Emerging Photographer 2014 Spring

THE RESOURCE FOR PROFESSIONAL
IMAGE MAKERS OF TOMORROW

SPRING 2014
PRESENTED BY
30
THE PDN'S
ISSUE
EP_Spring2014_COVER_FINAL.indd 1 2/10/14 4:29 PM
PhotoSourceGG_8x10_875.indd 1 2/18/14 3:44 PM
#SONYRX
Watch HITRECORD ON TV this JANUARY on PIVOT.
I feel lucky to get to work in the
traditional Hollywood industry,
but I also love collaborating
with artists from all over the
world on hitRECord.
JOSEPH GORDONLEVITT
SONY
RX100 II
Capture unprecedented detail in extreme low-light conditions with bright, f/1.8 Carl Zeiss
glass.
There's also a high ISO of 12800, lightning-fast AF, Wi-Fi
sharing and a convenient expandable

shoe system. It's no wonder creative minds in the hitRECord community can't put it down. We're
redefning the compact camera. www.sony.com/RX
Our BEST pocket camera
just GOT BETTER.
2014 Sony Electronics Inc. Sony and the Sony logo are trademarks of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
All other trademarks are trademarks of their respective owners.
hitRECord is the open-collaborative
production company founded and
directed by Joseph Gordon-Levitt.
Together we create and develop art
and media of all kinds. Anyone with an
internet connection can work with us.
When any of our productions make
money, the profts are split between
hitRECord and the contributing artists.

Featured on this page are photos
taken with the Sony RX100 II camera
that were contributed to hitRECord's
collaboration RE: PATTERNS.
To contribute your photos
visit hitrecord.org/patterns
xxx_PDN_Guide_.indd 86 1/21/2014 1:10 PM
#SONYRX
Watch HITRECORD ON TV this JANUARY on PIVOT.
I feel lucky to get to work in the
traditional Hollywood industry,
but I also love collaborating
with artists from all over the
world on hitRECord.
JOSEPH GORDONLEVITT
SONY
RX100 II
Capture unprecedented detail in extreme low-light conditions with bright, f/1.8 Carl Zeiss
glass.
There's also a high ISO of 12800, lightning-fast AF, Wi-Fi
sharing and a convenient expandable

shoe system. It's no wonder creative minds in the hitRECord community can't put it down. We're
redefning the compact camera. www.sony.com/RX
Our BEST pocket camera
just GOT BETTER.
2014 Sony Electronics Inc. Sony and the Sony logo are trademarks of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
hitRECord is the open-collaborative
production company founded and
directed by Joseph Gordon-Levitt.
Together we create and develop art
and media of all kinds. Anyone with an
internet connection can work with us.
When any of our productions make
money, the profts are split between
hitRECord and the contributing artists.

Featured on this page are photos
taken with the Sony RX100 II camera
that were contributed to hitRECord's
collaboration RE: PATTERNS.
To contribute your photos
visit hitrecord.org/patterns
2 PDNEP.COM
FILTER
09 NFL Art Director Chris Stackhouse explains
what he looks for in up-and-coming
photographers; Art consultant Debra
Klomp-Ching gives advice on ne-tuning
a ne-art portfolio; PDNs 30 2012 Sam
Kaplan on cold-contacting prospective
clients; PDNs 30 2012 Wyatt Gallery on self-
publishing versus traditionally publishing
photo books; Brian Smiths new book on the
Sony A7/A7R; Lawyer Mickey Osterreicher
breaks down social-media TOS; APA & Sony
Photo Assistant Basic Training; Tribeca
Film Fellows program digs deep; Travel
magazine Tiny Atlas Quarterly takes ight;
PDNs 30 2011 Pari Dukovic on translating
documentary style to editorial assignments.
PORTFOLIO OF ONE
56 Could you dene your work with a single
image? Max Dworkin gives it a try.
By Julie Grahame
SPRING 2014
P
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FOCUS
24 ON THE FRONT LINE
PDNs 30 2002 Lynsey Addario dedicates her life to powerful
and empathetic documentary work around the globe.
By Jack Crager
30 BREAKING ALL THE RULES
PDNs 30 2013 Olivia Bee takes on the fashion
industry with verve.
By Harrison Jacobs
37 ALL IN THE FAMILY
Sony Artisan of Imagery Matthew Jordan Smith travels with two
young photogtaphers he met through APA & Sony Photo
Assistant Basic Training.
By Sarah Ristorcelli
44 PULLING PICTURES FROM THIN AIR
Emerging Photographer Photo Feed winner Elise Raffa
develops a surreal and cinematic body of work.
By Amy Touchette
50 GO INDIE GALLERY
The Go Indie photo contest winners
gallery.
EP_Spring2014_TOCV5.FINAL.indd 2 2/6/14 2:58 PM
2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
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8 PDNEP.COM
AMANDA BALTAZAR is a freelance writer located in the soggy Pacic
Northwest. She writes about photography, food and retail, and other subjects
ranging from pet atulence to puppet shows. With her third hand, she tries to
keep up with her four-year-old daughter.
JACK CRAGER is a New Yorkbased freelance journalist who regularly
writes about photography and visual arts, as well as other topics including
music, sports and tness, and the environment. Visit his site at
www.jackcrager.com.
JULIE GRAHAME is the publisher of aCurator, a full-screen photography
website, and the aCurator blog, named one of the top 20 photography blogs
by Life.com. Grahame represents the Estate of Yousuf Karsh for licensing,
judges competitions and gives portfolio reviews. She is the former associate
director at contemporary art gallery ClampArt, and in a previous life, she ran
the Retna photo agency.

HARRISON JACOBS is a Brooklyn-based reporter for Business Insider,
blogger and photographer balancing writing for print media with navigating
the treacherous waters of the Internet. Follow Jacobs on Twitter
@harrisonxjacobs and check out more of his work at
www.harrisonjacobs.com.
DEBRA KLOMP-CHING is the owner of the Klompching Gallery in New
York, an art adviser/consultant, freelance writer, photo editor for At Length
magazine and adjunct faculty at New Yorks School of Visual Arts.
MICKEY H. OSTERREICHER is the general counsel for the National Press
Photographers Association. He was a photojournalist in print and broadcast
for almost 40 years and now advocates for the rights of visual journalists.
SARAH RISTORCELLI is a freelance writer and the former editor of Garden
Design and American Photo magazines. She specializes in design, photography
and family topics and has been published in Rangender, Organic Gardening,
Modern and on numerous websites.
AMY TOUCHETTE is a ne-art photographer and freelance writer based in
Brooklyn, New York, who was the editor of Emerging Photographers Fall 2013
motion issue. Her rst monograph, Shoot the Arrow: A Portrait of The World
Famous *BOB*, was published by Un-Gyve Press and exhibited at ClampArt
in New York City in October 2013. Touchettes photographs have exhibited
internationally and have been featured in The New York Times, Slate, Esquire
Russia and The Hufngton Post.
Emerging Photographer
85 Broad Street, 11th Floor
New York, NY 10004 Ph: (646) 654-5800
Emerging Photographer is brought to you by two of the most respected names
in professional photography: Photo District News and Sony.
ON THE COVER
A self portrait of PDNs 30 2013
Olivia Bee, a fast-rising fashion
photographer with a penchant
for double exposures and
dreamlike imagery. Read about
Bee on page 30 of this issue.
VP & PUBLISHER: Lauren Wendle
MANAGER,
CUSTOM MEDIA & EVENTS
Moneer Masih-Tehrani
MANAGING & PHOTO EDITOR: Jacqui Palumbo
EDITOR: Abigail Wilentz
CREATIVE DIRECTOR: Lucy Reading-Ikkanda
CONTRIBUTORS: Amanda Baltazar, Jack Crager,
Julie Grahame, Harrison Jacobs, Debra
Klomp-Ching, Mickey H. Osterreicher,
Sarah Ristorcelli, Amy Touchette
PRODUCTION DIRECTOR: Danny Ryan
CIRCULATION: Lori Golczewski
ONLINE PROJECT MANAGER: Reiko Matsuo
ASSOCIATE PUBLISHER: Mark Brown (646) 654-5795
ACCOUNT EXECUTIVES: Mike Gangel (646) 654-5318
Jon McLoughlin (646) 654-7255
Lori Reale (858) 204-8956
PRESENTED BY
CONTRIBUTORS
Each year, the PDN editorial team dedicates their April issue to their choice of 30 new and emerging photographers to watch. Now
entering its 15th year, PDNs 30 has become a highly anticipated issue that brings acclaim to photographers who are rising to the
top of their eld.
Like PDNs 30, Emerging Photographer aims to capture the same spirit, celebrating those who are making a name for themselves
in the photo world and providing resources for how to build an inuential career. This issue, we take a look back at past 30s
to see where they are now, and ask them to share some insight with an emerging audience. From 2013s free-spirited fashion
photographer Olivia Bee, who was discovered on Flickr and has built a wildly successful brand at age 19, to 2002s Lynsey Addario,
who has worked tirelessly to create empathetic and powerful documentary work since 1996, this issue will show the different
paths that photographers take to show the world around them. Jacqui Palumbo
EP_Spring2014_TOCV5.FINAL.indd 8 2/6/14 2:58 PM
BREAKING IN
NFL Art Director Chris Stackhouse discusses
what he looks for in new photographers
Every photogra-
pher begins with
a dreama dream
of the company
theyd most like to
work for. But how
do you land that
work? Chris Stack-
house is the art director for the National
Football League (NFL) and hires several
freelance photographers every year.
Lack of experience or education doesnt
necessarily deter Stackhouse from hiring a
photographer. He probably wouldnt use a
new photographer straight out of the gate
for a Super Bowl shoot, but he might use
them for a smaller project, which will get
them through the door at the NFL.
Heres what Stackhouse looks for when
hiring up-and-coming photographers:
1
BE A TEAM PLAYER.
The most important factor is a
photographers working style, his
creative point of view and how open he
is to collaboration, Stackhouse says.
Having that ability to improvise and
bring ideas to the table, to not be afraid
to try something in the moment is a huge
advantage to me. Im looking for someone
willing to collaborate.
2
DO YOUR HOMEWORK.
There are also personality traits
that stand out, namely condence
and being articulate. A good sign is some-
one who asks me a lot of questions and
who comes to our interview engaged and
invested in the time we spend together.
3
HONE YOUR
DIRECTING SKILLS.
The rapport a photographer cre-
ates with his or her subjects is also vital.
For example, the NFL has been photo-
graphing real fans for its campaigns. A
big part of the photographers success
has been in getting subjects to feel
comfortable with something they dont
do every day. So getting someone who
can connect with their subject and bring
something out of them that they dont
expect is important, he says.
4
POLISH YOUR PORTFOLIO.
Stackhouse says that how a
portfolio is presented can be as
important as the work itself. A photog-
rapher is a storytellerhow you present
your portfolio tells me as much about
your creative thought process as the
image. If I cant navigate my way around
a website, or the image presentation
leaves me with questionsnot in a good
waythats usually a red ag.
5
MAKE YOUR PORTFOLIO
ACCESSIBLE.
Agencies view work in different
ways, so Stackhouse says to make your
digital portfolio accessible on a number
of different platforms, including mobile,
tablet and desktop computer.
Stackhouse expects to hear from
photographers every month or two if [a
photographic career] is something youre
passionate about. He keeps a le of
photographers hes interested in, but the
truth is that I may not look at that list as
thoroughly as I should, or may fall back on
someone Ive already worked with, he ex-
plains. So gentle nudges from time to time
can remind himand all creativesthat
youre keen to work.
And the best way to get in touch? E-mail
is always ne, he says, but what will truly
grab my attentionand I will most likely
keepis something physical, a piece of
mail that someone put obvious time and
effort into creating. By Amanda Baltazar
CHRIS STACKHOUSE

