David Harry Stewart, a commercial photographer based in New
York City and Los Angeles, sees the gap disappearing when people
gure out how to reorganize their infrastructure. Agencies and
creatives dont have their minds around how to budget. Whose line
item is this? he asks. There are other factors too. Photographers
are paid by rights and time. In the motion-picture industry, all of
that changes. Actors might get residuals. Directors of photogra-
phy may just be there for the day. Im not sure how that is going to
get worked out.
Jefrey Lamont Brown, a commercial lm director and still pho-
tographer in San Diego, made the jump from still to video about a
year and a half ago. For us it was a creative decision; Ive wanted
to do it for years. My catalyst was the availability of the RED ONE
camera and ne-tuning in camera RAW, he says. Brown found a
helpful community on a RED camera forum and built his skills rap-
idly. The result: He recently produced and directed a commercial
spot with 57 cast members and crewmembers on the set.
The question remains: How fast is this coming? The writing is
on the wall for me, says Laforet, who preordered four Canon EOS
5D Mark II DSLRs after making his historic video. Brown agrees:
Its not the future; its here right now. Almost every discussion I
have [with clients] is: Can you do still and video? How does that
work? If theyve got money, they want to make a video. AP
AP IS SPONSORING VINCENT LAFORETS SEMINAR STORYTELLING WITH THE NEW
CANON EOS 5D MARK II AT THE PALM SPRINGS PHOTO FESTIVAL. GO TO PALMSPRINGS
PHOTOFESTIVAL.COM FOR MORE INFORMATION.
FLASH
|
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ON THE WALL
MlDATLANTlC
CENTER FOR ART, DESIGN AND VISUAL
CULTURE, UMBC
1000 Hilltop Cir., Baltimore, MD
Exhibition: Dana Hoey: Experiments in Primitive Living
Feb. 4-March 20
Highly conceptual, shifting styles and subjects
interact in an imagined world.
Hours: Tue-Sat 10-5 except campus holidays
Contact 410-455-3188, umbc.edu/cadvc
NATIONAL MUSEUM OF AMERICAN HISTORY,
NATIONAL MUSEUM OF AFRICAN AMERICAN
HISTORY CULTURE GALLERY, SMITHSONIAN
INSTITUTION
2nd Floor East National Mall, 14th St. and
Constitution Ave. NW, Washington, D.C.
Exhibition: The Scurlock Studio and Black Washington:
Picturing the Promise
Through Feb. 28
A century of images forms a vivid historical account of
African-American urban life in Washington, D.C.
Hours: Daily 10-5:30 except Dec. 25
Contact 202-633-1000, americanhistory.si.edu
SERAPHIN GALLERY
1108 Pine St., Philadelphia, PA
Exhibition: Victor Vzquez: Dislocation, Encounter
and Displacement
Through Jan. 26
Remarkable, provocative photographs with a
political edge
Dening kecetion Jan. 29 from 6-8
Hours: Tue-Sun 11-6
Contact 215-923-7000, seraphingallery.com
Vzquez images are also included in Seraphins
Printable exhibition.
Jan. 29-March 9
Multiple artists illustrate surprising uses of the
modern printing process.
5DUTHA5T
FLORIDA MUSEUM OF PHOTOGRAPHIC ARTS
200 N. Tampa St., Ste. 130, Tampa, FL
Exhibition: August Sander, the Twentieth Century Man
and Jules Aarons, Views From the Street
Jan. 21-March 13
Two ne historic photographers capture the people of
Germany, the U.S. and elsewhere circa mid-1900s.
Dening kecetion Jan. 21 for members and invited
guests
Hours: Tue-Sat 10-5
Contact 813-221-2222, fmopa.org
HIGH MUSEUM OF ART
1280 Peachtree St., N.E., Atlanta, GA
Exhibition: The Portrait Unbound: Photographs by
Robert Weingarten
Jan. 23-April 4
Large-scale digital compositions of biographical
information form richly layered portraits of eminent
Americans.
Hours: Tue, Wed, Fri, Sat 10-5; Thu 10-8; Sun 12-5
Contact 404-733-4400, high.org
If you want more Weingarten, The Lumir Gallery, The
Galleries of Peachtree Hills, 425 Peachtree Hills Ave. in
Atlanta will simultaneously hold a retrospective exhibi-
tion of the artists work.
Hours: Tue-Sat 10-4
Contact 404-261-6100, lumieregallery.net
MUSEUM OF THE CITY OF NEW YORK
1220 Fifth Ave. at 103rd St., New York, NY
Exhibition: Joel Meyerowitz: Legacy: The Preservation of
Wilderness in New York City Parks
Through March 21
Shorelines, wilderness, marshes and wildlife who
knew the ve boroughs held such rich nature?
Hours: Tue-Sun 10-5
Contact 212-534-1672, mcny.org
NDkTHA5T
LIGHT WORK
316 Waverly Ave., Syracuse, NY
Exhibition: Rachel Herman: The Imp of Love
Jan. 14-March 12
Intimate, poignant, often painful portraits of couples in
the midst of palpable dissolution
Hours Sun-Fri 10-6
Contact 315-443-1300, lightwork.org
ON THE WALL
|
CONTINUED ON PAGE 78
PHDTD6kAPHY XHl8lTlDN5 AkDUND TH CDUNTkY
|
BY ANGELA FARIS BELT
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Puerto Ricos sister island is ideal for shots of unspoiled beaches,
wild horses and idiosyncratic architecture BY GREG CEO
VIVA VI EQUES!
Fly from mainland Puerto Rico to the leeward island of Vieques,
and you will be transported back in time to a photographic
paradise and a lazy island way of life. Dont look too hard for
large resorts and the jet-set crowd. It is more likely you will
wake early to the sounds of roosters outside your window, not to
mention stop your four-wheel-drive vehicle while a wild horse
crosses the road.
Vieques is quite a nice place to shoot simple beachscapes and
breathtaking skies white clouds seem to hang in the air and roll
across a tranquil blue canvas. Near the end of a sandy one-lane
road lies Navio Beach, secluded with ne white sand, rocky out-
croppings on either side, and hidden caves, including a tiny one
accessible only by swimming into it from the surf. Navio Beach
is perfect for fashion shoots, but dont expect to have electricity
or nd restaurants nearby.
One of the architectural marvels on the island is Hix Island House:
a modernist gem designed by John Hix that rises from the middle of
the island with open air terraces. Many professional shoots, includ-
ing one by Getty Images contributing photographer Tony Anderson,
have taken place at Hix, and the manager is very accommodating
if you stay there. If you play nice, perhaps you will get to shoot at
Hixs private house and pool.
When your shooting day is over, head to Als Mar Azul, one of
two ex-pat bars on the island. You can watch the sun go down and
plan a sailing trip with Capt. Bill for more photographic adven-
tures. If you stay late enough, Al will start sliding shots your
way, and you will think to yourself that you already feel a part of
Vieques island life. AP
Other than bringing it yourself, the best way to get gear is to have
FedEx overnight it. Bring backups. NEVER leave ANYTHING unat-
tended as theft is a concern. Rent a reliable four-wheel-drive vehicle
from Martineau Car Rental (martineaucarrental.com) or risk being
stranded with gear beside a rutted road.
Bahia de la Chiva (what the Navy called Blue Beach) and Playa la
Plata (Silver Beach) All the beaches in the wildlife refuge are
beautiful and lonesome, but these are my favorites.
Underwater Photography for Nondivers Capt. Bill, oft found at
Als, can take you to a shallow reef accessible without scuba gear.
La Finca Caribe Rustic villas and cottages have a casual, tropi-
cal feel with wood oors, pastel paints and loads of foliage. It has
hosted J. Crew, Self magazine and Nickelodeon, and is welcoming
to photographers and anyone who wants to get away from it all
(lanca.com).
Martineau Bay Villas This cluster of luxury homes, located
near the W Hotel, has stunning interiors and exteriors, and is
ideal for fashion shoots or just an extraordinary vacation. View
several properties at viequestravelguide.com. Look for the
Luxury Villas with Martineau in their names.
WHERE TO SHOOT IN VIEQUES
TRADE SECRETS
Far Left: Fish over Sail Rock Pinnacles at Vieques Passage. Left: Looking out
from the cave at Navio Beach. Above: Hix Island House.
FLASH
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SWEET SPOT 15
contest categories
Winners will be published in the
July/August 2010 issues of
American Photo and Destination
Weddings & Honeymoons. Two
grand-prize winners will receive
trips for two to a luxury resort.
Additional prizes to be provided by:
All winners will appear in American Photo. Winners
in categories indicated with an asterisk (*) will also
appear in Destination Weddings & Honeymoons.
Getting Ready A candid moment caught of the
bride, groom or other members of the wedding party
just before the big event.
Ceremony The emotion, signifcance and beauty of
this momentous ritual, as the lives of two people and
their families are joined.
Couples Portrait Whether formal or informal, this
shot should reveal the deep connection between the
bride and groom on their wedding day.
Reception The ceremony is over and its time to
gather with friends and family, dancing, eating cake
and toasting the newlyweds.
Send-Of Bidding adieu to the happy couple as the
bride tosses her bouquet and they climb into the just
married car, or walk hand-in-hand past cheering
wedding guests.
Details Little things often stand as perfect symbols
of this momentous occasion. Whether its a still life of
rings, bouquets or champagne glasses, or a close-up
element such as beading on the wedding dress or the
couples hands.
*Best Use of Locale An image that combines
the beauty of the ceremony with the essence of
the destination from an exotic tropical island to a
medieval European castle.
*Best Use of Local Flavor The creative use
of regional elements as integral parts of the
ceremony, whether its leis in Hawaii or a mariachi
band in Mexico.
*Day After Once the of cial ceremony and
reception are over, everyone can relax and take a
more playful approach to photos of attendees.
*Trash the Dress Repurposing a wedding
dress is just a myth, so why not have some fun?
Stretch out on a lawn, wade into the ocean or
ride a roller coaster.
SPONSORED BY
Winning photos will be selected by a panel of distinguished judges:
C^]h 2^aQT[[ u :TeX] :dQ^cP u 3^dV 6^aS^]
1P\QX 2P]caT[[ u 9X\ 6Pa]Ta And editors of American
Photo and Destination Weddings & Honeymoons.
fTSSX]V_W^c^VaP_WhR^]cTbcR^\
Enter online from
January 15 April 5, 2010
JAN/FEB 2010 | AMERICANPHOTOMAG.COM
17
FOCUS
THE PEOPLE BEHIND THE PICS
CLOSE-UP
JORDAN MANLEY
Grew up in: Toronto, before mov-
ing to Vancouver at age 12
Studies: Political science at
Simon Fraser University
Appears in: Powder, Skiing, Ski,
Bike, Mountain Biking
Awards: 2009 Winner of Olym-
pus Pro Photographer Showdown
at Telus World Ski & Snowboard
Festival; top honors in Whistler
Blackcombs Deep Winter Photo
Challenge in 2008 and 2009; Koo-
tenay Coldsmoke Powder Fest Cold
Shot Foto Face-Of 2009; Skiing
magazines Portillo Shoot-out 2008
Canadian Jordan Manley is often asked which of his passions came rst outdoor adventure
or photography. The outdoors denitely came rst, says the 25-year-old, who lives and works in
Vancouver, British Columbia. Ive long been an avid skier and mountain biker, and photography grew
out of being outside with my friends and wanting to document our pursuits in the mountains.
Manley rst picked up a camera about nine years ago. My dad taught me the basics, and then it was
SNOWBOUND
Jordan Manley melds a love of sports with a career behind the lens | JACK CRAGER