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ABOVE: Each year, Stackhouse and team develop
the creative vision and branding for the Super Bowl,
in which the photography captures the host region
while remaining iconic enough to speak to a global
audience. Stackhouse says, The action of the
cab rushing by was captured in frame and took an
incredible amount of patience and experimentation to
perfect. It went on to set the creative tone and color
palette for much of the Super Bowl XLVIII branding.
PDNEP.COM 9
EP_Spring2014_FiveTipsV3.FINAL.indd 9 2/5/14 3:06 PM
10 PDNEP.COM
Beyond the actual
creation of your
photographs,
marketing and
networking are
essential ingredi-
ents to becoming
a successful career
artist. But your most important marketing
tool is your ne-art print portfolio.
The key to developing a successful
ne-art photography portfolio, is rst and
foremost, having a clear understanding
of its purpose: to sell yourself and your
photographs. The three critical elements
in creating an effective portfolio include
the image edit, the physical quality of the
prints and the overall presentation of the
portfolio itself.
In most cases, a maximum of 20
photographs will be sufcient, providing
an excellent overview of the underlying
concept and ideas that drive the series
being presented. Approach the editing
from an objective standpoint. Your favorite
photograph may not be the best choice to
sell you and your work, so seek feedback
and advice.
For practical purposes, the scale of
prints are best kept to a size that is easy to
transport, whether in person or through
shipping. If your work is large-scale, it
can be useful to include a to-scale detail,
printed to the same size as the other
portfolio prints.
The images themselves should be
printed at the highest quality, using the
paper you intend to use when selling
the photographs. A dealer will assess the
quality of the print, and can only make a
denitive judgment if the portfolio prints
use the actual materials the dealer will
subsequently be working with. Keep the
prints loose and unsleeved, as dealers will
leaf through them, change the order and
view different
juxtapositions.
Expect the prints
to be handled. If
necessary, reprint
photographs that become damaged as
part of this process.
The portfolio box needs to allow for the
prints to be easily removed and put back.
Onyx Portfolio Cases are an inexpensive
and sturdy choice that also looks clean
and professional.
Although your portfolio is your most
important marketing tool, other tools have
become essential, as well. Your website,
e-mails and interaction with social media
combine to build your brand. Maintain
consistency across these platforms to
ensure a consistent message of who you are,
what your work is about and what youre
offering. Keep your website easy to navigate
and download. Ensure that your images
have titles, year produced, edition size, type
of print, and scale of photographs noted.
Provide a concise biography and/or resum,
together with a short artist statement. A
simple, standard-sized business card with
contact information is also expected. Use
of social media to create buzz and get the
word out about your work is ne, but dont
oversaturate these platformsdealers want
to show and sell artworks that are new and
havent been seen before.
Finally, we all know the saying, Its
not what you know, but who you know,
and the importance of careful networking
cannot be overvalued. The relationships
you forge with dealers, your peers, press
and collectors are critically important
to your future success. For emerging
photographers, portfolio review festivals
afford an excellent framework and
environment to meet people for the rst
time and are a professional opportunity
not to be missed. By Debra Klomp Ching
DEBRA KLOMP-CHING

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FILTER MICRO
RIGHT: British photographer
Simon Roberts
photography portfolio is
rened, easy to transport
and easy to handle.
Art consultant and owner of Klompching Gallery
Debra Klomp-Ching breaks downs the steps to
achieving a polished photography portfolio
Fine-Tune Your
Fine-Art Portfolio
EP_Spring2014_FineArtV1.FINAL.indd 10 2/5/14 3:01 PM
PDNEP.COM 11
Cold Contacting: A Way To Break In
Its a tough job but it also pays its dividends
Cold contacting
clients is the stuff
of nightmares
for freelance
photographers
hoping to get
their career off
the ground.
But one photographer has made it work
for him. Within ve months he transi-
tioned from assisting to shooting full time,
and now shoots for the likes of The New York
Times Magazine, Fortune and Mens Health.
Sam Kaplan graduated from Wesleyan
University, Middletown, Connecticut, in
2007, and then moved to New York City
and began assisting photographers. But
what he wanted to do was shoot photos
and realized he could break in through
editorial.
I did some cold calling, he says.
Id send e-mail blasts to 500 to 5,000
people, but then I decided to make it
more personal.
COLD CONTACT E-MAILS
Kaplan started focusing on the specic
magazines he wanted to work for, as well
as smaller magazines that might take a
risk hiring me as a relatively unknown
photographer. Hed spend some time
looking through the magazine, and then
hed contact the photo director, mention
specic photography hed enjoyed in a
recent issue, or a certain section of the
magazine hed admired, to show hed done
his homework, and then pitch his services.
That got a better response, he says.
Id nd something in the magazine that
connected with them; otherwise its just
another e-mail, and people get hundreds of
e-mails a day.
He was still one of those hundreds,
though, so how did he get the editors
attention? Its timing and persistence,
but not being too badgery, he says.
Sometimes Id just put Checking in or
New personal project as my subject line
so there was a reason to contact them.
It still took about six months before
he landed his rst meeting with a photo
editorat Popular Science. And it was
another year after that before he got his
second (with Wine Spectator). Somebody
needs to see your name six or seven times
before it sticks, so theres the persistence
factor, he says.
A thick skin also helps. Lack of
responses rolled off Kaplans back and he
kept plowing forward. Youve just got to
suck it up and know that eventually work
will come, he says.
DIRECT MAIL
Theres another string to Kaplans cold-
contacting bow: He also sends out direct
mail pieces that are mini works of art.
He feels this is even more effective than
e-mail. Its more personal, he says. I cut
them from nice paper and spend a lot of
time designing them. I feel that people
appreciate a printed-out piece more.
Kaplan typically mails out 250 to 600
mailers three times a year. They are usually
5.5 x 8.5inch double-sided cardboard, each
side featuring three or four related images.
I send them out on thick Moab paper,
and I design them really nicely, clean and
simple. A lot of times theyll be on the
wall if I go in to see a photo editor or art
buyer, he says. Its a physical thing youre
sending out to represent you, so it should
be something someone would be proud to
hang on their wall.
Theres no way around cold
contacting, Kaplan believes. If theres
an easy way to do it, other people would
have gured it out. If you believe in the
work youre sending out, you have got to
just trust in it. By Amanda Baltazar
SAM KAPLAN

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ABOVE: A mail promo created by Kaplan
that shows his conceptual, rened aesthetic
for still life and advertising photography.
2012
EP_Spring2014_KaplanV5.FINAL.indd 11 2/5/14 3:16 PM
12 PDNEP.COM
Fifteen years ago,
self-publishing was
a sure-re shortcut
to getting your
book ignored.
Now, with print-
on-demand ser-
vices such as Blurb,
shareable fundraising campaigns from
Kickstarter and IndieGoGo, and a widening
suite of editing packages offered by tradi-
tional publishing houses, it has become an
ideal option for many photographers.
There are benets to self-publishing
namely creative control and a larger cut
of the bottom linebut photojournalist
Wyatt Gallery has a word of warning to
would-be publishers.
Publishing a book with a good
publisher gives your book a higher level
of credibility, says Gallery. It feels more
legitimate and more established.
Gallery published a monograph about
Haiti relief efforts in 2011 called Tent
Life: Haiti, through Umbrage Books, and
recently completed #Sandy, about the af-
termath of Hurricane Sandy, which began
as a self-publishing effort and is now being
published by Daylight Books in 2014.
#Sandy came out of an iPhone pho-
tography exhibition by Gallery and other
photographers, shortly after the Hurricane
hit. Gallery had an idea to turn the work
into a book to generate relief money, as he
had previously done with Tent Life: Haiti,
but when he pitched the book to publish-
ers, the response was discouraging: he was
told he would need to pay the production
costs up front.
After a pep talk from Sean Corcoran
of the Museum of the City of New York,
Gallery became convinced that, publisher
or no publisher, he had to make this book
come to life. He consequently arranged
an IndieGoGo campaign for the book and
began working on the editorial material
out-of-pocket, with the help of creative
guru Eddie Brannan.
The IndieGoGo campaign was hugely
successful, due in large part to Gallerys
marketing expertise (he calls himself an
unofcial professional marketer), plus
some help from the mainstream media,
including The New York Times, Time Magazine
and National Geographic.
Because everyone is doing fundrais-
ers now, says Gallery, you have to make
a strong case for your project to be suc-
cessful. He explained why his campaign
contained the necessary ingredients to
really take off.
Its an important news story, a por-
tion of the proceeds goes back to people
affected by the natural disaster, and its rel-
evant at the time, explains Gallery. Also,
Is Self-Publishing the Solution?
Photographer Wyatt Gallery explains why this
DIY route may be more complex than you think
WYATT GALLERY

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RIGHT: Vanessa and Newborn in Their Tent. Port-au-
Prince, Haiti, March 2010. OPPOSITE PAGE: Two Sisters
in Their Tent. Port-au-Prince, Haiti, March 2010.
FILTER MICRO
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PDNEP.COM 13
its good photographyimages that people
want to respond to, look at, and purchase.
When Gallerys idea began to gain
traction, he negotiated a deal with
Daylight Books that would have him
producing the book independently
with Brannan, before passing it off to
Daylight for a nal edit. Daylight would
handle distribution and press, which
Gallery maintains is the chief reason
why he was set on getting some kind of
publishing deal.
Anyone that wants to self-publish
doesnt realize that the press and the
distribution are key components to a
successful book, says Gallery. You cant
just expect that everyone you know
is going to go out and buy your book.
You have to get your book out there to
a wider audience and nd the specic
target audience for your project.
In the end, Gallery obtained the edito-
rial control that is typically an advantage
of self-publishing, along with the experi-
ence, wider distribution and press con-
nections that one gains with a publishing
deal. To him, it was an ideal situation.
I like the balance, says Gallery. Its
important for me to have a clear vision of
what I want the book to be, while remain-
ing open to the publishers wisdom in
putting photographs into a book format.
As to whether Gallery would com-
pletely self-publish a book in the future,
he says he is intrigued, hinting that
he might one day establish an editing
company for photographers looking to
self-publish. For right now, however, he
remains undecided.
By Harrison Jacobs
LEFT (TOP TO BOTTOM): Craig Wetherby photographed
the Manhattan skyline during the blackout that followed
Hurricane Sandy; Ben Lowy took this image of the Star
Jet roller coaster submerged in the Atlantic Ocean in
Seaside Heights, New Jersey; Wyatt Gallery took these
two images of homes in Queens and Staten Island in the
aftermath of the storm.
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EP_Spring2014_Wyatt_V4.FINAL.indd 13 2/5/14 3:27 PM
14 PDNEP.COM
design, its possible to mount a huge
array of lenses on them using lens
mount adapters. The Sony A7 and A7R
cameras are the rst mirrorless cameras
with full-frame sensors that allow you
to use virtually every make of 35mm
lenses with the full angle of view for
which those lenses were designed. The
full-frame chip is more than double the
size of APS-C, and nearly four times the
size of Micro Four Thirds sensors.
This opens up almost limitless lens
options, giving you the ability to mount
everything from vintage Leica mount
rangender lenses to Canon EOS and
Nikon lenses. You can also stretch your
buying dollar by mounting top quality
legacy lenses available at a bargain
prices including Leica R, Contax, Canon
FD, and Minolta MD and Hasselblad V.
Avoid adapters called speed-booster
or turbo, as those are designed to
focus a full-frame image down to APS-C.
Also, remember that not all adapters are
created equal. Look for solid design and
precision craftsmanship. Three third-
party lens adapter manufacturers
Novoex, Metabones and FotodioX

have
worked closely with Sony to offer an
extremely wide range of adapters at
affordable prices.

SONY ALPHA LENS ADAPTERS
Before we jump into a discussion of
third-party lens mount adapters, let me
also mention a pair of Sony lens mount
adapters made for mounting Sony
A-Mount or Minolta Maxxum lenses on
the Sony A7/A7R.
Sonys LA-EA3 lens adapter transmits
the lens data to the camera to control
aperture and uses the A7/A7Rs focus
system to provide autofocus on SSM
lenses. The LA-EA3 is an ideal choice
for landscapes, architecture or any
application where fast lighting focus
isnt needed, but you wish to capture
the highest possible resolution.
Sonys LA-EA4 lens adapter adds
full-time continuous Phase Detection
AF using Sonys Translucent Mirror
Technology, making this adapter well-
suited for shooting fast-moving action
or shooting with older screw-drive
lenses. According to DxO, the light loss
from the translucent mirror is only 1/3
stop.
CANON EOS LENS ADAPTERS
If you want autofocus, your choice is
very simple: The Metabones Canon EF to
Sony E-Mount Smart Adapter III is the
rst adapter for the A7/A7R that will
autofocus Canon EOS glass. While it may
not focus as quickly as on high-end EOS
bodies, this adapter works great on all
Canon SSM lenses. Screw-drive lenses
like the original 85/1.2 and 50/1.0 are
manual focus only, though due to their
extremely wide apertures, they are very
easy to focus using focus peaking.
Pulitzer Prize-winning photographer Brian Smith has
been a professional photographer for over 30 years
and is sponsored by Sony as an Artisan of Imagery.
Hes released two books in two yearsone divulging
his secrets of portrait photography and one supporting
the arts through celebrity portraitureand his third
endeavor is on the way. Sony A7 / A7R: From Snapshots
to Great Shots goes beyond the users manual through
inspiration and stepbystep approach to making high quality imagery with
the groundbreaking full-frame mirrorless camera. Below is an excerpt from
Smiths book, outlining a handful of the lens adapters that allow the A7 and
A7R to break brand barriers and work with virtually any type of lens.
One of the coolest features of mirrorless cameras is that, due to their thin body
BRIAN SMITH

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LEFT: The Sony A7R with a Voightlnder VME lens
mount adapter and a Voightlnder 50mm/F1.1 VM lens.
Sony Artisan of Imagery Brian Smith explains how
to get the most out of the Sony A7 and A7R
mirrorless cameras in his latest book
Camera Chameleon
Sony A7 / A7R: From Snapshots to Great Shots
www.briansmith.com/books
14 PDNEP.COM

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LEICA M LENS ADAPTERS
Since the debut of the original Sony
NEX-5, Ive been using Leica M to Sony E
adapters to use my vintage Leica, Zeiss,
and Voigtlnder M-mount glass on Sony
mirrorless bodies. Metabones Leica M
Mount Lens to Sony E-Mount adapters hit
a sweet spot between price and quality.
But even inexpensive Chinese adapters
often work ne, though they might
require occasional tightening of the
mount.
Theres one Leica M to Sony E adapter
that stands out from the rest. A common
problem with rangender lenses is that
they rarely focus as closely as SLR glass;
its not unusual for a 50mm M-Mount
lens to focus no closer than a meter. This
is where the Voigtlnder VM-E Close
Focus M-Mount to Sony E-Mount lens
adapter comes in handy. Its Helicoid
focus extension allows you to rack out an
additional 4mm focus extension to the
nearest focus point on the lens. Thats
enough to go from half-body to a tight
face when shooting with a 50mm.
NIKON LENS ADAPTERS
You can pick up fast manual focus Nikon
AIS glass at great prices these days. The
Metabones Nikon F to Sony E-Mount
Adapter II is a great choice for mounting
them on the A7/A7R. I recently picked
up a Nikkor 55 f/1.2 for $350. Combined
with the Metabones adapter, it makes for
a killer combo for available light thats
hard to beat for $450.
However, if you plan to use Nikon
G lenses, which have no aperture ring,
a better choice is to use the Metabones
Nikon G to Sony E-Mount adapter. This
adapter includes an iris ring so you stop
down the adapter instead of the lens.
LENSBABY TILT TRANSFORMER
FOR NIKON LENSES
One more interesting choice for Nikon
lenses is the Lensbaby Sony NEX Tilt
Transformer. This adapter allows you
to turn any Nikon lens from 8mm to
800mm into a tilt lens.
This can come in handy for adjusting
the focus plane when shooting
landscapes or product photography.
Since Nikon manual focus glass is
available with fast apertures, this
adapter works great for selective focus,
enabling users to limit focus to a small
part of the frame.
While this adapter is out of
production, it can still be found on eBay
and Amazonand its worth the search.
Excerpted from Sony A7 / A7R: From
Snapshots to Great Shots by Brian Smith.
Copyright 2014. Used with permission of
Pearson Education, Inc. and Peachpit Press.
RIGHT AND BELOW: Smith
mounted a Lensbaby Tilt
Transformer and Nikkor
55mm/F1.2 to his A7R to
photograph Ocean Drive
in Miami at night.
RIGHT AND BELOW: Smith traveled to Haiti to test
how the A7R would hold up to the demands of
photojournalism. He photographed a heavily damaged
church in Port-au-Prince with a Zeiss 18mm/F4 ZM lens
to capture the scale of the destruction.
EP_Spring2014_BrianSmith.indd 15 2/5/14 2:57 PM
16 PDNEP.COM
For all creators of content, but especially
photographers, the Internet and social-
media websites create a double-edged
sword. On the one hand, they provide
a vehicle for widespread dissemination
of their work, where millions may view
their photos. On the other hand, even
with lo-res, watermarked and metadata-
protected images, there is a strong likelihood that those works
may be misappropriated by others. Rather than being properly
licensed, these photos are being used at an alarming rate by
those with a mob mentality of entitlement in a literal and
gurative free-for-all.
Lets consider the case of AFP v. Morel, whose verdict ruled
that the Terms of Service (TOS) of a social-media website did not
entitle a third party to use photos belonging to another. The case
concerned Daniel Morel, a professional photojournalist living
in Haiti, and Agence France Presse (AFP), a French news agency
providing photo services to international news organizations. In
2010, Morel photographed the immediate devastation following
the earthquake in Haiti and posted his photos to his Twitpic
account, and then posted on Twitter that he had exclusive
photos. AFP saw the photos and licensed them to companies such
as Getty, which in turn licensed them to media organizations such
as ABC, CBS and the Washington Post.
According to the 2010 Twitpic TOS: By uploading your
photos to Twitpic, you give Twitpic permission to use or distrib-
ute your photos on Twitpic.com or afliated sites. All images
uploaded at copyright their respective owners. The Twitpic
login page also warned users that by clicking Allow, you con-
tinue to operate under Twitters Terms of Service. Those terms
provided: By submitting, posting, or displaying Content on or
through the Services, you grant us a worldwide, non-exclusive,
royalty-free license (with the right to sub-license) to use, copy,
reproduce, process, adapt, modify, publish, transmit, display
and distribute such content in any and all media or distribution
methods . . . . Tip: This license is you authorizing us to make your
Tweets available to the rest of the world and to let others do the
same. But whats yours is yoursyou own the content.
Despite that language, AFP argued that the Twitpic TOS
granted it an express license to use Morels images, as it was a
third-party beneciary of the Twitter and Twitpic TOS.
The court in the Morel case, however, found otherwise, not-
ing, By their express language, Twitters terms grant a license
to use content only to Twitter and its partners. Similarly, Twit-
pics terms grant a license to use photographs only to Twitpic.
com or afliated sites.
This case illustrates why it is crucial that users of social
media read and understand the rights they are agreeing to. By
clicking Allow or Join you are accepting the TOS of a site
in the very same way as if you had signed a written contract to
pay back a loan for a car or a house. It is also important to note
which states laws govern those TOS, as that too may impact
your rights and obligations.
The current Twitter TOS may be found at: www.twitter.
com/tos. Those for Twitpic are available at: www.twitpic.com/
terms.do. They are substantially the same as they were in 2010,
although they, along with most social-media websites, reserve
the right to change their TOS.
Facebook last updated its Statement of Rights and Respon-
sibilities (its version of TOS, found at: www.facebook.com/
legal/terms) on November 15, 2013. They note, in Sharing Your
Content and Information that You own all of the content and
information you post on Facebook. Additionally, those terms
give Facebook a non-exclusive, transferable, sub-licensable,
royalty-free, worldwide license to use your photos, subject to
your privacy and application settings.
The Instagram TOS may be found at: www.instagram.com/
about/legal/terms/#. Under the Rights section, Instagram
also states it does not own the photos you post, but that you do
grant them a non-exclusive, fully paid and royalty-free, trans-
ferable, sub-licensable, worldwide license to use your photos
posted, subject to its Privacy Policy, www.instagram.com/legal/
privacy/#. Users still have control over who sees their Instagram
photos and may still choose whether those photos are posted
on Facebook.
Only through better education about the rights of photogra-
phers and proper enforcement of copyright violations will we
be able to re-establish a system that properly values photogra-
phy. In the meantime, photographers posting on websites need
to be keenly aware of the rights to their photos that they are
bestowing on others. By Mickey H. Osterreicher
DISCLAIMER: This post is not intended to be legal advice, nor does it
create an attorney-client relationship. Terms of Service vary from one
social-media site to another and are subject to change. Laws and regula-
tions vary from one area to another, and federal, state or local laws may
apply. Anyone seeking legal advice should contact an attorney in their
area of the country familiar with these types of situations and First
Amendment Law.
Mickey Osterreicher, lawyer for the National Press Photographers Association,
uses the recent case of AFP v. Morel to explain why photographers
shouldnt skip over the Terms Of Service on social media platforms
MICKEY H. OSTERREICHER