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Backcountry magazine, Manley
asked his friend Tobin to ski into
a sliver of sunlight. Shooting
high in mountainous terrain, its
difcult to haul a lot of lighting
equipment with you, so the
action has to be brought to the
light rather the reverse. Skiing
is such a dynamic sport to pho-
tograph because the snow ying
brings a static environment to
life when it reacts with light.
ONE TO WATCH 17
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PERSONAL PROJECT 21
AMERICANPHOTOMAG.COM| JAN/FEB 2010
FOCUS
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ONE TO WATCH 18

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Above: To get an interesting angle,
Manley used an extendable pole that he
modied to support his camera. The photo
ran in the Swedish magazine ka Skidor.
Opposite: For Bike magazine, Manley shot
a self-portrait in a forest at night with a
wireless trigger and backlighting from
a remote ash, repeating the steep ride
in darkness several times. It was pretty
scary, he recalls, but I had to do it.
While Manleys shots look spontaneous, many of them are
carefully set up. Theres communication between athlete and
photographer, he says. And we make sure both of us are on the
same page so we can sculpt the picture how we want it. One little
trick is, we throw a snowball that makes a little indent in the snow,
so if Im going to be shooting a nice power turn, both the athlete
and I know where the turn is going to be. I know when those brief
few seconds of peak action are happening, and I hold the shutter
down during that time then log back through the images to nd
the best ones.
TRADE SECRETS
a process of experimentation and self-exploration, he says. The
hobby morphed into a career, and a few years later he began sub-
mitting images to magazines such as Powder, Ski and Skiing. Soon
he was not only getting assignments but also awards, including top
honors in 2009 at the Olympus Pro Photographer Showdown.
Manleys editorial work combines bold action shots often from
unusual angles with moody, atmospheric images that reect his
love of dense fog, thick forests and imposing terrain. A constant
goal of mine is to simplify the elements of a photograph, he says.
Silhouetting is one way to achieve this it reveals the form of the
landscape and the person in it, abstracting it at the same time.
In other cases, Manley employs a more straightforward style that
lends itself to commercial campaigns, and hes begun selling and
licensing images to ski- and mountain-bike-related companies for
advertising. But he adds, Im equally a fan of straight documen-
tary photography.
A daring athlete himself, Manley credits his success to a collab-
orative bond with his subjects, most of whom are skiing and biking
buddies. Usually with the athletes, we have a working relation-
ship as well as a great friendship, he says. Thats important for
developing trust, knowing how the other behaves in challenging
situations and getting onto the same page creatively.
He knows hes enjoying a young mans game. I dont think Ill be
a professional ski photographer forever, but I see myself as being a
pro photographer, in some capacity, for a long time to come. And
he admits his prime motivation: This is a career that allows you to
keep skiing! Does that make him a gloried ski bum? Yes, I am,
he says with a laugh. I wont shy away from that term. AP
MARK
THESE DATES!
Full Convention:
march 4-11
Tradeshow:
march 8-10
PHOTO COPYRIGHT ALAN KARLIN
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PHOTO COPYRIGHT ALAN KARLIN
create.
inspire.
evolve.
www.wppionline.com
TI ME CAPSULE
A photojournalist spends more than three decades creating the ultimate
family album for someone elses family BY LINDSAY SAKRAIDA
Truth changes, muses Pam Spaulding, a longtime photographer for The
Courier-Journal in Louisville, Kentucky. As journalists, we think we get the truth
by spending a couple of months with someone, but the truth changes over time.
No one can speak to the subject of time quite like Spaulding; after all, shes
spent the past 32 years photographing the lives of the McGarvey family in
Kentucky, the photos from which were recently published in the book An
American Family: Three Decades With the McGarveys (National Geographic
Focal Point, $35). Originally, the endeavor began as a self-created assignment
in 1977 for The Louisville Times (then the afternoon counterpart of The Courier-
Journal) to spend a year documenting the trials and tribulations of rst-time
parents with a newborn. But the connection between photographer and subject
was so strong that the project never ended and the resulting body of
work is arguably one of the most thorough and honest representations
Above: John and Judy McGarvey steal a kiss amidst the chaos of a busy, three-child
household in January 1987. Pam Spaulding rst photographed the couple 10 years prior for
a self-created piece that illustrated a year in the life of rst-time parents. After the assign-
ment was complete, however, Spaulding continued to document them, resulting this year in
An American Family: Three Decades With the McGarveys, a book that chronicles the persistent
(and still ongoing) project about the happily ordinary, middle-class McGarvey family. T
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Training: Ohio State University
Work: The Courier-Journal and The Lou-
isville Times photojournalist since 1972
Honors: First woman to win a Hearst
Journalism Award for Photojournalism
with rst place in the picture story cat-
egory; a College Photographer of the
Year award; Nieman Fellow at Harvard
University; contributed to Pulitzer Prize-winning coverage
by The Courier-Journal and The Louisville Times
Epiphany: Its a gift to be a background person. It took me
a long time to realize that.
CLOSE-UP: PAM SPAULDING
Photos reprinted by arrangement with the National Geo-
graphic Society from the book An American Family: Three
Decades With the McGarveys by Pam Spaulding. 2009
Pam Spaulding.
JAN/FEB 2010 | AMERICANPHOTOMAG.COM
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PERSONAL PROJECT 21

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The book conveys a strong thesis about time and
change by carefully juxtaposing pictures that speak
to one another, despite being separated by many
years. The reversal of caretaking roles, for example, is
poignantly on display at left as Johns mother holds her
rst grandchild in May 1977, and then sits aficted
with Alzheimers with granddaughter Sara 20 years
later in a nursing home. The irony of child development
is suggested with the photos below of young David
playing with a toy aircraft carrier in 1985, then being
sworn into the Air Force in 2002.
of the dynamics of an American family.
The book is the product of Spauldings relentless dedication
shooting during any spare moment she had, plus mentoring from
noted photographer Sam Abell who encouraged her to continue,
and the McGarvey familys warm embrace of the project. In fact, it
was Judy (the familys matriarch) who enticed Spaulding to con-
tinue photographing them after the Courier-Journal assignment
was complete. As a journalist, you get really close to your sub-
jects, but then drop them because you have to move on, she says.
But Judy kept calling me to update me on the family and to tell me
about upcoming events. She drew me back in, and I would think, I
have to photograph this or that.
With the many years Spaulding spent photographing major
milestones and quiet moments in the McGarveys lives, its no
surprise that they became like a second family. Spaulding usually
found the time to photograph the McGarveys whenever her own
children left to visit her ex-husband a matter of convenience,
perhaps, but also a symbolic act. To this day Spaulding spends
every Christmas afternoon and evening with the family, photo-
graphing their every move.
But, despite the thousands of black-and-white photos Spauld-
ing has taken (and continues to take) of the McGarvey family, she
says her book isnt actually about them. Instead, they are vessels
for a more universal subject: the passage of time in our society. The
beauty of Spauldings book which eschews chronology and pres-
ents the photos according to theme and family member is how
her compressed representation of the familys evolution allows
us to recognize important threads, often obscured, which persist
throughout a life. For example, a young boy playing with a toy air-
craft carrier is hardly remarkable until you then see that same boy
(David McGarvey) being sworn into the Air Force years later. A
seemingly unimportant moment in the past resonates when placed
into context, creating a strong visual narrative.
Spaulding is an adamant supporter of photography for posteri-
tys sake, and she hopes the book will become a historical reference
for future generations to see how a very ordinary, middle-class fam-
ily functioned in todays society. In a hundred years, a picture of
just someone standing in front of their house will be so interesting,
she explains, because the culture will be diferent. There might not
be electric wires, the cars will be diferent, or maybe there wont
be cars at all. So Ive been trying to photograph things for future
generations. AP
AMERICANPHOTOMAG.COM| JAN/FEB 2010
FOCUS
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PERSONAL PROJECT 22
Sometimes its more important to know what equipment a
photographer leaves out
All the members o the McCurvey clun upon viewing Pum
Spauldings pictures, say they remember the captured mo-
ment but not the photographers presence. She can thank
her equipment for that one. In the early years, I used a Leica
rangender with a wide-angle 24mm or 35mm lens because
it was quiet, she explains, but after a few years the family
seemed at ease around me, so I switched to an SLR, which is
easier to shoot with. Since 2002, Spaulding has shot with digi-
tal, recently using the Canon EOS 40D with either the EF
16-35mm or 70-200mm zoom. Though she also uses a Canon
EOS 5D Mark II, she never carries more than one camera body,
which allows her to blend in. I cant operate with too much
weight hanging of me, she says.
Spuulding rounds out her geur with u smull strobe most oten
a Canon Speedlite 580EX), which she uses indoors in order to
capture the details of the familys darkly lit house. I feel about
camera equipment the way I feel about cars, she says of her
intentionally sparse gear. I just want it to work.
IN THE BAG
Spaulding sought to capture a comprehensive range of life
moments, from the common, everyday antics of a father
with his rambunctious children, to seminal moments like
shopping for a rst bra or enjoying annual holiday tradi-
tions. Thus, while the book might resemble a family photo
album for the McGarveys, readers can see themselves in
these snapshots of conventional moments.
JAN/FEB 2010 | AMERICANPHOTOMAG.COM
FOCUS
|
PERSONAL PROJECT 23
Flickr Creative Showcase
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Behind every great photo theres a great story.
The rst snow of the year is always my favorite. Its like the world
becomes a blank canvascovered in white. Everything seems so quiet,
so crisp and fresha clean slate for new hopes, dreams and ideas
gleaming with all the possibilities of things yet to come. This is how I
like to start every New Yearby taking a long deep breath and taking
in the new world around me, knowing that anything is possible.
Read more stories at everypicturematters.com
Join the American Photo community and upload your photos to
www.ickr.com/groups/americanphoto
THE PHOTO
Austin, Texas-based Jay B. Sauceda created this shot (above left)
to promote a concert series run by New York-based entertainment
company Jelly NYC. I used four lights: one on the left and one
on the right for rim light, a big softbox above for the ll, and one
strobe high and above to the right for the hard sun look, he says.
THE AGENCY
The Boxing Club of Austin was creating corporate identity mate-
rials for Jelly NYC; art director Matthew Genitempo contacted
Sauceda because he liked the pictures on his Flickr photostream.
THE CAMPAIGN
The image was used in a national print media campaign for Jelly
NYC (above right) that ran in The Fader and Spin. I shot about 10
diferent people and this was the main select, Sauceda says. (See
text on page 26 for details.)
PHOTOGRAPHER: JAY B. SAUCEDA
Why are ad agencies looking for photo talent on Flickr? Because theyre nding
a freshness you usually cant get with stock photography BY JACK CRAGER
VI SI ON QUEST
When Seattle-based Darien Chin began posting his personal pho-
tographs on Flickr four years ago, he had no idea what it would lead
to. When I rst started on Flickr, it was only to share work that I
had done and to learn more about photography, recalls Chin, 30.
I hadnt shot anything professionally. I just loved photography
and making images.
Chin soon discovered the power of Flickrs social-networking
reach. By prolically updating his Flickr photostream, he devel-
oped a fan base on the globally popular photo-sharing site and
commercial interest in his work soon followed. People started
writing me through Flickr with job ofers and image-licensing
requests, says Chin. When you gain a presence and more people
pay attention to your work, they tend to think of you when some
opportunity comes up that they think ts your style. They try to put
you in touch with the right people to make things happen.
Thats exactly how Chin ended up having his work used in a
campaign for cellular-phone giant T-Mobile, created by Seattle
ad agency Publicis in the West. (See pages 26-27.) I heard about
Dariens work through a mutual friend on Flickr, says Lauren
Burks, formerly a recruiter for the agency who regularly scouted
Dropping type onto a blank newspaper (above left) turned Saucedas image into an ad for Jelly NYC (above right).
JAN/FEB 2010 | AMERICANPHOTOMAG.COM