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Reading the Fine Print
EP_Spring2014_ImageLIcenseV5.FINAL.indd 16 2/6/14 1:24 PM
PDNEP.COM 17
When Tyler Babin
of Tallahassee,
Florida, featured
last year in Emerg-
ing Photographer,
was getting
started, he was
advised to get
work as an assistant. I didnt have the
ability to assist on a big set or work with
industry-standard equipment, and I had
no idea what was going to be expected
of me when I got on a set, he says.
Babin decided to attend the American
Photographic Artists (APA) & Sony Photo
Assistant Basic Training Workshop in
Chicago in October of 2012, and he says by
the time the weekend was over, he could
walk right onto a major set and handle
anything thrown at me.
Led by Tony Gale, the program is
hosted by APA and Sony in major cities
around the country. One of the most
important benets of Assistant Training
is the networking. The more assistants
you know, the more work gets referred
to you, says Gale.
Another great perk that attendees expe-
rience is being part of a photo shoot. Says
Gale, We help participants understand
what photographers will expect, how they
need to act, where their attention should
be focused and what skills they need to
strengthen to be a true asset on a shoot.
Attendees such as Babin have said
that the panel discussion on the opening
night is one of the high points of the
weekend. They answer any question you
can think of. They explain the dos and
donts while on set, how to book yourself
as an assistant and even how you should
speak to a photographer on the phone
when negotiating bookings. For me, this
was the most benecial aspect of the
workshop, he says.
The most recent workshop took place
in early December 2013 at Splashlight
Studio in New York City. The panel in
New York was a perfect example of the
mix of experts attendees can expect to
learn from. Kat Kojic is a former work-
shop attendee, and brought her unique
perspective to the group. Michel Leroy
is a seasoned advertising and edito-
rial photographer who has substantial
experience as an assistant and a lead
photographer. The other panelists, in-
cluding Pulitzer Prize-winning portrait
photographer and Sony Artisan of Imag-
ery Brian Smith, represented a variety
of photography genres and could speak
to the wide range of questions coming
from the audience.
Getting used to equipment during a
shoot is a priority for many of the par-
ticipants, who have only used the gear
they own themselves or whats available
through their schools. Watching instruc-
tors and other attendees use equipment
encourages versatility. As Gale explains,
its essential to see equipment as tools
for a variety of outcomes. Theres a
tendency to think that theres one way
to do things, but thats not the case.
Every photographer and every shoot is
different, and you have to be exible. The
more youre willing to adapt, the more
successful youll be, he explains.
Want to learn more about the As-
sistant Training workshop? Go to www.
APAnational.com.
By Sarah Ristorcelli
WORKING THE NETWORK
Tony Gale always advises workshop
attendees, You should exchange infor-
mation with every single person here.
And for good reason.
Celebrity portrait photographer
Matthew Jordan Smith attended As-
sistant Training in 1987, where he was
introduced to several other assistants
and photographers. Today, his commit-
ment to mentoring has brought him full
circle, and he is now a frequent panelist
and educator at APAs workshops.
When he met a young, talented
photographer from Alabama named
Quentin Gunn, Smith suggested Gunn
come to Los Angeles to attend an As-
sistant Training weekend. He did, and
Smith was so impressed with him, that
he told him if he began work in New
York as an assistant, he would help
him nd work through referrals. Smith
says, Last year, I was commissioned to
shoot a job in Beijing and Shanghai for
a month. I wanted great people around
me whom I could depend on, so I hired
Quentin as one of my assistants. He
was amazing, and Im looking forward
to hiring him for many more assign-
ments. See page 37 for more on this
story.
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One weekend at Assistant Training transforms
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EP_Spring2014_SonyTrainingV6.FINAL.indd 17 2/5/14 3:18 PM
18 PDNEP.COM
Each year, nonprot arts organization Tribeca Film Institute (TFI)
selects 20 aspiring lmmakers ages 16 to 18 to participate in its
Sony-sponsored Tribeca Film Fellows program. Intended to foster
creative, professional and academic skills, the Fellows receive
invaluable exposure to the lmmaking industry, including one-
on-one instruction and mentorship in lmmaking, as well as the
opportunity to conceive, pitch and produce an independent lm
of their own.
During this year-round fellowship, students attend panel
discussions, workshops, screenings and special events in order to
learn about educational and professional opportunities in media,
the independent lm community, the impact of international
lm festivals on the industry and the importance of networking
and collaboration.
Fellows also have access to individual academic support,
including guidance with standardized test preparation and the
college application process, in addition to the opportunity to
win one of four $2,500 college scholarships awarded annually
by TFI. In the fall, after the Tribeca Film Festival, the Fellows con-
tinue to receive guidance from the program through one-on-one
college and career counseling.
In December, four 2013 Fellows screened their projects at the
Works in Project Industry Screening at the Bryant Park Hotel
in New York City. Fellows Kahni Wilks, Grace McLeod, Mayra
Martinez-Chan and Stefanos Tai saw their projects on the big
screen for the rst time alongside peers and a panel of lmmak-
ers that included Bernardo Ruiz, a writer, documentary lm-
maker and founder of Quiet Pictures and Tamir Muhammad,
the director of feature Programming at TFI. After each screening,
panel members and, occasionally, audience members discussed
the lms strengths and weaknesses, and commented on topics
ranging from color correction and sound design to point of view
and emotion.
Stefanos Tai, who projected his narrative Animals at the
screening, said the outside perspectives he received that night
were extremely helpful. But perhaps more unexpectedly, the
screening served as a small form of encouragement, he said.
Having worked on the lm for 15 months at that point, the op-
portunity to view and share the work was really gratifying, he
said, and it motivated him to
keep pushing.
The program has had a
similarly constructive inu-
ence on Mayra Martinez-Chan,
who projected her docu-
mentary Ha! And Other Mistranslations at the Works in Progress
screening. While she, too, felt the feedback she received on her
lm was very benecial, the impact of the program on Martinez-
Chan overall has been incredibly empowering. Having struggled
with a language barrier between herself and her peers when she
entered the program, Martinez-Chan was eventually persuaded
to overcome her shyness by the Fellows supportive dynamic,
declaring the experience so eye-opening she will never again let
[language] be an obstacle to hold [her] back from learning more.
Although the Fellows have access to some of the highest
quality equipment in the world, lessons learned there also run
deep and point to the programs profound effects: I like to use
the SONY a99 camera, and I like editing with Final Cut Pro, says
Martinez-Chan. [But] I also seem to carry a certain kind of equip-
ment that Ive always had but never knew how to really use, like
my eyes, my ears and my increasingly steady hands. If actors
and singers call their bodies and voices their instruments, why
shouldnt lmmakers eyes and ears be their equipment, as
well? By Amy Touchette
Tribeca Film Fellows
A year-round fellowship program for young lmmakers that digs deep
ABOVE: Stills from Mayra Martinez-
Chans documentary Ha! And Other
Mistranslations, which follows Chan as
she prepares to leave New York City
and navigate her way to adulthood as a
recent immigrant from Colombia.
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THE EVOLUTION OF
FINE LIGHTING
www.chimeralighting.com / www.chimeraimaging.com
888.444.1812
Jarmo Pohjaniemi | Shot with Hensel Porty 1200 with Ring Flash and small Chimera Lightbank
Distributed by:
019_PDN_0314_SEP_Chimera.indd 21 2/7/2014 1:47 PM
20 PDNEP.COM

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Tiny Atlas Quarterlya fresh take on digital
travel magazines for both its content
and formatwas founded last year by
Emily Nathan, a former PDNs 30
photographer based in Oakland,
California. Nathan has been highly
successful in commercial work for
clients such as Apple and Mastercard, and
after having her rst child, she noticed that her efforts to strike
a work-life balance had come to mean that she wasnt doing any
personal projects.
I decided to do a shoot in Montana, and I ew out on my own
dime with a crew to Glacier National Park. After I came home, I
realized I had more than a series of pictures. I had an idea for a
travel magazine, says Nathan.
Nathan worked with her close friend Liz Mullally to put
together some features, and TAQ came to life. Nathan used the rst
issue to shop her idea around to other photographers and get
them excited, so that future issues could include their photos in
addition to her own. She also launched a Kickstarter campaign to
get the magazine off the ground nancially.
The early issues have been digital only, which has suited Emily
and her husband, Jake, who is a user interface pro at Intuit and
has been integrally involved in designing the sites functionality.
Instead of customizing existing digital magazine software, Nathan
and her small team have created something entirely new, making
a site that invites readers into stories with a simple image to
represent each feature and a live-type title that appears when
the cursor hovers over the image. Its at that moment you feel
compelled to click.
Each story is an enveloping experience. Once you enter, you
are taken into the world of the story, dazzled with one stunning
image after the next, with a small bit of copy to support the
photos. While most magazines tell the story with words and use
images to support text, TAQ has upended the form to the delight of
photographers and travel enthusiasts alike.
In the current issue, readers will forage for fall owers in the
Catskill mountains, surf off Vancouver Island, shop summer
fashion in Kona and hike
Ethiopias Simien Mountains.
Nathans background is well
suited to magazine editing. She
has an English degree from
the University of Michigan,
and many years of shooting for
editorial and advertising under
her belt. It seems like theres
a little bit of a renaissance
in small magazines, and everyone is making a big deal about
storytelling. Theres so much noise about that, but how many
beautifully curated products do you nd that really tell stories?
asks Nathan.
Nathans approach to storytelling is as practical as it is mood-
infused. Sources for appealing locations and products are included
in every story to feed readers appetites for the beauty presented
on the pages. Ultimately, such built-in sourcing will lead to strong
brand partnerships and ensure TAQ a long life.
The rst print edition will be published in 2014essentially
an annual containing all of TAQs stories published so far. Nathan
hopes to retain as much of the digital magazines magic as she
can when its translated as a print piece. For that matter, she
hopes that as the magazine grows she can keep the unique
digital format shes cultivated and avoid pressure to switch to
something more standard. To Nathan, and ultimately to the
passionate readers following TAQ, having something that is just
beautiful is a luxury. By Sarah Ristorcelli
To see more work, visit www.tinyatlasquarterly.com.
Travel Magazine Takes Flight
Tiny Atlas Quarterly is charting its own course
in the magazine world, with Emily Nathan at the helm
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OPPOSITE PAGE, CLOCKWISE FROM TOP:
Matthew Monteith photographs a pair
of Grey Crowned Cranes in Ruhengeri,
Rwanda; an image from Nathans photo
story Kona Punch in Kahala, Hawaii;
A scenic view and yellow blossoms
from Jenner, California, where Nathan
and writer David Prior traveled for
Demystifying Abalone, a photo story on
harvesting red Abalone on the Northern
California coastline. RIGHT: Thayer Gowdy
photographs a couple sharing a moment
on the coast during a mushroom forage in
Salt Point, California.
PDNEP.COM 21
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22 PDNEP.COM
Responding Naturally
How PDNs 30 2011 photographer Pari Dukovics strong personal
vision led to a staf photographer position at The New Yorker
Its the $64,000
question: How do
you do something
you really love
for a living? For
PDNs 30 2011
photographer
Pari Dukovic, de-
termining the answer to that question for
himself has been a lovely and fortunate
journey. Relying on instinct and ease,
and a relentless drive to create, Dukovic
focused on making personal work as an
emerging photographer that eventually
landed him one of the most coveted jobs
in the industry: staff photographer at The
New Yorker magazine.
In 2006, shortly after graduating
from RIT, Dukovic moved to New York
City and started working as a photo
assistant. Having little time to devote to
his portfolio outside of work, he made
do by photographing the streets of New
York during his daily life, using one
of the more liberating, easeful pieces
of equipment available: a point-and-
shoot lm camera. Born and raised in
Istanbul, and of Greek descent, he found
inspiration for the series came out of a
need to create a project to which he felt
a strong connection, and the city streets
offered a new and fascinating well of
ideasbut also a challenging one. Always
moving, the improvisational nature
of the street requires an agility that
proved an excellent training ground for
Dukovic: I still use [the skills I learned
photographing in the street] in the
editorial world. Being able to think on
your toes is key, he explains.
Once he felt that the body of work
was well developed, he returned home
to Turkey intent on photographing
a story and subculture, ultimately
deciding to photograph the traditional
wrestling competitions in Edirne, a
city in the northwestern part of the
country. For Dukovic, this series is
a combination of many aspects of
photography that I love, particularly
documentary and portraiture work.
Having amassed a substantial
quantity of black-and-white images by
then, Dukovic wanted to begin adding
color into his portfolio, but with the
same style and depth of his black-and-
white work. So he embarked on a series
about burlesque, a subject matter that
really lends itself to color photography,
says Dukovic. Eventually I started
seeing myself drawn towards certain
colors and palettes, and so ensued the
translation of his style into the land of
full saturation.
Developing contacts as he went,
Dukovics beautiful, often evocative
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in the industry and eventually led to
his selection among PDNs 30 in 2011.
Dukovic received a few phone calls
right away from that exposure alone.
His rst assignments were with New
York Magazine, which he describes as a
huge supporter of his work, and led
to a variety of additional assignments
from the magazine. In time he started
photographing for The New Yorker
also, noting that working for just a
few magazines was really helpful in
communicating his vision and building a
strong creative dialogue.
Doing self-promotion in this
industry is very important, says
Dukovic, but I strongly believe that
your work needs to speak for itself. If
your work is not of the highest standard,
no one will be interested, even if you
have the best sales skills, adding that
he thinks his success in fashion took
place because he never shot fashion
as fashion. I photographed fashion
the way I responded to it naturally.
You can translate your style to lots of
different areas and come up with your
own interpretation if you are true to
your instincts. At the end of the day,
people hire you to bring your vision to a
particular subject matter.
Building his career step by stepalbeit
with admirable adeptness, especially
given he has yet to turn 30Dukovics
proven track record in editorial and
fashion led to his current position as
staff photographer at The New Yorker.
Dukovic says his work has developed
a lot since he began working with the
director of photography and creative
director at the magazine, an experience
that has been truly the most amazing
thing. Their approach and overall
process is really fascinating. Everything
is very carefully thought out, he says,
adding that making photographs
to go along with articles by the most
important writers of our day has been
very inspiring.
When asked what advice he would
give emerging photographers today, his
answer should put you at ease: Dont
look too far away to nd something that
inspires you to photograph. Shooting
projects that you are truly inspired by and
understand is the best way to go about
it. I think thats a great way to start the
journey of understanding who you are
and what you respond to. Wise words
that have yielded afrming results.
By Amy Touchette
OPPOSITE PAGE: Backstage at Rag and Bones Spring
2014 runway show for the September 23, 2013 issue of
The New Yorker. CLOCKWISE FROM RIGHT: Dirty Martini
from Dukovics personal Burlesque series shot in New
York City; Claire Danes photographed for the September
9, 2013 issue of The New Yorker; Dukovic switches from
color to black & white during the Rag and Bone Spring
2014 runway show.
To see more work, visit www.paridukovic.com.
EP_Spring2014_DukovicV1.FINAL.indd 23 2/5/14 3:12 PM
24 PDNEP.COM
FOCUS LYNSEY ADDARIO
THIS PAGE: From the series Syrias
Refugees. Dalal, 21, a Syrian refugee
from the Damascus suburbs, stands
in front of the cave she and her family
have been staying in since crossing
into Lebanon roughly a week prior.
The United Nations estimates that the
number of Syrian refugees currently in
countries bordering Syria has risen to
600,000, and the registered number
of refugees in Lebanon, alone, is
roughly 200,000.
EP_Spring2014_Focus_AddarioV4.FINAL.indd 24 2/5/14 3:40 PM
PDNEP.COM 25
Keeping pace with
photojournalist Lynsey Addario
is no easy task. Recently shes
been shufing assignments
in different parts of
the worldincluding
a long-term project on
modernization and tribal
culture in India, for National Geographic, and a complex
series on Syrian refugees for another steady client, the
New York Times. Ive been traveling to Jordan, Lebanon,
Turkey, Iraq, and Syriaand then I did that whole cycle
again minus Iraq and Syria, Addario says by phone
from Los Angeles, on a brief holiday break with her
sister and family. When shes not on the road, Addario
divides time between London and New York City, the
home base of her agency, VII Photo.
Im also writing a book, she says, explaining that
its a memoir of her experiences covering war zones
and troubled lands around the planet. And I have
a two-year-old son, she adds with a laugh. So now
I try to be on the road half the time: I used to travel
280 days a year, and now its an average of two weeks
each month. With support from her husband and
nanny, shes working out the career-family balance.
There are not a lot of women in this profession who
have children, she notes. I dont think theres an easy
answer. Its something thats very hard to juggle.
Juggling, though, she does well. In the decade-
plus since Addario was named as one of the PDNs 30
in 2002, shes developed a roster of clients including
Time, Vanity Fair, NPR, and the Daily Beast, as well as
mainstays like the Times and Geographic. She credits the
PDNs 30 honorsoon followed by the 2002 Innity
Award for Young Photographer of the Year from the
International Center of Photographywith opening
On the
Front Line
Lynsey Addario dedicates
her life to powerful and
empathetic documentary
work around the globe.
BY JACK CRAGER
LYNSEY ADDARIO
2002

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opening doors. I had been working really
hard but sort of under the radar, she
recalls, and then I received some industry
recognition, and it really helped with
getting more assignments.
Addarios pivotal career moment
came in 2009, when she was awarded
a MacArthur Fellowship (commonly
referred to as the genius grant), making
her one of only two photojournalists to
ever be named a fellow. Other recognition
includes the Overseas Press Club of
Americas Olivier Rebbot Award 2010 for
her Geographic series Veiled Rebellion:
Afghan Women; the Pictures of the Year
International Feature Photography Award
Citation 2010 for her Time piece Dying to
Give Birth: One Womans Tale of Maternal
Mortality (in Sierra Leone); and a 2009
Pulitzer Prize as part of the New York Times
team for international reporting for the
magazine cover story Talibanistan, Sept.
7, 2008.
Never one to shy away from danger
zones, Addario spent much of the aughts
covering US wars and their consequences
in Iraq and Afghanistan, bringing her
own sense of humanity and empathy to
her photographs of people in the Muslim
world. Shes often found herself in harms
wayeven being kidnapped and held
at gunpoint twice, in Iraq in 2004 and
Libya in 2011. In both cases, she and her
colleagues were eventually released as
working journalists.
Given such risks, is it frightening to be a
woman on the front line? No, she replies.
I think being a woman is often an asset in
a war zone. Because, if were talking about
combat and the front lines, its equally
dangerous for men and women. If were
talking about working around the margins
of war, I think its an asset because I can go
into peoples homes, I can interview the
women, I have access to this sort of secret
side of the society that men dont.
She explains that part of her approach,
as a photographer, is to lie low and
CAPTIONS: Tet, si
tem iuscidui eugiamc
onsequissi. Te molum
volum volorper sed mod
tat nonullandre tat wisi.
Uptat num nissi. Tat wis
nosto consed ming euisi.
Illuptatque rerumque
venditi bustiunti omniti
comnihita core repelit
People tend to underestimate
women . . . Especially in
countries where women
arent typically working. So
they see you and they just,
you know, dont take you
seriously. And I think that
often is a great advantage.
ABOVE: From the series Veiled Rebellion. With face,
hair and arms in full view, actress Trena Amiri chaufeurs
a friend around Kabul on a Friday... Even in relatively
progressive Kabul, men and women glare, honk, and
scream at her.
PDNEP.COM 27
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blend in. People tend to underestimate
women, she says. Especially in countries
where women arent typically working.
So they see you and they just, you know,
dont take you seriously. And I think that
often is a great advantage.
Meanwhile, she relies in great part on
connecting with people. I hang out quite
a bit. I go back and see the same families
many times, she says. I dont take out my
cameras right awayIm not the kind of
THIS PAGE (TOP TO BOTTOM): Village women attend a
health and hygiene class taught by a traveling midwife
from a mobile clinic in northeastern Badakhshan
Province; Maida-Khal, 22, cries out in a Mazar-e Sharif
prison. Maida-Khal has been imprisoned for four years
for asking for a divorce from her 70-year-old, paralyzed
husband, whose brothers beat her when she could not
carry his weight; Fershta, 18, marries Amin Shaheen, son
of lm director Salim Shaheen, in Kabul. Addario says,
Its very delicate to photograph an Afghan wedding.
The women are unveiled and often wear revealing
dresses and heavy makeup. They are reluctant to share
these images with the outside world.
28 PDNEP.COM
photographer to barge in with my camera
raised and shooting. I have meals with
the families. Im interested: I like people,
Im curious about them, and I love doing
interviews as well as photographing.
Her constant work overseas makes
for a bit of disconnect with the United
States when she returns. I feel like Im
always sort of a foreigner, even at home,
she says. Or rather, Im always looking at
things with fresh eyes. Which is actually
important to meto stay curious and
engaged and to learn. I think that if I
become complacent anywhere, I will lose
my ability to do my job well.
Her advice for new photographers? They
should not expect anything to be handed to
them, she says. Its not an easy profession
to break into. They really have to work hard
and they have to establish contacts, and
take the initiative to tell stories, and work
their way up. And dont expect to graduate
from college and work for National Geographic
the year you get out of school. I get a lot of
e-mails from young photographers looking
for, sort of, the quick path. And there is no
quick path. You just have to work hard
theres no secret.
Her own tale is one of success following
perseverance. I started in 1996, as a self-
taught photographer, at age 21, she recalls.
I knew exactly what I wanted to do when I
started photographing, and I never looked
back. I was determined and focused: I had
no social life, no personal life for many
years. She pauses and laughs. I think
people have this misconception about this
job, that you can just start at the top. You
dont. I mean, if youre lucky you do, but
thats not often the case.
Although she is now writing a memoir
and shepherding a young family, Addario
shows no signs of resting on her laurelsor
retiring from photojournalism. I dont
foresee stopping any time soon, she says. I
mean, its who I am. Its in my soul.
ABOVE: From the series Talibanistan. Pakistanis walk
in front of a yellow sign that reads God is watching,
put up by religious leaders in the Shaheen Market in
Peshowar, Pakistan, a conservative Pakistani city close to
the Afghan border, July 4, 2008. LEFT: Pakistani Taliban
ghters in Bar Kambar Khel, in the Pakistani tribal area
near the border of Afghanistan. The area is largely under
the control of the group named the Prevention of Vice
and Preservation of Virtue group, which commands
nearly 20 percent of the Tribal area.