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FLICKR CREATIVE SHOWCASE 25
THE PHOTO
Seattle photographer Darien Chin posted break-dancing self-
portraits (opposite and top) along with other work on his Flickr
photostream. I didnt have a website of my own at the time,
he recalls.
THE AGENCY
Seattle ad agency Publicis in the West discovered Chins work
on Flickr. [Creative director] Lindsay Daniels and her team went
on to use it in their concept for the T-Mobile 3G Sidekick LX
campaign, explains former Publicis recruiter Lauren Burks.
THE CAMPAIGN
Through Publicis, T-Mobile bought yearlong unlimited rights to
one of Chins images for use on a Seattle-area billboard, and
nationally in Internet ash ads and in various promotions (above).
The nal shot was a composite of two diferent images, one for
my top and one for my legs, says Chin.
PHOTOGRAPHER: DARIEN CHIN
the site for talent. [Creative director] Lindsay Daniels and I agreed
that his work would be perfect for the T-Mobile 3G Sidekick LX
campaign, because we were looking for someone capturing break
dancing in a fun and innovative way. The client ended up buying
yearlong unlimited rights to Chins break-dancing self-portrait,
Footloose (opposite). The image, which is actually a composite
of two shots, appeared on a Seattle-area billboard, and nationally
on Web-based ash ads and even Xbox Live Wallpapers. Hes all
over the campaign, says Burks.
Art directors and creative directors are using Flickr a lot for
visual research, says Cheryl Masaitis, an art buyer at the JWT
agency (formerly J. Walter Thompson) in New York City. I think
we go to Flickr to experience something that is not stock photogra-
phy, and thats what we get. You can nd a breadth of photography
that is fresh, unpolished or unique, and that may reect the vibe
your campaign is after. Its a spontaneous place for creative think-
ing a visual melting pot without reservations.
Flickr often brings like-minded collaborators together. I use
Flickr on a daily basis to discover new photographers and artists,
says Matthew Genitempo, a freelance photographer and art direc-
tor based in Austin, Texas. Ive met many other photographers
who I wouldnt have known otherwise if it werent for Flickr. One
such case was fellow Austinite Jay B. Sauceda. Sauceda collaborated
with Genitempo on a campaign for Jelly NYC, a hip New York City-
based show-staging agency, which ran nationally in The Fader and
Spin magazines. His style is exactly what we were going for, says
Genitempo. We came across Jays work on Flickr, and the rest is
pretty much history.
Masaitis points out that because many images posted on Flickr
are taken by amateur photographers, problems can arise with com-
mercial usage. Once we fell in love with an image of a rock-concert
crowd and used it in a design comp for a campaign we were working
on, she recalls. It was perfectly spontaneous and rough around
For its T-Mobile campaign,
Publicis digitally combined two
break-dancing self-portraits
by Flickrs Darien Chin the
legs of one (opposite) with the
upper body of another (right).
They also changed colors,
repaired rips and trimmed Chins
ying dreadlocks (below).
AMERICANPHOTOMAG.COM| JAN/FEB 2010
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JAN/FEB 2010 | AMERICANPHOTOMAG.COM
FLICKR CREATIVE SHOWCASE 27
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THE PHOTO
Montreals Jonathan Laberge uploaded an image of his wife out-
doors in a lounge chair (top) to his Flickr photostream. Along
with the existing light, I bounced a Nikon SB-24 Speedlight into an
umbrella for front light and placed another Speedlight behind the
chair to create the highlights, he says of the shot.
THE AGENCY
The Thomas Agency in Lubbock, Texas, spotted the picture on
Flickr. I contacted Jonathan through his website to ask if we could
license this particular image for use in a retail ad campaign, says
account executive Ashleigh Sawyer.
THE CAMPAIGN
The photo was used throughout 2008 and 2009 in billboard, print
and television ads (above) for the Kingsgate Center shopping
complex in Lubbock. The client loved it so much, Sawyer says,
that they asked us to renew the license for our 2009 campaign.
PHOTOGRAPHER: JONATHAN LABERGE
the edges like we wanted. But the image was not high-res enough,
the people in the image were underage and not model-released,
and there was at least a two-day lag in discussions with the pho-
tographer all red ags that make an image unlicensable. At this
point, though, our client was in love with the image, and so were
we. So we found another way: We licensed the idea and composi-
tion of the photograph and then recreated it, with released talent
and proper resolution.
In other cases, agencies buy photographs on Flickr that are
already up to spec for commercial use. Take the photograph
of a woman in a lounge chair in the middle of what seems to be
an overgrown field. It was shot by Montreal, Canadabased
Jonathan Laberge of his wife, who happens to be a model. There is
a certain commercial quality thats inherently a part of this photo,
which uses articial lighting in an outdoor situation, says Steve
Smothers, art director at the Thomas Agency in Lubbock, Texas.
Smothers used the shot in a billboard campaign for Lubbocks
Kingsgate Center shopping complex. What attracted me to the
image was not only the subject matter but also the amount of light-
ing and post-production work. Those two things delivered a surreal
image that worked with the campaign and a level of polish not
always seen in the scrapbook shots on Flickr.
The size and scope of Flickr can be intimidating even to an expe-
rienced user of photography. You can use keywords to search for
particular kinds of images, says Masaitis. But with image authors
all choosing their own keywords, it can be a crapshoot. The work
all tends to blend together.
Still, I love the fact that Flickr is such a huge ocean of imagery.
You know its not ltered through a stock agency. In the end, it gives
you a more authentic outcome if you have the patience and your
project allows for it. And it certainly can be fun! AP
Laberges sleek portrait of his wife (top) was picked up from Flickr to advertise a shopping center.
AMERICANPHOTOMAG.COM| JAN/FEB 2010

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FLICKR CREATIVE SHOWCASE 30
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A 10% extra discount for American Photo readers by entering
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Original photo Minutes later
EXTREME: TYLER STABLEFORD
Ive been in a lot of extreme situations, but inhaling
hot ash was a new experience for me, says adventure
photographer Tyler Stableford, who got this shot while
tagging along with reghters in western Colorado
while they set a controlled burn to stave of wildres
in the area. Rarely do re departments allow any
journalists this close to the action, but the Colorado
team made an exception for Stableford after he photo-
graphed them for an assignment the previous year.
In the middle of the scorching scene, a reman is
turned into a painterly blur by the waves of heat,
evoking a sense of heroism and focus on the ames
that creates a feeling of re that practically burns
through the page.
CLOSE-UP
Training 5eIftaught 5tabIeford started ursuing
photography professionally about 10 years ago while
working as an editor at Climbing magazine.
Most dangerous shoot lnside gIacier caves in
Iceland when they could collapse at any moment
lnsired by kisky situations aIthough hes gotten
less bold since becoming a father
8est advice 6ive rints to your modeIs The re
ghters were thrilled to get Stablefords photos
and in return, they gave him more access later on.
Website tyIerstabIefordcom
lN TH 8A6
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lthough 2009 might
have been a difficult time for the world, it
was an exhilarating time for photography.
For our annual Images of the Year com-
petition, American Photo received nearly
4,000 entries, and selecting the winners
from among them was not an easy task for
the judges. There were novel approaches
across all categories, says judge Paula
Tognarelli, executive director of the Griffin
Museum of Photography. Photographers
are really stretching their imaginations to
produce work that bears their own indi-
vidual marks a difficult thing to do in
these times, when we are bombarded by
imagery.
The pictures that made the final cut
represent the culture of 2009 in a vari-
ety of original, technically masterful ways.
After a year of devastating tsunamis and
res, the dramatic photographs by Aaron
Feinberg and Tyler Stableford underscore
natures dominance. Ed Kashis and Michael
Hansons moving projects in Africa reect a
growing international consciousness. And
the witty work by student Sean Dufrene
speaks to our need to maintain a sense of
humor amid challenging times. What the
winners all have in common, however, is that
they reect a move away from heavy-handed
digital manipulation in favor of pure, pow-
erful imagery. Its easy to get caught up in
technology, but these pictures show that
the craft of photography capturing a sin-
gle moment is thriving, says judge and
lensman Tony Corbell. The industry is in
very good hands.
Michael Hansons portraits prove that
sometimes the most original images
come when a photographer steps out-
side his comfort zone. When the
Seattle-based documentary photogra-
pher made a trip to Ethiopias remote
Omo Valley, he discovered that its
villagers, members of ancient tribes who
have not adopted Western ways, have
grown used to posing for tourists. There
was no way they were going to let me
photograph them in a natural way, says
Hanson, whose solution was to ditch his
reportage style in favor of stark black-
and-white portraiture. By focusing purely
on the villagers and their tribal markings,
Hanson was able to convey not just the
essence of their personalities, but the
compelling culture that has shaped them.
CLOSE-UP
Training: A former minor-league
baseball player, Hanson is self-
taught as a photographer.
Work owned by: The Sir Elton
John Photography Collection
Inspired by: A curiosity about the
people behind food and everyday
objects; hes documented the
gold mines in Chile and the
oyster industry in Florida.
Best advice: Learning how to con-
nect to the people in your shots is
more important than mastering
the gear or the business side of
photography.
Website:
michaelhansonphotography.com

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35
While documenting Nigerias
oil industry for his book Curse of
the Black Gold (powerHouse), Ed
Kashi discovered the Trans Amadi
Slaughter, an abattoir that had
sprung up after petroleum-related
pollution destroyed local sheries.
The photographer spent three days
shooting the grim conditions and
young workers. It was so visually
and emotionally overwhelming, it
took all my senses to gure out how
to make a great picture, says Kashi.
But he found it, snapping this stirring
shot o u yeurold currying u gout
to be roasted over a pit of burning
tires. After the picture appeared in
National Geographic, one reader was
so moved that she raised money for
the boy to return to school. When a
photo inspires someone to action,
says Kashi, Ive done my job.
CLOSE-UP
Training: BFA in photojournalism
rom Syrucuse University
Documentary projects: Aging
and health care in America, the
Iraqi Kurds, Pakistani culture
Inspired by: Peoples stories and
issues that stir my soul
Best advice: Know what youre
really good at and focus on that.
You cant do everything well.
Website: edkashi.com

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Aaron Feinberg often uses Photoshop
to enhance or rene the landscapes
he photographs, but for this awe-
inspiring shot, Mother Nature did all
the work for him. Based on the island
of Kauai, Feinberg had witnessed this
type of wave on the Na Pali coast only
a few times. When the surf is big
enough, the wave splashes against
the back of a rock, collides with an
incoming wave and shoots up, he
explains. Early one evening last year,
Feinberg decided to stake out his shot,
and after two hours on a rock with
his Canon, he caught the translucent
blue-green water at its most explosive
moment. He named the shot, appro-
priately enough, Kaboom!
CLOSE-UP
Training: Self-taught
Other area of expertise: He holds
a degree in atmospheric sciences,
and his understanding of weather
and tidal patterns comes in handy
for planning landscape shots.
Inspired by: Photo-sharing web-
sites like deviantart.com, because
you see what others are doing and
get instant feedback on your own
work
Best advice: Shoot, shoot, shoot.
Its like the old monkeys-typing-
Shakespeare saying eventually
youll get something good.
Website: afeinphoto.com