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What are some
tips for great travel
photos?
Where can I
learn about
photo editing?
Where can I buy
photography for
my home?
Which printer
is best for me?
What lens
do I need?
Where can I
see great
photography?
How can I
make photo
books?
Which camera
should I buy?
How do I avoid
blurry images?
What is a
histogram?
How should I
display my photos
at home?
How can I share
my photos?
What
makes a good
photograph?
How do I make
great photos of
my kids?
How should
I frame my
shot?
What is the best
way to get a self
portrait?
What are some
tips for shooting
sunsets?
IS HERE. SPREAD THE WORD
Answers to the photography questions your friends and family ask most. Shutterlove
is a new one-stop resource where photo enthusiasts of all levels can nd useful tips
and gear reviews, share their photos and view great new photographs.
SHUTTERLOVEONLINE.COM
EM_Template.indd 29 2/7/14 4:42 PM
30 PDNEP.COM
Olivia Bee is exhausted.
Its probably an unusual feeling for the 19-year-
old photographer. She is so consumed by energy
and verve that, despite working 80 hours a week
and traveling upwards of 180 days a year, she often
chastises herself for being lazy. Just listening to Bee
list off her recent travel schedule is likely to make
you feel exhausted.
I was just in Dallas, before that home for twelve hours, before that
Italy, before that Athens, before that home for four days, before that San
Francisco, before that Los Angeles, before that Paris, Bee says in a single
breath before trailing off, as if unsure how long she should keep going. Im
very excited I dont have to get on a plane today.
Bee is in her Brooklyn apartment, and shes supposed to be relaxing today.
But even when she is relaxingas shes supposed to be doing for the next
month (to chill for a second)shes doing something. Currently, shes
in the middle of doing her laundry; this week shes completing post-
production on a project; and, this month, during her break, shes trying
to nish her rst photography book and shoot personal work.
If theres one hallmark to Bee, its her persistent ow of
personal work. She rst got noticed due to her innocent, dreamlike
documentation of her life on Flickr, which started when she was
11. Even now, booked solid with commercial and editorial gigs, she
is always uploading work to Flickr and her blog at www.oliviab33.
blogspot.com.
Since Bee was 14, she has put her naturalistic style in the service of
brands dying for a fresh way to capitalize on her seductive and earnest
view of youth. Among them are Converse, who was the rst to discover
her and who she was convinced was a hoax until a talent scout came
calling, Roger Vivier, Herms, Paris and The New York Times.
When Brandon Avery, Converses brand design director,
booked Bee ve years ago, Bee told The Oregonian that it was
FOCUS OLIVIA BEE
OLIVIA BEE

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THIS PAGE: Bee combines lo- and glitz in a
feature for LoveGold, an online magazine
and community of self-proclaimed
magpies dedicated to modern and
vintage gold jewelry.
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the scariest experience of my life.
She succeeded with ying colors. Word
quickly spread to creative directors
at other brands, all while her online
following continued to grow.
Bee is the prototypical millennial
photographer. Her professional life is so
intertwined with her personal that its
impossible to tell where one begins and
the other ends. Having been noticed at a
young age through the Internet, she is now
trying to get respect from more traditional
channels of inuence, like the brands and
publications she works for and the older,
more established photographers that she
admires, who occasionally look down at
her because of her age.
This year, Bee received some of that
respect when PDN selected her as one of
their 30 new and emerging photogra-
phers to watch in 2013. In many ways,
the award was vindication for several
years of diligent work, showing that she
is more than fashions favorite it girl.
It denitely made me feel like the
photography industrynot just the ad-
vertising and fashion industriesrespect-
ed me, says Bee. That felt really good.
Bee has become something
of a motivational speaker in the
last few years, speaking at various
TEDx conferences and, this year, in
conjunction with her selection as a
PDNs 30 photographer, on a panel at the
PhotoPlus Expo.
During Bees TED talk in Amsterdam
last year, on Dreams and Following
Those Dreams, she was an unapologetic
advocate for disregarding reality in pursuit
of your dreams. What she meant is that the
typical high school-college-entry level job
path isnt for everyone, despite what high
school and college guidance counselors
might tell you. That could mean taking a
year off after high school or college to, in
Bees words, climb mountains or couch-
surf across the country.
In her life, that meant prioritizing
her photographyboth personal and
commercialover her high school
education and, later on, spurning college
in favor of moving to New York to chase
her dream at the center of the American
fashion and publishing worlds.
At this years PhotoPlus Expo, Bee
took part in a panel on how to create ad-
vertising photography that doesnt look
like advertising. For Bee, doing so has
always come naturally, largely because
when Bee started shooting advertising,
she simply put the products on herself
or friends and shot more or less how she
normally would. Most of the time, this
ability to make her commercial work
look like her personal work is an asset. It
is, after all, what brands and magazines
are paying for. But sometimes, she has to
watch herself.
I forget about [showing the product]
because I want to shoot a beautiful
photo, says Bee.
While Bee often uses friends as
models, as she did for a New York Times
Magazine cover story on sex-positive sex
education, or herself, as she did for a
Herms Web video last year, she now
strives to capture the same aura with
unfamiliar models.
For the recent Adidas All in for
#MyGirls campaign, which depicted
various scenes of female sports teams,
THIS PAGE: Double-exposures from the editorial
Virginale with model Stef Soede for Numro #145.
OPPOSITE PAGE: A dreamlike image from Il Est Pour
Nous, the Herms Paris campaign Bee shot in 2012.
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she arranged a full day of high school
sports. She used models who had been
on sports teams and encouraged them to
go through a typical daily routine. From
the warm up to the morning salute to
an actual softball game, Bee simply let
the models do their thing and reveal
themselves to me.
The Adidas campaign may look the
most toned down of any project shes
done: there are no pink lights, purple-
tinted sets, or traces of, as she described
her style to Urban Outtters, Sailor
Moon stuck in the seventies with too
many rainbows. It may be a look at
whats to come for the rapidly maturing
artist. Its polished, candid and even
inspiring. The campaign makes clear:
this girl knows how to shoot.
In the upcoming year, Bee is turning
her focus to directing. Last year, she
released her rst video, a gauzy dream-like
paean to teenage love for Herms. It may
have a rough DIY quality and star Bee, but
it is a conclusive answer as to whether her
esthetic can be adapted to lm.
Early in 2014, her rst commercial
will be released, for a brand she
cannot disclose. She calls it, the most
challenging and most rewarding project
shes worked on yet. Shot in Barcelona,
with a crew that has worked on lms by
Harmony Korine and Soa Coppola (two
of her favorites), shes worked on it for
nearly a year and declares it unlike any
other commercial shes seen.
Its very me, Bee says.
That seems to be a theme. As with
her stills, there is a blur between the
personal and the commercial. When
asked whether a recent, not-yet-released
video for Herms, starring her best friend
Tuesday, is a commercial, Bee says. Its
more of an atmospheric lm with their
stuff in it.
It is a good thing then that she
is moving into music videos, where
esthetic experimentation is the name of
the game. To do so, she has to prove to
music video commissioners, who act as
record labels creative directors, choosing
directors, and producing, that shes
up to the task. Thats her hope for the
upcoming video work.
Bee has begun to market herself to
lm and music video commissioners,
largely by approaching them directly.
Admittedly, marketing is something Bee
has never had to do before and she is still
learning the ropes.
Her strategy for getting recognized for
video is largely the same as her strategy
for photography: just keep shooting. She
has a relentless commitment to making
time for personal work. Her philosophy
is simple: shoot what you love, share
it across many social channels (she
maintains a blog and accounts on Flickr,
Tumblr, Instagram and Twitter), and,
with time and persistence, people will
recognize your good work.
Its the end of the interview, and its
time to approach the question every
interviewer cant help but ask, that
question, which Bee told Elle in a recent
interview, is annoying as f*ckabout
her youth.
Being so young, does Bee ever have
doubts that she has chosen the right path?
She answers unequivocally and
without hesitation.
I know Im doing the right thing, says
Bee. I trust my gut.
ABOVE: Bee becomes a y on the wall for the Adidas
All in for #mygirls campaign, depicting strong bonds
between high school athletes in a candid, authentic way.

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AP R I L 27 - MAY 2
1 - 8 0 0 9 2 8 - 8 314
palm springs photo festival is presented by
H Y A T T P A L M S P R I N G S H O T E L
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DAVID MUENCH: DESERT LIGHT: THE COLOR LANDSCAPE
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GREG GORMAN: THE FINE ART FEMALE & MALE NUDE
S T A N L E Y G R E E N E : P H OT O J O U R N A L I S M
BRIAN SMITH: STUDIO & LOCATION PORTRAIT LIGHTING
GL E N WE XL E R : MANUFAC T URE D RE AL I T I E S
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PhotoSourceGG_8x10_875.indd 1 2/6/14 4:33 PM
PDNEP.COM 35
WINNING PHOTOGRAPHERS will receive exposure beyond measure
when their fine-art photography is featured in a PDN-sponsored gallery
exhibition in New York City this summer with an opening reception.
The winning images will be published across a spread as part of the
winners gallery in the July issue of PDN magazine and will also be
displayed on PDNOnline.com
WINNERS WILL ALSO RECEIVE
$200 gift card from B&H
VIP Expo Pass to PDN PhotoPlus Expo Oct 30Nov 1, 2014 ($100 value)
$250 gift certificate for MoabPaper.com
DSLR camera ($500 value)
PDN PhotoServe portfolio ($860 value)
One-year subscription to PDN ($65 value)
DEADLINE: March 26, 2014
CATEGORIES
Portraits
Still Lifes
Mixed Media
Landscapes
Urban Scenes
Student Work
ENTRY FEES
$35 per image
$50 per series*
* Please note that a series
must be visually related
and is limited to six images.
WWW.PDNCURATORAWARDS.COM
T
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THE SEARCH FOR OUTSTANDING AND UNDISCOVERED FINE-ART PHOTOGRAPHY
THE CURATOR PRESENTS
JUDGES
YOSSI MILO
Owner/Director,
Yossi Milo Gallery

ARIEL SHANBERG
Executive Director,
The Center for
Photography at
Woodstock
W.M. HUNT
Strategist,
Dancing Bear
BENJAMIN TRIGANO
Owner/Director,
M+B Gallery

PATRICIA LANZA
Executive Director,
The Annenberg Space
for Photography
DEBORAH WILLIS
Professor, Photographer
& Curator
SPONSORED BY:
EM_Template.indd 35 2/10/14 10:25 AM
PDNEP.COM 37
FOCUS ARTISAN
MATTHEW JORDAN SMITH TRAVELS THE WORLD WITH TWO YOUNG PHOTOGRAPHERS WHO
HE MET THROUGH THE APA & SONY PHOTO ASSISTANT BASIC TRAINING WORKSHOP.
TOP LEFT: Peter Tsai (left) and Quentin Gunn (right) on set in China for Smiths commission to photograph 75 Chinese actors and directors. TOP RIGHT: Tsai and Gunn set up for
Smith (pictured) on location in China.
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Celebrity and fashion photographer Matthew Jordan Smith
likes people, and it shows. His images of household-name
stars have an intimacy and approachability that speaks to
Smiths comfort level dealing with his subjects, and their
comfort level dealing with him.
Whether hes photographing Oprah, or the children to ap-
pear in his forthcoming book, Future Presidents, Smith wants
his pictures to be memorable and do good in the world.
Ive always wanted to have work that inspires people, says
Smith. I want my work to stand for something and inuence someone in a positive
way.
Smiths warmth extends past his photography subjects to up-and-comers in his
own industry. He seeks to mentor and encourage young photographers, and takes this
commitment very seriously.
As a Sony Artisan of Imagery, Smith is an ambassador for Sony cameras as tools
for creating the best photographs. He teaches through APA & Sony Photo Assistant
Basic Training Workshop, and will be part of a weekend workshop coming up in San
Francisco, February 22-24, 2014.
Matthew Jordan Smith

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BY SARAH RISTORCELLI
EP_Spring2014_Focus_SmithV4.FINAL.indd 37 2/6/14 8:34 AM
38 PDNEP.COM
PDNEP.COM 39
Seven years ago, he met a talented
photographer from Louisiana named
Quentin Gunn, who had emailed Smith
after noticing him as a guest on Americas
Next Top Model. I saw a guy who looked
like me, shooting photography at such a
high level that I had never seen before;
this sparked something major within me.
Miraculously, and much to my surprise,
my mother had also taken notice of this
photographer, and had secretly reached
out to him as well.
Smith suggested Gunn come to Los
Angeles to attend an Assistant Training
weekendGunn promptly did and
impressed Smith. When Gunn asked what
his next step ought to be, Smith told him
to go to New York, where he offered to help
him nd work as an assistant by referring
him to photographers. The two began a
mentoring relationship that has lasted to
this day.
In 2012, Smith met Peter Tsai at an
Assistant Training workshop in Chicago,
and Tsais earliest days knowing Smith
were just as striking as Gunns. When
Tsai asked a mutual photographer friend
to introduce them, not only did Smith
invite Tsai to be his guest, he also asked
Tsai if he would be interested in assisting
him with his Future Presidents project. Tsai
ended up providing scouting ideas and
accompanying Smith to locations: We got
along very well and battled the Chicago
weather to not only nd a subject, but get
the shot for his project, says Tsai.
What struck me about him is that
hes the kind of guy who can make any
type of device he needs. Even if someone in
the industry says it cant be made, he can
make it. I knew that like Gunn, I could take
him on a shoot for months and it would go
well, says Smith.
Last year, Smith was commissioned
to shoot a job in Beijing and Shanghai
for a month, photographing the top 75
Chinese actors and directors. It was a
dream assignment, but when I got it, I was
concerned with using photo assistants
from Los Angeles. Ive had bad luck nding
good people here, and the good ones I do
nd are always booked. There is a lack of
very good assistants on the West Coast, so I
hired Quentin and Peter.
Although, theyd never met before
the trip, Smith noticed the dynamic
between Gunn and Tsai was great right
away. When you work on high-pressure
jobs like this assignment, you cant have
assistants with huge a ego. Both Peter and
Quentin were the ideal assistants, and its
no wonder they went through Assistant
Training. They knew how to act on set,
during dinners with clients, during travel
to various parts of China, and always
had a great attitude. It was one of the
most enjoyable assignments Ive had in
years, and that is partly because I had an
amazing crew, says Smith.
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OPPOSITE PAGE: For his latest book, Smith photographed
children in every state as the future presidents of the
United States. Pictured here: Two sisters on a farm in
Pennsylvania. THIS PAGE (CLOCKWIRSE FROM LEFT): Rapper,
actress and music producer Queen Latifah poses for
Smith for the cover of Ebony Magazine; Smith photo-
graphed model Tomiko for his commercial portfolio,
showcasing his knack for efervescent portraiture; Smith
photographed Stars and Stripes in front of a live audi-
ence while teaching a beauty and fashion seminar.
40 PDNEP.COM
THIS PAGE: Personal work from Quentin Gunns beauty
and portrait portfolio. New Wave (top left), Rising
Beauty (top right), and Beyond Borders (bottom)
were all photographed with a Sony A99.

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Gunn describes the notable unity that
was established between Smith and the
entire crew. Each day, the photo team
and crew would have breakfast, lunch
and dinner together around this huge
circular dining table with this rotating
serving glass in the center. That beautiful
table became the epicenter for our entire
crew: the place to eat, to learn about
each others lives, to prepare for the day,
to unwind from the day, to have our pro-
duction meetings and discuss important
changes, to laugh and be silly, and most
of all, to enjoy the company of our beau-
tiful clients and subjects, he says.
The feeling of openness and connec-
tion on Smiths shoots begins with Mat-
thew himself, and how he brings people
into his circle. The friendly ways Smith
found photo assistants for his China trip
also translates to how he bridged the
language gap when working with his
subjects. Working together with our
subjects was an amazing thing to watch,
Tsai says. How does one put a subject at
ease when you dont even speak the same
language? A big smile and a smooth
voice go a long way toward making
things work well. Matthew is always
amazing at keeping not only the subjects
but also the crew at ease in some of the
most stressful situations.
Gunn adds, There was one moment
that I clearly remember when Matthew
began photographing our subject and
giving subtle direction here and there.
WHAT STRUCK ME
ABOUT HIM IS THAT
HES THE KIND OF
GUY WHO CAN MAKE
ANY TYPE OF DEVICE
HE NEEDS. EVEN IF
SOMEONE IN THE
INDUSTRY SAYS IT
CANT BE MADE, HE
CAN MAKE IT.
PDNEP.COM 41
THIS PAGE (CLOCKWISE FROM TOP): Peter Tsai photographed his home city, Chicago, from the Hancock Observatory for three hours in the fog; Singer-songwriter Obi Soulstar photo-
graphed by Tsai for promotional uses in a Chicago underpass; A personal shot of model Amber Gibson in an Anna Hovet dress for a timeless classic looks test shoot concepted
and photographed by Tsai.

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He made sure to tell the subject how
beautiful they looked, and the transla-
tor would reiterate it, saying fei chang
hao, which means very good after each
translation. Matthew learned a little
Mandarin that day, and so did the rest of
us. We learned how to say the subjects
names the way they said them. Theres
nothing more beautiful to a person
than the sound of their own name in
their native language. This created an
atmosphere of trust where everything
just clicked.
Smith says he has continued to foster
their relationship after returning to the
states. We are all very close and speak
all the time, he comments. I will take
both these assistants on any job I have
in the future. They are strong assistants,
great people and ideal to have as part
of my team. Im photographing Aretha
Franklin in Detroit in a few weeks, and
guess whos coming with me on that as-
signment?
EP_Spring2014_PhotoFeed_V5.indd 42 2/6/14 2:27 PM
WHAT IS
THE PHOTO
FEED?
There are two parts
to this free contest:
Peoples Choice and
Editors Choice. Log
on to www.pdnep.com
and click the blue bar
that says Upload Your
Best Shots. This will
take you to a portal
where you can enter
your work in both
categories.
SAMUEL BRADLEY is a London-based photographer
specializing in fashion, editorial and advertising. He
studied photography at the University for Creative
Arts in Farnhamstill shooting on assignment
throughout, and graduating in the summer of 2012. He
credits his university for providing him with valuable
technical tools, as well as introducing him to the work
of photographers such as Alec Soth, Mark Power, Juergen Teller, Tim Barber,
Ryan McGinley and Taryn Simon, who greatly inuenced his personal
style. Only a year after his graduation, he signed with the London agency,
Black Dog Represents, which is currently working with him to develop his
advertising and fashion portfolio. Bradley has already shot for a number of
prominent international clients, such as Nokia, 55DSL, ASOS, Paul Smith,
MTV, and Vitamin Water, and he hopes to work on increasingly larger
campaigns this year.
On our companion website, youll nd informative
features, digital editions of Emerging Photographer
and our Photo Feed contest.
www.pdnep.com
CONGRATULATIONS TO PHOTO FEED WINNER
SAMUEL BRADLEY
SPONSORED BY:

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EDITORS CHOICE
The editors at Emerging Photographer select
a winning image from the Photo Feed
submissions each week. The Photo Feed
culminates at the end of the semester,
when one image is awarded Grand Prize.
The Grand-Prize winner will receive a prize
package from Sony and a prole in the next
issue of Emerging Photographer!
PEOPLES CHOICE
Uploading your images will automatically
enter you for the Peoples Choice section.
Invite your friends to vote on your images!
Use your win to promote your work and
network with friends.

S
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SAMUEL BRADLEY
EP_Spring2014_PhotoFeed_V5.indd 43 2/6/14 2:27 PM
44 PDNEP.COM
Arriving at the
medium of photog-
raphy via graphic
design, its not
altogether surpris-
ing that Emerging
Photographer Photo
Feed winner Elise
Raffa uses photography to create her
own narratives rather than activate its
documentarian potential. Although
graphic design was ultimately uninspir-
ing to Raffa, lessons she learned in com-
position, stylizing, visual theory, color,
space and the like at Florida Atlantic
University before switching to a photog-
raphy major were far from wasted. After
all, compelling images are more than
just interesting subject matter; they have
to communicate well graphically, too.
And its from this rich visual understand-
ing that Raffa began to build her own
beautiful, photographic ctions.
Like many of Raffas inspirations,
such as image-makers Robert and Shana
ParkeHarrison, Gregory Crewdson and
Alex Prager, as well as surrealist painter
Salvador Dal, much of her interest in the
medium lies in the minutiae of production.
Gathering together the details that portray
an image derived in her imaginationfrom
setting, models and direction, to wardrobe,
light and technical choicesis one of the
many challenges that Raffa enjoys tackling
as a photographer. Its easy to become
complacent and overlook settings during a
production, she says. So when pictures do
come together, its a success shes earned,
with every small detail an important
contribution to the whole.
It doesnt hurt that another set of
keen eyes are on hand: those of her
photographic partner and boyfriend,
Kristofer Otto. Otto is meticulous, Raffa
says, always pointing out elements she
may have overlooked. Its hard to nd a
person who can understand exactly what
someone else is seeing in their mind before
it is actually done, Raffa says. And its
even harder to nd a person who can also
constructively challenge those visions.
But Otto seems to have the vocabulary
and insight for that too, she says, always
landing her in more thoughtful territory.
Raffa and Ottos extraordinary
connection and similar esthetic have
led to many exciting photographic
endeavors, including the making of one
of Raffas favorite pictures, a portrait of
the two of them called Allapattah Flats.
Evocative of Grant Woods well-known
painting American Gothic, the title is
the name of the wildlife management
area where the photograph was created,
PULLING PICTURES
Elise Rafa explores the craft of bringing imagination to life
BY AMY TOUCHETTE
From Thin Air
FOCUS PHOTO FEED
ELISE RAFFA