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NATURE: AARON FEINBERG
37
PERSONAL WORK: JULIA FULLERTON-BATTEN
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For several years, Julia Fullerton-
Batten has focused on the lives
of teenage girls, portraying them
in her edgy photographs as both
awkward giants and expression-
less automatons. In her latest
series, In Between, she looks at
the transition from girlhood to
womanhood and the tumult that
accompanies that stage. For the
project, she cast dancers, who
could achieve the unusual posi-
tions she was looking for some
appear to be levitating, while
others look like theyre being
tossed about without look-
ing too polished. I didnt want
professional models because they
tend to be overcondent, says
Fullerton-Batten, whose work has
been embraced by the ne-art
world. I quite like the oddness of
girls at this age.
CLOSE-UP
Training: Degree in photogruphy
from Englands Berkshire College
o Art und Design
Photographers she admires: Cuy
8ourdin Puud Vun Empel ulso
sculptor Erwin Wurm
Inspired by: Her childhood, par-
ticularly the period around
her parents divorce
Best advice: Dont worry i not
everyone loves your work. Its
better to do something extreme
than something mediocre that
everyone thinks is nice.
Website:
juliafullerton-batten.com

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softboxes, grids, beauty dishes
and boom arms to supplement
the natural daylight for a stylized
efect and to freeze models
in motion (models were not
suspended by wires nor were
images signicantly altered in
postproduction)

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1he chullenge Creute u photogruph
powerful enough to turn people of
cigarettes without resorting to the
gruesome imagery so prevalent
in anti-smoking campaigns. With
the help of a couple of dancers, an
up-for-anything ad agency and hun-
dreds of yards of Lycra, Los Angeles
photogrupher Picurdo Murenco did
just that. I wanted to evoke a sea of
people trapped inside their addic-
tion, says Marenco, who created the
shot or the Culiorniu Depurtment
of Public Healths billboard and print
campaign. To achieve his desired
efect, he photographed the dancers
individuully inside oottull Lycru
cigarettes. Then he digitally overlaid
embers and smoke from real ciga-
rettes on the gures. The ads ran
without any words, only a helpline
number the image said it all.
CLOSE-UP
Training: BFA in lmmaking from
the University o Culiorniu Los
Angeles; learned photography
through working as an assistant
Also shoots: Film publicity posters
(past projects have included V for
Vendetta and House of Wax)
Inspired by: His mom, who works
harder than anyone in the world
Best advice: Be good, be quick and
be fast, but dont bust any heads.
Website: ricardomarenco.com

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With this shot, Academy of Art
University student Seun Durene
cuptured his yeurold uther Jucl
in all his surreal, Coors-guzzling glory.
This photo isnt far from reality,
suys Durene My duds lind o u
cowboy. The shot is part of a series
on his father that is at once beauti-
fully composed, hilarious and tender.
(Other images have him wearing a
beer-can tool belt and dining with
his cut Durene initiully plunned
to shoot his dad in a documentary
style lu Pichurd Avedon but then
realized Jack warranted a more outra-
geous approach. As for his model,
Durene suys 8eore every shoot
hed grumble about it, but whenever
I submitted a shot in class, he would
be the rst one calling me, asking, So,
what did they think?
CLOSE-UP
Training: Studied economics and
photo communications at California
Stute University lullerton now
pursuing an MFA at the Academy of
Art University in Sun lruncisco
Upcoming project: A series of high-
fashion shots in B-movie settings
Inspired by: Quentin Tarantino and
Mel Brooks movies
Best advice: Shoot for yourself, not
other people. Critiques can rene
your process, but also pollute it.
Website: seandufrene.com

Cunon EOS D with u verticul
buttery grip und El mm
L zoom
Slil tripod
Prooto AcuteP
watt-second) power pack with two
Acute ush heuds
STUDENT WORK: SEAN DUFRENE
41
Io see lhe pholo gollery ol oll winning imoges ond runners up go lo
www.omericonpholo.comJlOIY

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MARK EDWARD HARRIS
Over the spun o yeurs the impossibleto
categorize photographer Mark Edward Harris has
shot everything from celebrity decorator Kelly
Wearstlers apartment to the rarely seen militarized
zones of North Korea. Based in Los Angeles, he has
published ve books, including the seminal Faces
of the 20th Century (Abbeville) and Inside Korea
(Chronicle). IMPRESSED BY: Seun Durenes student
work. Out of all of images, I kept coming back to this
funny yet sophisticated picture. From the balance of
the frame to the lighting to the way every object had
a purpose, the image popped.
JANICE LIPZIN
Janice Lipzin has been involved in the art world as
a photographer, an agent (at Sygma and Magnum)
and a portfolio consultant. She is now the director
of visual arts and education at the Banana Factory, a
major gallery space and community center in
Bethlehem, Pennsylvania, where she oversees
exhibits us well us resident urtist progrums und
art courses. IMPRESSED BY: Julia Fullerton-Battens
personal project. Theres a certain elegance and
grace to these girls defying gravity. Theyre so out of
the ordinary, but the girls look like they belong in that
space, in those positions.
TONY CORBELL
Since he got his sturt in Sun Diegobused
photographer Tony Corbell has trained his lens on
brides, astronauts and heads of state becoming
something of a lighting guru in the process. He cur-
rently divides his time between teaching workshops,
managing product education for Nik Software,
and shooting a personal project about his other
great love, the Beatles. IMPRESSED BY: Picurdo
Marencos commercial photograph. Its clean,
inventive and powerful. I imagine it required a heck
of a lot of work.
PAULA TOGNARELLI
As the executive director and curator of Bostons
inuentiul Crin Museum o Photogruphy Puulu
Tognarelli organizes shows that promote social con-
sciousness while also moving the art form forward.
She spent yeurs worling in gruphic urts und is one
of the top experts on digital photography.
IMPRESSED BY: Ed Kashis photojournalism shot.
Kashi is a skilled storyteller, drawing us into the
drama of the situation and leading us to empathize
with the boy as if we were there.
THE JUDGES
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Left: The protective covering of the Jack Colker Union 96 gas
station on Crescent Drive in Beverly Hills was originally designed
as part of the Los Angeles International Airport. Photographing
it for a book, Tim Street-Porter drove there at twilight to get the
right balance of lighting.
Architectural photographer Tim Street-Porter
has captured Los Angeles modernism and
Mexican style. Next he shapes how we see
urban living STORY BY PAUL LOVE
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and architectural magazines in addition to working extensively
on books not to mention shooting for designers. He has a new
book due out in April and is in talks about another to follow.
Plus, at an age when many would consider retirement, Street-
Porter is entering the digital realm.
Not one to follow convention, Street-Porter made an impulsive
leap into photography. While studying architecture at Regent Street
Polytechnic School of Architecture in London in the mid-60s, he
was awarded a student exchange scholarship in San Francisco.
America was thrillingly indigenous: transportation, graphics,
street signage, refrigerators everything was made in the USA.
He documented this yearlong visit on color slides and 8mm movie
lm to create a mixed-media show titled Captain America. Back in
London, the exhibition debuted to a sold-out audience at the Royal
College of Art.
That success led, in part, to his next big decision. Suddenly in
my nal year of school, I had to choose: architecture or photogra-
phy? Photography won.
Guided by friend and fashion designer Emmanuelle Khanh,
Street-Porter immediately immersed himself in his newfound
passion. I went to Paris with my Nikon F and photographed sev-
eral new events in the design world, including a futuristic Andr
Courrges fashion show and a display of transparent inatable fur-
niture designed by Khanhs husband, Quasar Khanh.
Developed in the basement laundry room of his parents home,
these pictures landed Street-Porter his rst published work four
pages in British society magazine Queen (later Harpers & Queen and
now Harpers Bazaar U.K.) and his rst assignments, including
shooting the Strand Palace Hotel in London and some studio work.
Beyond talent, Street-Porter credits his relationships for helping
him break into magazine work. Overnight I had become a photog-
rapher with a rapidly growing portfolio of tear sheets from a leading
magazine thanks to a miraculous rapport with its art director, he
says. Though he considers fostering connections in the industry
After four decades of shooting, Tim Street-Porter is still one of our busiest
architectural photographers. He travels the world on assignment for top design
46
Above: Larger-than-life advertisements are part and parcel
of the Los Angeles landscape. The motion blur made by the
headlights of passing cars mirrors the frenetic energy of
the iPod ad and the city itself. Opposite: Street-Porter used
a tilt-shift lens to make one of the most tangled spaghetti
junctions in southern California look like a scale model.
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Left to Right: Light adds dynamic depth to a shot
of the Wolf Houses living room, in the Hollywood
Hills. Shadows complement the display of a Harry
Bertoia sculpture in a shot for Metropolitan Home.
Only sunlight and open oor-to-ceiling windows were
needed to balance the interior and exterior of Richard
Neutras Kaufman House in the Palm Springs Desert.
BEHIND THE LENS
Here I showed the space as graphically as possible, showing the layer-
ing of the glass wall and the stone wall beyond. The tight edges of the
composition accentuate the delightful drama of the space and also the
indoor/outdoor ambiguity.
48
Freelance magazine photography can be good business, but
Street-Porter admits that there are no rules to creating rela-
tionships and landing consistent work with magazines. Even so,
there are several ways to increase the odds of staying in favor
with editors.
Keep editors up to date StreetPorter oten inorms the edi-
tors he works with about when and where he travels, in case
they have additional work for him in the area.
Deliver on the shot list and then some Cive the magazine all
the shots they ask for, and then give them additional, creative
shots they didnt realize they needed.
Stay on location i it looks like conditions could improve to help
capture the best images. Putting in extra time, especially with
dynamic subjects, can yield unexpected photo ops. Ambient
lighting (and other factors) can enhance a subject at diferent
times of the day.
very magazine has its own workow Unless editors make
unreasonable demands, its benecial to keep them happy by
adapting to their procedures.
Knowledge is powerul When discussing upcoming assign-
ments, a photographers insights into a subject can lead to
clearer visions of and expectations for shoots, making the
photographers job a little easier.
REPEAT BUSINESS
for consistent work a crap shoot, editors who have hired him
cite his solid communication and ability to deliver on a shot list
among reasons they keep going back to him.
In 1978, Street-Porter made Los Angeles his new home,
attracted by the desert light, the 50s/60s architecture, the
enigmatic palm trees, the sense of freedom and space.
While his work for magazines including Architectural Digest
and The World of Interiors takes him all over the world, the City
of Angels remains the primary subject of many of his photo-
graphs and therefore his books (published by Rizzoli). In fact,
his take on Southern California is so iconic that when the
Annenberg Space for Photography on Avenue of the Stars
opened in 2009, its inaugural exhibit, L8S ANG3LES, featured
Street-Porters creative portrayals of the citys architecture.
Approaching architectural shooting creatively is an ongoing
challenge. A building is like a huge sculpture, xed in place,
which limits opportunities to be really innovative. An exam-
ple of how he has addressed this challenge can be seen in his
book Los Angeles (2006), in a shot of a tangled spaghetti junc-
tion where two freeways meet. I rented a helicopter and used
a Canon 35mm SLR with a 90mm tilt-shift lens. This gave me
an abstraction and created a visual surprise: Was it real, or was
it a model?
Other stunning images result from a combination of Street-
Porters technical mastery and architectural education. I
can read a space really well, which helps composition and in
BEHIND THE LENS
This is actually quite a small space interiors-wise, but with
the oor-to-ceiling windows slid open, it becomes much big-
ger, and the oor outside is electrically heated. I wanted to get
a low-angle view showing the indoor/outdoor relationship, of
which this is a classic example.
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communicating a buildings spaces and structural forms to really
show what the building is all about.
In photographs such as an exterior of the Richard Neutra-
designed Kaufmann House in Palm Springs, which was shot for
his book Los Angeles, Street-Porter uses perspective control, the
shifting of the lens relative to the camera back to keep the lines of
the structure from converging, a perennial problem in images of
architecture. I wanted to get a strong perspective view of this won-
derful house. Modernism does not get any better than this!
Because of the informal entry into his career, Street-Porter
didnt always have such technical savvy. At rst he relied on assis-
tants and even camera-shop employees to learn technique. One of
his rst assignments required the use of a 4x5 view camera. I had
never seen one of these intimidating machines. No problem an
assistant was on hand to operate it for me.
Having since mastered the mechanics of medium- and large-
format cameras, 2010 marks the year that Street-Porter takes
another leap and goes digital. Digital is altogether very sexy its
such a pleasure to see the image you just captured appear on the
screen of the laptop, hovering like an attendant butler.
The seduction of digital shooting has won him over. Though he
still loves lm, he plans to purchase an Alpa camera system with a
Phase One digital back. Alpas ofer all the wide-angle coverage and
perspective correction an architectural photographer needs and
is a beautifully precise instrument to use, with a handmade feel.
He also plans to buy a Canon EOS 5D Mark II for more-sponta-
neous shooting. AP
Above: Cloudy skies at dusk
emphasize the dramatic indirect
lighting in the courtyard of Frank
Lloyd Wrights Sowden House.
Opposite: Street-Porters technical
skills are exemplied in this shot
of Frank Gehrys Schnabel House.
This image appeared in the
Annenberg Space for Photogra-
phys L8S ANG3LES exhibit.
STkTPOkTkS LATST 8OOK ROOMS TO INSPIRE IN THE CITY, lS DU OUT lN APklL
HlS NXT 8OOK A FOLLOWUP TO S SUCCSSFUL L.A. MODERN TlTLD L.A.
CONTEMPORARY WlLL MlX 8OTH FlLM AND DlClTAL CAPTUk
50
BEHIND THE LENS
Frank Gehrys Schnabel house was designed so that each room
became a separate building. Here we see a corner of the living
pavilion, to the left, and the library, to the right. I formalized the
composition to create a play of elements, including the palm
tree, which echoes the shape of the dome on the roof. I also
waited until the light was just right to delineate and separate
the forms in an attractive way.
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On the highway to swell, surf photographer Dustin Humphrey
rides a 1970s-style motorcycle at-out along the eastern coast
of Australia STORY BY LAURENCE CHEN
SURFING
LOVERS LAND
52 52
Dustin Humphrey convinced a skepti-
cal custom-bike builder, Deus Ex
Machina, to put a camera mount on
the tank of his W650 motorcycle for
this low-angle perspective. Humphrey
triggered the camera with a switch
on the handlebars. Jason Salsa
Salisbury rides ahead on a bike with a
surfboard rack. Given a top speed of
only about 90 mph, they often rode
full-throttle on the straightaways.

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If
the road trip is the iconic vehicle for discovering ones soul, then pro
fashion and surf photographer Dustin Humphrey is denitely in the
drivers seat or in the saddle of a custom-modied Japanese motor-
cycle. And thanks to his Lovers Land blog, were all along for the ride.
Photographing surf road trips has become Humphreys raison dtre. The initi-
ation started back in the mid-90s when Humphrey was sidelined by a foot injury
while surng in Bali and started snapping pictures instead. He soon began shooting
all over Indonesia when the only places most surf photographers shot were the big
names like Hawaii. Fast-forward a few years, and Humphrey was shooting surfers
in places like Italy, a spot where waves usually just mean ooding in Venice. And
he went not just once, but three times. Thats amore. With those experiences, his
heart was won over by the unheralded surf spots of the world.
And Humphrey wasnt alone. He collaborated with like-minded surf-seeker
and lmmaker Taylor Steele to explore other neglected surng destinations like
Morocco, Hong Kong and Egypt. The resulting cofee-table book and lm, Sipping
Jetstreams, were released in 2006.
54
Opposite top: Humphrey captured Lovers Land sojourner Matty
Bouris reading about motorcycle gang wars, called bikie wars
in Australia. Opposite below: Humphreys partners Nathan
Noodles Webster and Jason Salsa Salisbury in the saddle.
Below: Mikala Jones surfs the most famous wave in Australia,
known as Kirra, near Coolangatta, Queensland. By panning at a
shutter speed of 1/15 of a second with a video tripod head,
Humphrey blurred the wave to impart a sense of speed.
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Above: Australian surfer Ozzie Wright gets air of a waves front side. An
iconoclastic gure in the professional surng world, Wright is famous for big
aerials and his funky style. He is the essence of what our crew was about,
Humphrey says. Opposite top: Surfer Nicolas Chalmers uses spray paint
to modify an expression tagged onto a surfboard. Opposite below: Eric
Ellison, a friend of the group, runs up the beach to swim out in the strong
Australian current and catch another wave.

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KILLER SURFING
DESTINATIONS
Diferent locations ofer a variety of moods for
both surfers and shooters. Here are suggestions
from some of the top surf photographers for
where to nd serious waves and talented riders.
But check weather reports before you go.
DUSTIN HUMPHREY
Mentawai Islands, Indonesia: Of the western
coast of Sumatra, the Mentawais are good from
March to October but best from June to Sep-
tember. Well-known waves include Bankvaults,
Lances Left and Lances Right, and Macaronis.
North Shore, Oahu, Hawaii: Pipeline is the most
famous wave in the world, and its the mecca
of pro surng. Teahupoo, Tahiti: Challenging
Hawaiis North Shore, Teahupoo has come to be
known for one of the heaviest waves in the world
since the late 90s.
JACK ENGLISH
Pleasure Point and Steamer Lane, Santa Cruz,
California: Historic California surng locations
are rich with surng history and home to
brands like ONeill and Santa Cruz Surfboards. It
doesnt hurt that the waves are world class too.
Gold Coast, Australia: Referred to as the surf-
ers paradise, the Gold Coast includes some 40
miles of beaches featuring point breaks known as
the Spit, Main Beach, Narrowneck, Palm Beach
and Mermaid Beach.
SETH STAFFORD
Jamnesia Surf Club and Camp, Jamaica: Located
at Bull Bay near Kingston, the camp specically
caters to the traveling surfer. Mancora Beach,
Peru: This beach has been favorably compared to
Malibu and Hawaii. Located on a long point-break
wave, Mancora attracts surfers of all abilities.
DAVID NELSON
Rincon, Santa Barbara, California: Known for
winter swells, Rincons easy access from the
highway means theres no shortage of surfers.
Check out the point breaks known as the Cove
and the Indicator. Puerto Vallarta, Mexico: North
of Puerto Vallarta is Playa Sayulita, with waves
ideal for cruising. Another attraction is Punta de
Mita near the headlands of Baha de Banderas.
With a similar book project in mind for the future, Humphrey
recently completed Lovers Land, the rst in a series of free-
form motorcycle/surng/art adventures. Humphrey and two
friends roamed the coast between Sydney and Byron Bay, Australia,
in April 2009. The plan was to have no plan, spontaneously riding
and surng as roads and swells presented themselves. They were
a trio of cowboys with surfoards riding steel horses into adven-
ture. Bon Jovi would have been proud.
Humphreys partners in crime were Nathan Webster, a clothing
designer and semiretired pro surfer, and Jason Salisbury, another
pro surfer and graphic artist. In addition to surfoards (of the two-
and three-nned variety) and an arsenal of lenses (see sidebar),
the trio was armed with sketchbooks, laptops, and a small at-
bed scanner to capture and share the epic journey on their blog
(loverslandblog.com). The result is a saucy surf insiders ebb and
ow of events, images and art. Readers familiar with surf culture
will feel right at home; those who arent will likely connect with
their inner dude nonetheless.
The idea for a motorbiking and surng trip was a natural exten-
sion of Humphreys and Websters interests. So it wasnt a big leap
for the pair to team up with custom-bike builder Deus Ex Machina
(deus.com.au), a company whose owner came from the surng
industry. The leap was getting three bikes built for promoting a
cultural crossover of wave and bike riding. He realized that I
was passionate about it, Humphrey says, but that nothing might
come out of this. The resulting blog interest, gallery shows and
trips were a big surprise to him.
They were a big surprise to Humphrey as well, a self-described

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TRY DIFFERENT VANTAGE POINTS
There are many places to shoot from: on
shore, on clifs, in the water, in boats, on per-
sonal watercraft or in aircraft. Choose your
camera position based on the light and visual
features near where your surfers are catch-
ing waves. Sometimes on land is better than
on water. For me its always about getting a
sense of place, getting a foreground or back-
ground, Humphrey says.
DONT LIMIT YOURSELF TO sheye or
600mm telephoto LENSES
Most photographers and magazines rec-
ommend these two lenses for starting out,
but Humphrey disagrees. Those are great
tools thatll get you going for the standard
surf photography stuf, but standard is not
what Im into. These days editors are a lot
more open to looser photos. For the rst
years of his career, he had only a 20mm
and a 100mm lens. I could shoot portraits,
landscapes and everything with those two
lenses. I really got to know them, he says.
USE A FLUID HEAD TO SUGGEST SPEED
OR CREATE A MOOD
With telephoto lenses, using slower shut-
ter speeds while panning with a subject will
impart a mood or a sense of speed to the
action. Humphrey likes to use about 1/15
of a second for a painterly look and about
1/60 of a second to suggest speed. Use a
uid video tripod head like Humphreys
Manfrotto for smooth, videolike panning.
LEARN HOW TO INTERPRET WEATHER
FORECASTS
Use the Internet. A good starting point is
surine.com. Learn how to predict where
swells are developing and what wind pat-
terns favor good surf conditions. Experi-
enced surfers can predict conditions around
the globe up to four days in advance and
plan to be there.
PACK YOUR GEAR IN A WATERPROOF
CASE
Salt water. Nuf said.
old-school e-mailer who had no real experience with blogs before
the project. (One successful result of the posts was being hired to
shoot a few fashion campaigns on Polaroid film.) Always keen
to see a story diferently, Humphrey bought a used Polaroid 195
camera (circa 1975) and whatever lm he could nd. With Canon
DSLRs capturing the surf vibe, the Polaroid recorded the mood and
dynamic of the travelers on land. The lms dreamy look turned out
to be the perfect complement to the digital action shots. It was
like bouncing back and forth between advertising and editorial,
Humphrey says. I try to mix up the look for editorial (stories), but
I didnt plan it like that, I just wanted to shoot Polaroids. They went
with the vibe of the whole trip: It was all very serendipitous.
So as the trio meandered up the coast, kindred spirits possied up
along the way, their exploits adding color to the story. Their big-
gest problems were some grumpy locals and avoiding contact with
the pavement while riding at-out (sometimes in the rain). By the
time the riders reached Byron Bay, the entourage was large enough
to rent a beach house for a week. We had lots of artists, photog-
raphers and designers, making art, taking photos, surng, having
bonres ... we had so many diferent people, it was really inspira-
tional for me, and I hope for them as well, Humphrey says.
A connection with a local gallery resulted in a one-night art
exhibit. Humphrey made inexpensive digital prints that got tagged
up by well-known Australian landscape painter Robert Moore.
Others in the band of travelers contributed drawings, sketches and
poems. Everything was priced at AUD$30, and everything sold. It
TECH TIPS FOR
SHOOTING SURFING
Opposite top: A connection with the Sea Cell Gallery in
Byron Bay led to an impromptu exhibit of photography, video
and other art created during the Lovers Land excursion.
Everything was priced at AUD$30. Not surprisingly, it all sold.
Opposite below: Salisbury takes a break in the shade with his
girlfriend Mia Taninaka, who joined the crew on weekends.
Above: Salsa doing what he does best: getting barreled.
Below: Staying in hotels or campsites along the way, the riders were
frequently joined by friends for a few days or longer. And no surf trip is
complete without beach bonres. Opposite: Professional surfer Ozzie
Wright marches to the beat of his own guitar, in and out of the surf.
Humphrey shot surf action with a DSLR, but used a Polaroid 195 (shown
opposite below) for the road-trip photos. He found that leaving the back-
ing on for ve to 10 minutes enhanced the old-photo efect on the edges.
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IN THE BAG
CANON CAMERA BODIES:
EOS 1D Mark II
EOS 1D Mark III
EOS 5D Mark II
PowerShot G10
CANON LENSES:
EF 20mm f/2.8 USM
EF 50mm f/1.2L USM
EF 85mm f/1.2L USM
EF 70-200mm f/2.8L USM
EF 300mm f/2.8L IS USM
EF 600mm f/4.0L IS USM
OTHER EQUIPMENT:
Polaroid 195 instant camera
Hasselblad 501C
Zeiss 120mm f/4 Makro-
Planar CFE lens
Gitzo carbon-ber tripod
Manfrotto tripod head
Manfrotto ballhead
Apple 17 MacBook Pro
LaCie Rugged Hard Disk
500GB portable drive
SPL underwater housing
was a huge deal, says Humphrey. Where can you get a Moore for $30? Ozzie
Wrights dont go cheap either. As one of the highlights of the trip, it was just
another example of Humphreys knack for nding unexpected side roads.
All this creativity and surf worshipping just needed a name. Unable to agree
on anything, the guys typed road into their Australian-English computer
thesaurus, and among the results, the phrase lovers land appeared. Austra-
lian for road? Who knew?
With the positive reception of Lovers Land, Humphrey is already plotting the
next road-trip adventure for 2010. Hell be bringing his motorbike, and hell be
bringing another way of seeing: Surf trips are never just about the surf. Its the
travel, the people, the landscapes and getting all the in-between moments that
tell the story. AP
Polaroid is poised to make a comeback. The
Summit Global Group, the current licensee
of the Polaroid brand, plans to put classic
Polaroid instant-camera lm back in action
in 2010. Its partner is The Impossible
Project (the-impossible-project.com), a
team of enthusiasts and former Polaroid
employees developing a new instant
integral lm based on the original manu-
facturing process. If they are successful, a
black-and-white instant lm (under their
own brand) will become available early in
the year, followed by a color formulation.
POLAROID REDUX
For more information on Dustin Humphreys work, see reelsessions.com. To ride along
with Humphrey on his Lovers Land odyssey, check out his blog at reelsessions.com/
dustinhumphrey_lovers-land-blog.html.
JAN/FEB 2010 | AMERICANPHOTOMAG.COM
63
WHAT PHOTOGRAPHERS NEED
GEAR
GOTTA HAVE IT
DATACOLOR SPYDERCUBE
Call it an 18 percent gray card
for the digital age. Datacolors
elegant SpyderCube is a six-sided
plastic-resin block designed
to be placed within a test shot,
where it provides a white-
balance, color-calibration and
tone-control workow reference
when you plan to shoot a number
of photos in consistent light. (It
even incorporates a tripod socket
for mounting.) Each fade-proof,
2.5-inch-square face presents a
combination of neutral values,
including white for controlling
highlights in a histogram; black,
which incorporates a light-
absorbing trap for a true black
to click on when processing
images; and, for metering and
color-temperature correction, a
trusty 18 percent gray. (The silver
ball is for specular highlights.)
BUY IT: $60; datacolor.com
NOTEWORTHY SPECS
megupixel bymillimeter CCD
image sensor (no FOV crop)
Sensors improved UVP lter elimi
nutes need or onlens corrective lter
mugedegruding noise reduced by one
stop compared with predecessor
Uses Adobe DNC ormut or PAW les which
cun be opened in Photoshops ACP converter
Suves les to Secure Digitul SD und SDHC
cards, not CompactFlash
BUY IT: $7,000; us.leica-camera.com
FINALLY, A DIGITAL RANGEFINDER THAT LETS YOU THINK
LIKE A 35MM PHOTOGRAPHER | BY RUSSELL HART
LE I CA M9
WHATS NEW: The next-generation Leica M9 is what the Leica M8 should have been. It
repluces the lutters smullerthunmm imuge sensor with u ullrume mmsize one which
means that a given lens focal length reaps the same angle of view youd get with a Leica M7 or
uny eurlier Mseries ilm rungeinder n eect the Ms sensor increuses ocul length by X
cropping the ield o view A new UVP ilter in ront o the Ms sensor eliminutes the need to
use screw-in corrective filters on your lenses (an unexpected flaw in the M8).
WHATS BETTER: At 18 megapixels as opposed to 10, the resolution of the M9 soars above
the M8s, better serving the legendary sharpness of Leica lenses. And despite that proliferation
o pixels noise is uctuully ubout u stop lower in the M thun in the M meuning you get imuge
quulity ut SO compuruble to whut the M guve you ut SO 1hut lets you shoot in lower
light without setting slower shutter speeds u good thing given the lucl o imuge stubilizution
WHATS NOT: t isnt u DSLP which meuns you huve to ocus munuully by superimposing
images in the non-TTL finder) and set your own exposure with an old-fashioned shutter speed dial
and aperture ring. (In A mode the camera automatically sets shutter speed to suit your f-stop.)
But those things are exactly what an inveterate rangefinder photographer wants. Top sensitivity
remuins ut SO which seems limiting in light o toduys SO busting DSLPs And
the ullmetul cumeru body is bullier thun u mm Leicu rungeinder not quite us ormitting
in the hands. That said, the M9 is still the worlds smallest full-frame digital camera.
LOOK FOR A FIELD TEST OF THE LEICA M9 THIS SPRING.
EDITORS CHOICE 63
|
SHOOTOUT 66
AMERICANPHOTOMAG.COM| JAN/FEB 2010
GEAR
|
EDITORS CHOICE 64
BRAND NEW BAGS
THESE SOPHISTICATED MODELS ARE NOT YOUR PAPAS BACKPACK OR BRIEFCASE
|
BY THEANO NIKITAS
THINK TANK
PHOTO MULTIMEDIA
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BRIEFCASE
THE SHORT OF IT
Breeze through airport
security with your laptop
and camera gear
Versatile belt pack for
photographers who
also shoot video
Large and versatile, it can
be quickly switched from
backpack to roller bag
Rugged backpack in three
sizes; comfy enough for
long treks and pro gear
Dual compartments plus
quick, swing-around
access via side ap
Videocupuble DSLPs invite
still photographers to shoot
moving pictures, and this
belt pack was designed
with that dual purpose in
mind. Cables are neatly
managed via integrated
ports and a separate pouch,
while a front pocket allows
a quick glimpse at audio
levels. Special microphone
sleeves permit hands-free
recording, while an external
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within easy reach. A har-
ness system and camera
support straps are included;
you can buy modular com-
ponents for extra storage.
1his highly conguruble
backpack comes with a
lightweight, collapsible trol-
ley; you convert it to a roller
bag by slipping the trolleys
extendable handle through
the packs rear slots, then
securing the lower portion
with Velcro straps. The top
of the pack is a removable
accessory section that
can be used as a small
shoulder bag or waist pack
for side trips. You can swap
out your laptop for an
optional water bladder to
keep yourself well hydrated.
A thickly padded harness
system with 10 adjustment
points makes this rugged
pack pain- and strain-free,
even on your most ambi-
tious outings. The waist
belt is removable, and a
separate module on top
can be detached and used
as a waist pack for side
trips. Each model has an all-
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sides, and a small pouch for
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top slot comes with its own
checkpoint-friendly sleeve.
This briefcase opens at to
reveal a see-through laptop
compartment; you dont
have to remove your com-
puter for airport inspection.
Add an optional photo
insert, and you can send a
DSLP und lenses through
at the same time. Theres
even a see-through pouch
in a cargo pocket for quick
inspection of TSA-approved
liquids When the briecuse
is open its contents are still
secure, so theres no need
to zip it up when you re
trieve it rom the Xruy belt
nterior meusures W
x H x D holds u
DSLP with midrunge
zoom mounted und up
to a 70-200mm f/2.8
zoom detuched
Holds up to three pro
DSLP bodies one with
inchlong lens mounted
plus several lenses, a ash
and accessories. Optional
side bags add capacity.
Model number indicates
focal length of camera-
mounted lens each pack
can hold plus extra bodies,
up to six or seven lenses,
und u inch luptop
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inch und compuct
17-inch laptops; insert
holds u DSLP with uttuched
mm two
more lenses and a ash.
$170
thinktankphoto.com
$220
m-rock.com
$240, $280 and
$320
lowepro.com
$90 (briefcase)
$20 (camera insert)
tenba.com
Like a sling bag but easier
to use, this backpack pro-
vides dual access to your
gear. You can open the
lower compartments front
panel, as usual. But swing
the bag around to the front
on one strap so that its side
is ucing up und u zippered
ap gives you faster access
to your geur no need to
take of the whole pack. A
separate top section holds
personal items such as food
and a change of clothes,
and theres a well-padded
laptop compartment.
Holds u prosize DSLP with
grip and an attached 8.5-
inch-long lens (e.g. a 70-
200mm f/2.8) plus two
more ust zooms u ush
and most 17-inch laptops.
$120
tamrac.com
BUY IT
VITAL STATISTICS
THE LONG OF IT

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AMERICANPHOTOMAG.COM| JAN/FEB 2010
GEAR
|
SHOOTOUT 66
PHOTO FINISH
1HE NKN DS AND CANN ES D ACE NECK AND NECK
l 1HE ASC CWN | BY JONATHAN BARKEY
When it debuted in 2007, the 12.2-megapixel Nikon D300 was
the most advanced APS-format digital SLR ever. Fast forward two
years and the upgraded Nikon D300s brings this popular model
into the DSLR HD video era and, more signicant, Canon has
nally challenged it with the 17.9-megapixel Canon EOS 7D. The
new Canons high-end specs are aimed at exactly the same crowd.
Will it dethrone the Nikon? Lets compare.
8DDl5 DPkATlDN
Both cameras are big, tough and comfortably sculpted, with rubber-
clad magnesium-alloy bodies, 150,000-cycle shutters and extensive
weather sealing. Both have huge, bright viewnders that cover 100
percent of the subject area. Both nders feature LED-illuminated
overlays showing AF points, composition gridlines and more.
We prefer the Nikons traditional ergonomics, including its
separate external controls for setting release-, metering-, focusing-
and AF-area modes. The EOS 7D retains Canons less convenient
modal buttons paired with twin control dials, but adds buttons
and custom functions for faster operation. Both also have 3-inch,
920,000-dot LCDs, but the 7D allows direct access to camera set-
tings from its Quick Control screen.
5N5Dk5 lMAC UALlTY
The D300s and EOS 7D incorporate low-noise, self-cleaning
CMOS sensors with a eld-of-view crop factor of 1.5X and 1.6X re-
spectively. With 45 percent more pixels, the Canon is measurably
sharper at high magnication; its native print size at 240 dpi is
1he Nilon Ds cun control
up to three groups of wireless
Nikon ash units via its built-in
popup strobe Here u single
of-camera SB-900 Speedlight
provides beautiful daylight-
bulunced llush ut u cunine
Hulloween costume purude Lens
wus u mm AlS DX Nillor
+ PROS
megupixel CS sensor
has large pixels for ef cient
light gathering
bit EXEED processor pro
vides shadow/highlight control
at time of exposure, in-camera
correction of vignetting and
chromatic aberration
point Al system covers sig
nicuntly wider subect ureu
than EOS 7Ds, with greater
density of points
New Dovie HD video ullows
manual control of exposure
and audio level, features ex-
ternal mic input and in-camera
clip trimming
uiet shutter mode inter
vulometer virtuul horizon on
LCD builtin CS computibility
Slots or both Compuctllush
und SDSDHC memory curds
Dedicuted buttons uctivute live
view and LCD info panel
Computible with neurly every
Nikon lens made since 1959
- CONS
ps requires uccessory buttery
grip bit AW les limited
to 2.5 fps
AW les ut S
are roughly one stop noisier
than those from EOS 7D
HD video lucls p ull
HD und is limited to ve
minute clips
BUY IT: $1,700; nikonusa.com
NIKON D300S

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JAN/FEB 2010 | AMERICANPHOTOMAG.COM

GEAR
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SHOOTOUT 67
14-by-22 inches, versus the D300ss 12x18 inches. Still,
the Nikons output is impressive given its pixel count,
and real-world results depend a lot on lens choice and
technique. One big surprise: Despite its much smaller
pixels, the 7Ds RAW les are noticeably smoother at
ISO 3,200 and ISO 6,400 than those from the D300s.
And the 7Ds top sensitivity of ISO 12,800 isnt much
noisier than the ISO 6400 maximum of the D300s.
5HDDTlNC PkFDkMANC
These cameras are both purpose-built for fast action.
The Nikon uses the same 51-point autofocus as the
pricey D3 and D3s. Covering nearly half the frame, it
reliably focus-tracks unpredictable subjects with help
from its 1,005-pixel RGB exposure meter. The EOS 7Ds
all-new 19-point system ofers similar capability using
63-zone color metering (also new) but covers a smaller
area of the frame. We particularly like the 7Ds new Zone
AF, which lets you toggle quickly through ve clusters
of focus points. To complement their killer AF systems,
both cameras shoot up to 8 fps as fast as any serious
sports photographer is ever likely to need.
FLA5H LlV VlW VlDD
Each camera can control up to three groups of external
strobes wirelessly, using its own pop-up ash as a trigger.
Flash ratios can be set remotely with the menu old hat
for Nikon, catch-up for Canon. Likewise, they ofer live-
view shooting. Both cameras record 720p high-denition
video at 24 fps, with the option of manual-exposure con-
trol. (The D300s is limited to ve-minute clips at that
resolution.) The EOS 7D can shoot 720p at 60 fps, which
we found to be visibly smoother, as well as higher-res
+ PROS
megupixel sensor delivers
highest resolution of any APS-C-
ormut DSLP
Lower noise thun Ds ut higher
ISOs; top sensitivity is ISO 12,800
versus SO in Nilon
p HD video with selectuble
frame rates, manual exposure
control, external mic input
Superust ps cupture in both
JPEC und bit PAW modes
Duuluxis electronic level
shown in viewnder or LCD
point crosstype Al with
single-point, spot, point-expansion,
vezone und point uuto
lirst Cunon with wireless Speed
light control via pop-up ash
New PAWJPEC Quicl Control
programmable multifunction
buttons for faster adjustments
Custom Controls menu ullows pro
gramming of 19 functions with LCD
schematic showing control location
Dedicuted live viewvideo ono
switch with integral start/stop button
- CONS
Smaller AF area with fewer AF points
thun the Ds
CPS requires expensive uddon
wireless transmitter
BUY IT: $1,700; usa.canon.com
CANON EOS 7D
1080p HD at either 30 fps or 24 fps, which makes the picture visibly sharper.
(At 1080p, its limited to 12 minutes per clip.) Both allow you to attach an
external stereo microphone.
BUYING CONSIDERATIONS
At about $1,700 each, the Nikon D300s and Canon EOS 7D are the most
expensive and full-featured of all APS-format DSLRs. The EOS 7D has a
resolution advantage (if you print bigger), better high-ISO performance
and superior video. Its new AF system is innovative, but the D300s ofers
wider, denser coverage. And the D300s comes with dual memory-card slots,
a built-in intervalometer and native GPS compatibility. Were tempted to
say the Canon beats the Nikon by a nose except the latter takes virtually
any Nikon lens ever made. The winning camera for you may well depend on
which system you already own. AP
The EOS 7Ds all-new 19-point autofocus is the most advanced
und conguruble in its cluss 1his sixlegged puir o runners wus
captured using Zone AF in AI Servo mode, with a Canon EF 70-
mm L S zoom
A master of ski photography shares the secrets
behind his dramatic winter-sports action shots
BY RUSSELL HART
exposure by one to two stops.
Modern matrix meters have improved
exposure accuracy overall, but I still nd
myself shooting above what the meter is
telling me. I combine the meter reading
with a quick look at a test shot on the cam-
eras LCD keeping in mind that the screen
will show less highlight detail because my
eyes are adjusted to bright daylight.
Set a shutter speed of at least 1/1,000 of a
second to freeze a fast-moving skier.
I generally use a shutter speed of
1/1,600 of a second, which will stop the
action with tack precision. If the subject
is coming straight at you, you can get away
with less than 1/1,000 of a second, espe-
cially if the lens is on the wide side.
Dont be afraid to increase ISO so you can
set a high shutter speed for fast-moving
subjects.
With the improvements to high-ISO
image quality found in many new cameras,
you might be able to go as high as ISO 3200
to achieve whatever combination of aper-
ture and shutter speed is needed. Research
your particular camera model to learn at
what ISO setting it starts to produce objec-
tionable noise.
Be careful to keep snow of the lens front
element when youre shooting, and protect
the camera body when youre changing
lenses.
Point the camera downward when
Shooting for magazines such as Powder
and Skiing, as well as for commercial cli-
ents such as GORE-TEX, Oakley and Helly
Hansen, Manley manages to make his tech-
nique invisible all the better to highlight
the grace and drama of the sport. We asked
the 24-year-old photographer for general
tips about shooting in snow and specic tips
about how to nail action on the slopes.
When your subject contains large amounts
of white snow, increase your camera-metered
Photographers love the way snow trans-
forms a landscape but often fear the
technical hurdles to making good pictures
of it and in it. Add to that the challenge of
freezing fast-moving winter-sports sub-
jects, and snow can be as intimidating to
photographers as it is inviting.
In his work as a photographer spe-
cializing in ski-related subjects, North
Vancouver, British Columbia-based
Jordan Manley faces these issues head-on.
SNOW KI NG
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Left: Manley shot this head-on view with a sur-
prisingly short focal length of 80mm meaning
he was very close to the oncoming skier. Taken
with a Nikon D200, it ran on the January 2009
cover of Ski Press magazine (above).
AMERICANPHOTOMAG.COM| JAN/FEB 2010
68 SKI LLS
|
FRAME WORK
capture skiers at the peak of the action.
I think you need anywhere from 5 to
8 fps. That allows you to pick out the best
of the bunch and chuck the rest. And shoot
a burst of at least three frames as the skier
moves through.
Try to shoot by sidelight or backlight.
Whats really important is the dynamic
between light and snow, specifically the
snow that skiers churn up as they move
through the frame. Its important to envi-
sion before the shot how the skier will
throw snow and how the light will interact
with that snow. Generally side lighting or
backlighting and fresh, untracked snow
produces the most dramatic results and
youre waiting to take a shot. When you
change lenses, do it quickly, and lean over
your camera to prevent snow from fall-
ing in. Dont ski around with your camera
around your neck keep it in a camera bag
that allows you to ski freely and gives you
ease of access.
Use focus tracking to shoot a skier whos
coming right at you, but prefocus if you
know where the skier will be at the instant
you take the picture.
If youre photographing a particular
skier say a friend or family member
talk with him or her to plot where he or she
will ski so you can plan your shot. Then you
can set the focus manually at that distance,
so the camera isnt trying to autofocus
before it res. When I work with athletes,
we always discuss where I want them to ski
and sometimes throw snowballs to mark
that point in the snow.
You dont need supertelephoto lenses for
good ski photography.
The 80-20mm f/2.8 zoom is my bread-
and-butter lens. Its range has the ability
both to highlight the action and to suck in a
beautiful feature in the background. Some-
times Ill use a 300mm, but more frequently
I use 50mm, 17-35mm and sheye lenses. I
prefer to get closer and pack less weight.
Use a camera with a fast framing rate to L
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also improves the sense of texture on the
snows surface.
You can still create a strong composition
even when you have to think about expo-
sure, shutter speed and timing.
Once youve picked the spot where
you want to shoot a skier, try to visual-
ize the athlete coming through the frame,
and when youre shooting try to keep him
or her in the same position in the frame.
Always try to fuse the beauty of your par-
ticular location with the sports action.
Digital photography makes it really easy to
shoot a test frame and be sure everything is
exactly the way you want it before the
action takes place. AP
Right: Though this backlit image of a plummeting
skier (from Powder magazines 2009 Buyers Guide,
above) was shot at 1/1,000 of a second, Manley
tries to use 1/1,600 of a second when possible to
ensure sharp results with the fastest ski action.
AMERICANPHOTOMAG.COM| JAN/FEB 2010
70 SKI LLS
|
FRAME WORK
Our Muslins Feature:
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h|6hT 0L0S0 L0A0 w|6hT P8|0
Whatever kind of photography you
do for a living, meeting new clients
and staying in touch with them is
more important than ever in our fast-
moving digital world. The good news
is that much of the technology that
now inundates us is made-to-order
for business purposes. Among other
things, this includes blogging, main-
taining a community of Facebook
friends and crafting clever tweets.
These days, clients want to work
with photographers they have a con-
nection with, says Jason Moriber of
Wise Elephant, a business consult-
ing rm. Its essential to be available
across many forms of social media,
because you never know which one
will resonate with your intended
audience. New York-based photog-
rapher Dan Saelinger agrees. Weve
come to a place where a card in the
mail or a portfolio isnt nearly enough
to compete, he says. Using social-
networking sites allows me to reach
out to clients not just as a guy selling
a service, but also as a friend updating
them on something cool I just did.
There are many social-media
websites that can be useful for pho-
tographers. Here are a few of the most
important, with tips on how to use
them efectively.
FACEBOOK | FACEBOOK.COM
You might already be on Facebook,
but rather than using your personal
page for business purposes, create a
Facebook group or fan page. (That
way, clients wont see you in a bathing
suit unless you want them to!) Then
search Facebook for people you know
As photographers vie
for pieces of a smaller
pie, social networking
has become an essential
business tool
BY GREG CEO
GOI NG
SOCIAL

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in the photo world, especially prospective
clients, and invite them to join.
Once youve set things up, its impor-
tant to post new content regularly to keep
people interested. Photographs dont
have to be completely polished; they can
be personal images that convey some-
thing about you. You can also post short
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message through their personal e-mail,
and if you send too many, you might lose
some friends.
In addition to the main link on your
Facebook profile, include a link under
each photo. Clients might want to verify
that youre a reputable photographer with
serious clients and a substantial body of
paid work.
BLOGS
|
WORDPRESS.COM,
TUMBLR.COM
Though its important, a website looks
static and staid compared with a blog. In
a blog you can play up work youve done
lately, comment on whats happening in
the industry and create a sense of who
you are. When blogging about your own
work, dont just share new images ofer
insight into your creative and technical
process. Post every few days, and be sure
to stay on topic.
However, dont expect a lot of traf-
fic if you limit your blog to your own
photography and business. The blog
serves primarily to promote my services
and drive traffic to my website, says
Saelinger. But I think its very important
to discuss things that are outside my own
work in order to add substance and keep
people coming back. Saelinger started
his blog less than a year ago, and has
noticed a sizable increase in the number
of visitors to his website since that time.
TWITTER
|
TWITTER.COM
Twitter has fewer active users than Face-
book, but its a big deal to those people.
If your clients are using it, you should
be too. Follow people in the industry by
responding to their tweets. When sending
your own, stay on topic and try to tweet
several times a day. You can use tweets to
send links to your blog posts, twitpics of
recent images or comments on industry
news. The more current and interesting
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A GOOD WORD
WITH SOCIAL
MEDIA, THINK
BEFORE YOU WRITE
BY RUSSELL HART
The forward march of communications
technology has left grammar in the dust.
Tweets and text messages squeeze lan-
guage into the smallest possible space.
Blogs and Facebook posts are written in
such haste that theyre full of mistakes
if they dont try to exempt themselves
from attention to syntax by affect-
ing a stream-of-consciousness style.
Even e-mail is a punctuation-free zone.
Thats all well and good among friends.
But if youre a photographer using social
media as a promotional or marketing
tool, a slip of the thumb can be a turnof
to clients. They might worry that a lack of
care in writing signals weak communica-
tion skills or even carelessness in your
photographic technique. Create a good
impression by observing the following.
Use ull punctuation Capitalize the
beginnings of sentences. End sentences
with a period, question mark or exclama-
tion point. (One of the latter is usually
enough or emphasis Use commas to
create pauses in long sentences.
Write in complete sentences Avoid both
ragmented and runon sentences When
youre not sure if a sentence is run-on,
see if you can break it easily into two self-
contained parts.
l you need to keep it short weed out
unneeded or repetitive words. Go back
through each sentence. Sound it out in
your head and try to reduce the number
of beats it contains. You dont have to
be Hemingway to do this.
Dont let grammar cramp your style Your
social-media writing can be informal and
colloquial and even reect your own
speech patterns l thats not happen-
ing, record yourself talking about the
topic you want to cover. Then transcribe
what youve said, add missing details and
clean it up.
Dont all in love with your words 8logs
tweets and Facebook posts are not the
Creat American Novel theyre all
about communicating in an engaging,
efcient way.
you are, the more followers you will gain.
As with other social media, youll want to
develop a persona that balances the pro-
fessional and the personal. AP
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CONTINUED FROM PAGE 14
THE LIGHT FACTORY: CONTEMPORARY
MUSEUM OF PHOTOGRAPHY AND FILM
SPIRIT SQUARE
345 North College St., Suite 211, Charlotte, NC
xhibition: The Romance of the Road: Photographs
in Search of the Promised Land
Jan. 11-April 11
Dening kecetion: Jan. 21, 6-9
Highway- and byway-inspired images and video
summarize American wanderlust.
Artists lncIude: Photographers Maureen
France, Richard Gilles, Bryce Lankard, Amy
Stein, Pamela Springsteen and video artist
Charles Woodman
Hours: Mon-Sat 9-6, Sun 1-6
Contact: 704-333-9755, lightfactory.org

5DUTHCNTkAL
HOUSTON CENTER FOR
PHOTOGRAPHY
1441 West Alabama, Houston, TX
xhibition: 2010 Print Auction Exhibition
Jan. 22Feb. 23
Always a surprise, this amazing annual ofering of
ne art photography is for serious collectors.
Dening kecetion: Jan. 22, 6-8
Hours: Wed and Fri 11-5, Thu 11-9, Sat and
Sun 12-6
Contact: 713-529-4755, hcponline.org
Auction: Feb. 25; go online or call for more info
MEMPHIS BROOKS MUSEUM OF ART
Overton Park, 1934 Poplar Ave., Memphis, TN
xhibition: Salt of the Earth: Photographs of the
Farm Security Administration
Through Feb. 28
The Great Depression documented by Dorothea
Lange, Arthur Rothstein, Marion Post Wolcott
and Russell Lee
Hours: Wed and Fri 10-4, Thu 10-8,
Sat 10-5, Sun 11-5
Contact: 901-544-6200, brooksmuseum.org
MlDW5T
THE CLEVELAND MUSEUM OF ART
11150 East Blvd., Cleveland, OH
xhibition: France at the Dawn of Photography
Through Jan 24
Amazing History! Sixty-two vintage 19th-century
prints from noteworthy photographers including
Adolphe Braun and Gustave Le Gray
Hours: Tue, Thu, Sat, Sun 10-5; Wed, Fri 10-9
Contact: 216-421-7340, clemusart.com
If you like historical photographs, the museum
will display Edward S. Curtis prints beginning
Feb. 7.
GALLERY 210, UNIVERSITY OF MISSOURI-ST.
LOUIS
44 East Drive, One University Blvd., St. Louis, MO
xhibition: Lauren Greeneld: THIN
Jan. 21-March 20
Artists recetion: Jan. 21, 5:30-7:30
Uninching documentary reveals the devastating
complexities of eating disorders while afrming
her subjects humanity.
Hours: Tue-Sat 11-5 or by appointment
Contact: 314-516-5976, umsl.edu/~gallery
MUSEUM OF NEW ART (MONA)
7 North Saginaw, Pontiac, MI
xhibition: Cyrus Karimipour: New Work
Jan. 9Feb. 6
Artists recetion: Jan. 9, 6-9
Past meets present when highly interpretive
darkroom images meet rephotography and the
digital realm.
Hours: Thu-Sat 12-6
Contact: 248-210-7560, detroitmona.com
5DUTHW5T
CENTER FOR CREATIVE PHOTOGRAPHY,
UNIVERSITY OF ARIZONA LIBRARIES
Tucson, Arizona
xhibition: John Gutmann: The Photographer at
Work
Through Jan. 31
Thorough retrospective celebrates the inuential
modernists nearly century-long life and work.
Hours: Mon-Fri 9-5; Sat-Sun 1-4
Contact: 520-621-7968, creativephotography.org
PHOTO-EYE GALLERY
376 Garcia St., Suite A, Santa Fe, NM
xhibition: Hiroshi Watanabe: Suo Sarumawashi
Through January
Touching Japanese macaque monkeys portray
the range of human emotion.
Hours: 10-5 Tue-Sat or by appointment
Contact: 505-988-5152, photoeye.com/
hiroshiwatanabe
W5T
THE ANNENBERG SPACE FOR PHOTOGRAPHY
2000 Avenue of the Stars, #10, Los Angeles, CA
xhibition: Walter Iooss and Neil Leifer
Through March
Two great sports photographers celebrate the
athlete body and soul.
Hours: Wed-Sun 11-6
Contact: 213-403-3000, annenbergspacefor
photography.org
JOSEPH BELLOWS GALLERY
7661 Girard Ave., La Jolla, CA
xhibition: On Ice: Photographs by Len Jenshel
and Diane Cook
Through Feb. 13
Dening kecetion: Dec. 12, 5-8
Greenlands glaciers and icebergs succumb to
climate change before our eyes.
Hours: Tue-Fri 10-5, Sat 11-5
Contact: 858-456-5620, josephbellows.com
NDkTHW5T
GALLERY 291
360 Walnut Ave., North, Ketchum, ID
xhibition: Group Exhibition of 291 Artists
Ongoing
A sampling of jaw-dropping work by artists
represented at 291s San Fran location: Deborah
Hamon, Markham Johnson, Jim Marshall, Eliza-
beth Opalenik, Jock Sturgess, Elisabeth Sunday
and Joyce Tenneson.
Hours: Tue-Sat 11-6, Sun-Mon by
appointment
Contact: 208-928-7339 or 415-291-9001,
gallery291.net
WALL SPACE GALLERY
Pioneer Building, 600 First Ave No. 623,
Seattle, WA
xhibition: New Directions 2010: Down and Out
Jan. 5-Jan. 31
Top-notch emerging and established
photographers literally look down and look
out upon the land.
Hours: By appointment
Contact: 206-330-9137, wallspaceseattle.com
The show then moves to Portlands 23 Sandy
Gallery, 623 NE 23rd Ave., Portland, OR
Feb. 5-27
Hours: Thu, Fri, Sat 12-6; open late First Thu and
Fri; other hours by appointment
Contact: 503-927-4409, 23sandy.com
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U.S. POSTAL SERVICE STATEMENT

OF OWNERSHIP, MANAGEMENT,
AND CIRCULATION
(Required by 39 USC 3685)
1. Publication Title: American Photo; 2. Publication No. 526-930;
3. Filing Date: 10/1/09; 4. Issue Frequency: Bi-Monthly; 5. No. of
Issues Published Annually: 12; 6.Annual Subscription Price: $15.00;
7. Complete Mailing Address of Known Office of Publication:
Bonnier Active Media, 2 Park Avenue, New York, NY 10016; 8.
Complete Mailing Address of Headquarters or General Business
Office of Publisher: Bonnier Corporation, 460 N. Orlando
Ave., Suite 200, Winter Park, Orange County, FL 32789; 9. Full
Names and Complete Mailing Addresses of Publisher, Editor,
and Managing Editor: Publisher: Gregg R. Hano, Bonnier Active
Media, 2 Park Avenue, New York, NY 10016; Editor: Sarah Kinbar,
P.O. Box 8500, Winter Park, FL 32790. Managing Editor: Leigh
Ann Ledford, P.O. Box 8500,Winter Park, FL 32790. 10. Owner:
Bonnier Corporation, 460 N. Orlando Ave., Suite 200, Winter
Park, Orange County, Florida 32789, Terry L. Snow, P.O. Box
8500, Winter Park, Orange County, Florida 32790; 11. Known
Bondholders, Mortgagees, and Other Securities: None; 12. Tax
Status (for completion by nonprofit organizations authorized
to mail at nonprofit rates): Has Not Changed During Preceding
12 Months; 13. Publication Title:American Photo; 14. Issue Date
for Circulation Data Below: September/October 2009; 15a.
Total Number of Copies: 221,323 (September/October 2009:
221,357); b. Paid Circulation: (1) Mailed Outside-County Paid
Subscriptions Stated on PS Form 3541: 135,410 (September/
October 2009: 128,483); (3) Paid Distribution Outside the Mails
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Copies Included on PS Form 3541: 26,356 (September/October
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g. Copies not Distributed: 42,108 (September/October 2009:
53,078); h.Total: 221,323 (September/October 2009: 221,357); i.
Percent Paid: 85.17% (September/October 2009: 83.65%).
Long before fashion began to borrow wholesale from art, and
art likewise from fashion, one photographer saw the connection
between the two. For Irving Penn, who died on Oct. 7 at the age of
92, the barrier between photographic genres was always porous.
His surpassingly artful portraits of mud-masked New
Guinean aborigines, caped Peruvian peasants and uniformed
English tradespeople, all excised from their native settings with
a neutral background, recognized that modes of dress are part
and parcel of human identity that clothes make the man, and
woman.
Penns still lifes, seemingly the main interest of his late career,
were at turns cool, elegant and witty, but always luminous and as
ordered as a Dutch painting whether they depicted animal skulls
or skin-care products. His bread and butter was in photographs
of fashion and fashionable people, of course, but even the former
transcended their task of selling with gorgeous lines, measured
tones and a spareness that needed nothing more to be distinctly
his. And the subjects of the latter from Picasso to Capote, Kate
Moss to Giselle Bndchen knew that clothes could not protect
them from his penetrating lens.
Penn accrued that vision in a career that spanned seven decades,
if you date it from his 1943 rst appearance in Vogue magazine.
Working as an assistant to legendary Cond Nast art director
Alexander Liberman, he was tasked with creating covers using
in-house photographers and ended up shooting the rst one him-
self. He would go on to shoot 150 more for Vogue. And while Penns
superbly crafted prints went on to hang at art meccas including
the Museum of Modern Art and the Getty Center (where his Small
Trades images are on display through Jan. 10), Penn never lost his
interest in fashion nor, as in this image from a late series on the
quirky couture of Japanese designer Issey Miyake, his power to
delight the eye. AP
Irving Penn understood that the language of fashion is universal
BY RUSSELL HART
ELEMENTS OF STYLE
AMERICANPHOTOMAG.COM| JAN/FEB 2010
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