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PDNEP.COM 45
PULLING PICTURES
THIS PAGE: Inuenced by Anna Gaskells
lighting, Rafa builds tension in her recent
series Silent Shout, bringing a lmmakers
eye to the nighttime scene photographed
in an undeveloped, overgrown plot of land
in Palm City, Florida.
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a location about
only 15 minutes
from Raffas house
in Palm City,
Florida. Home
to hundreds of
cows, Raffa says
driving through
Allapattah Flats
scouting for the ideal spot felt like an
eternity (the combination of the cars
broken air conditioning system and the
pungent smell of manure baking in the
regions relentless heat and humidity
certainly didnt help).
Once we found where to shoot, Raffa
explains, I set up my camera, tripod
and remote and did some test shots of
Kris and [me] before we had to put our
masks on. So here we were, standing
among hundreds of cows, not able to
see a thing, with an uneasy sense of a
large bull approaching us. It started to
get pretty nerve-wracking not knowing
what was happening! She adds that
the approaching bull can be seen in the
background of the photograph.
Its experiences like thesethe
adventure, the perseverance and the
triumphthat continue to inspire Raffa to
make new work. As in Allapattah Flats,
much of her early experimentation with
photography was self-portraiture. Using
herself as a model helped her learn
about direction and angle, she says, and,
in particular, helped her learn how to
communicate with models in the work
shes making now, in the end preferring
to have a diverse range of characters in
her images rather than just self-portraits.
Since graduating in December with a
Bachelor of Fine Arts in photography
from Florida Atlantic University, Raffa
has been concentrating on creating work
that fuses surrealism and the cinematic,
she says, projects that focus heavily on
lighting techniques that reference movie-
ABOVE: Rafa created this
image, The Matador,
after coming across
an abandoned bunker.
RIGHT: Rafa and Otto
pose for Allapattah
Flats, echoing Grant
Woods famous painting
American Gothic.
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PDNEP.COM 47
like setups. Articial lighting was never a
factor in my earlier work, Raffa explains,
and given that her training has now
armed her with newfound knowledge and
practice with light, shes been enjoying
putting it to use.
Visions for her conceptual
photographs come to Raffa in a variety
ways: autobiographically, through
memory and experience, but also strictly
from imagination, and oftentimes
through music, which she describes as a
huge trigger for ideas. In fact, music was
the catalyst for her rst foray into motion
work several months ago. Listening to
Cymbal Rush by Thom Yorke of the
band Radiohead on the way back from
school one day sparked an idea . . . [for]
something I could only do through the
use of lm, she says. What resulted is
Samantha, a ve-minute or so, black-and-
white video that plays on the musics pace
and feel, often using time in reverse to
create fresh perspectives.
Now that shes nished school, Raffa
plans to keep exploring the medium
of video. She and Otto recently started
The RO Project, a media company that
specializes in photography and lm.
Ideally we would like to work on music-
and fashion-based projects, she says,
and we actually have a few clients lined
up already, which is awesome. We are in
the midst of getting a website together
(www.theroproject.com), and will slowly
but surely get our portfolio going. She
adds, starting from scratch always takes
a little time.
In the meantime, Raffa will continue
to build her photography book as
well, still loyal to and very moved by
the features of the art form. Theres
something very real and powerful about a
photograph, she says, that you just cant
reach with other mediums.
THIS PAGE: On her most recent work, Rafa says, I strive
to alter the perception of what is taking place [by]
utilizing light as a tool to create an overall cinematic or
surreal esthetic. I use my friends and family as subjects
and form a narrative based on adaptations of a memory
or experience that I share with them.

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THE #1 PHOTO COMPETITION
OF THE YEAR:
Have your work seen by infuential photo editors, designers,
art buyers and gallerists
Winners will be included in the June issue of PDN with an additional
5,000 issues sent to our list of photo industry professionals
Winners will also be included in an extended Photo Annual gallery on
www.pdnonline.com and promoted through our social-media channels
Get invited to the exclusive Photo Annual Party in New York City
All winners receive an offcial winners seal, recognizing them
as a winner of the 2014 PDNs Photo Annual
OVER $40,000
IN AWARDS
AND PRIZES
INDUSTRY AWARDS
$15,000 Arnold Newman Prize for New
Directions in Photographic Portraiture
The Epson Creativity Award will award one photographer a
$1,000 prize and Epson printer for his or her originality and
creativity
The Marty Forscher Fellowship Fund cash prize awarded to one
professional and a student winner
PDN Publishers Choice Award of $1,500 cash and a one-page
promo ad in PDN
Selected photographers will receive magazine subscriptions,
a PDN PhotoPlus International Conference + Expo VIP Pass and
a PhotoServe portfolio ($860 value)
Additional awards and prizes will be posted on our website.

P
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www.pdnphotoannual.com
EXTENDED DEADLINE:
2/25/2014
SPONSORED BY: PRESENTED BY:

PDNEP.COM 49
CATEGORIES:
ADVERTISING MAGAZINE/EDITORIAL PHOTO BOOKS PHOTOJOURNALISM/SPORTS/
DOCUMENTARY CORPORATE DESIGN/PHOTO PRODUCTS/SELF-PROMO PIECES PERSONAL
STOCK PHOTOGRAPHY WEBSITES STUDENT WORK VIDEO
50 PDNEP.COM
The GO INDIE photo contest seeks conceptual, evocative imagery with a penchant for imagination
and careful attention to detail. Congratulations to the 2014 winners! Grand-prize winner Heather
Evan Smith will receive a Sony NEX-7 digital camera, a PhotoServe Portfolio ($860 value) and
a Photo Group Basic Membership ($125 value). All winners will receive a $100 gift card to a
major photo retailer and a one-year subscription to PDN. Thank you to Sony Artisan Matthew
Jordan Smith for lending his expertise and judging the great entries we received this year. To
view the winners gallery online and for information on the next GO INDIE photo contest, please
visit www.goindiecontest.com.
GO INDIE
PHOTO CONTEST
2014 WINNERS GALLERY
EP_Spring2014_GoIndie_V4.indd 50 2/5/14 3:34 PM
PDNEP.COM 51
GRAND PRIZE
HEATHER EVAN SMITH
Smiths image Talk to Me
represents how people of modern
society are disconnected,
despite living in a world where
communication is immediate
and constant.
ELLEN JANTZEN
A Resonant Chill from Jantzens
Transcending Reality series.
KATHLEEN B. DONOVAN
Donovan says of her image, [It] almost
feels like an old painting; it is uncertain
as to where the subject has been taken.
MATTHEW JORDAN SMITH is a fashion
photographer who has worked with
celebrity clientele including Jennifer
Connelly, Halle Berry, Britney Spears,
Jamie Foxx and Mandy Moore. Top
beauty clients include Pantene, LOral
and Revlon. Ofcially sponsored by
Kodak, Microsoft and Sony, Smith
has also appeared as a guest judge on
Americas Next Top Model, in addition
to photographing numerous magazine
covers, advertising assignments and
entertainment assignments. He has
appeared on E!, Good Day New York, and
The Tyra Banks Show. A native of New
York City, he resides in Los Angeles.
GO INDIE PHOTO CONTEST / FINE ART
SPONSORED BY:
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52 PDNEP.COM
VERONIKA
HORVATH
Festivalgoers swing
at O.Z.O.R.A., a
psychadelic trance
festival held in
Hungary, which
Horvath describes as,
a playground where
we learn to share
and care, to express,
connect, unify,
beautify the world
around us, in us.
FABIO
BARROS
[jump] [then] [look]
was created using a 120
lm Yashica Mat. The
order in which the three
images are presented
is interchangeable, and
represents the diferent
mental processes people
go through when faced
with a problem.
FIRST PRIZE
CORINNA KERN
Kern documented Londons
squatting scene by becoming a
part of the community, which is
often a conscious choice as an
alternative and communal way of
living. She says, I embarked on a
personal journey through which I
discovered homes that extend far
beyond a physical existence.
GO INDIE PHOTO CONTEST / LIFESTYLE
FIRST PRIZE
EMMA
TEMBREULL
Tembreull says, After
waging months upon
months of warfare of
the heart, it hit me one
day that I was free.
So, I was consumed
by calm. Beautifully
consumed by calm.
CRISSY
JARVIS
Fresh from her
nightly bath and in
her Disney Princess
pajamas, Lila
gives a full display
of her personality,
which she is so
well-known for.
CRAIG
MARSHALL
Reecting fashion
is an abstract fashion
image, highlighting
shape and texture.
GO INDIE PHOTO CONTEST / STUDIO
54 PDNEP.COM
FIRST PRIZE
MICHAEL BECKER
Musical duo Emith in a fully
bloomed peach eld, right after
a rare spring snow shower.
The image is part of the album
artwork for the Los Angeles-
based band.
RUBEN
REEHORST
Famed architect Wiel Arets
reads in the motor of his
favorite airplane.
COLBY
BLOUNT
Destinee photographed
on an alpaca farm in Georgia,
moments before a storm.
GO INDIE PHOTO CONTEST / LOCATION
PDNEP.COM 55
FIRST PRIZE
GEORGE FERRIS
Part of an Instagram series
shot during a foggy day on
Long Beach Island, New Jersey,
in November 2013.
PATRICIA
GARCIA-GOMEZ
Hipstamatic images shot at
Sag Harbor, New York, and
Snowdon Mountain, Wales.
TANYA
MALOTT
Malotts Hipstamatic series
from Morocco show the color
and texture of street and
market scenes in Marrakech
and Fez.
GO INDIE PHOTO CONTEST / SOCIAL MEDIA
Raised by artistic
parents who sent
him to an arts-ori-
ented school, Max
Dworkin always
knew what he
wanted to do when
he grew up.
At age 14, after just one week at a
photography after-school program,
Dworkin built a darkroom in his
bathroom. By the time he graduated
from high school, he was mostly
photographing his skating and
snowboarding friends as he split his
time between the city of New York and
the mountains of the Berkshires. He put
together a portfolio of this work and was
accepted into the bachelors program at
New Yorks School of Visual Arts. Once
enrolled in the program, he focused his
studies on the mechanics of photography,
how to freeze action and capture a stolen
moment.
Winning a Tierney Fellowship upon
graduation allowed Dworkin to take a road
trip, shoot his friends with the freedom to
stay true to his vision, and then put on a
solo exhibition. He says, I felt I could look
at these photos for a long time, as opposed
to my previous work, whose esthetics he
found less enduring.
Dworkin has been posting a photo a day
to his Pictured Tumblr since 2010.
The photograph below was taken on
the beach in Montauk. I am interested
in portraits that allow a distance for the
viewer to ask questions. Im shooting a
lotall the timelooking for a magic
moment, he says. Ambiguous, strange
and anonymous are adjectives he uses,
and they are reected throughout his
images. With a now extensive archive,
Dworkin nds he notices threads in his
work of which he hadnt previously been
aware, and these highlight how much of
his imagery is open to interpretation. He
wants to make more than a portrait, to
transport the viewer somewhere strange
where you cant place yourself. His images
allow the viewer to ask questions and
explore other parts of the story.
Dworkin effortlessly captures an
informal moment, but there is also a
formality to his work that he says he cant
avoid. He says he likes having control, and
being able to execute technically, giving
myself parameters, and within that, a way
to bring something out of the subject.
With a big job in the pipeline, Dwor-
kin decided to quit assisting this year.
Alongside his own photography, he also
publishes Remember Paper, a magazine
featuring photographers, illustrators, sculp-
tors, and morea publication he describes
as dedicated to getting artwork off the
computer screen and into peoples hands.
Follow him at www.pictured.tumblr.com.
By Julie Grahame
To see more of Max Dworkins work,
visit www.maxdworkin.com.
Could You Dene Your Work with a Single
Image? Brooklyn-based photographer
Max Dworkin gives it a try.
PORTFOLIO OF ONE
MAX DWORKIN

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EP_Spring2014_Portfolio_v4.FINAL.indd 56 2/5/14 2:32 PM
Advertiser: American Photographic Artists
Publication: Emerging Photographer / Full Page Ad
Design / prodution contact: Dylan Kahler / dkahler@gmail.com / 206.354.7293
PhotoSourceGG_8x10_875.indd 1 2/7/14 11:49 AM
PHOTOPLUS
EXPO2014
SAVE THE DATE

M
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OCT. 30 - NOV. 1, 2014
JAVITS CONVENTION
CENTER, NYC
Magnum photographer
MARTIN PARR
will present the keynote
Photobiography
on the opening day of
the expo, October 30th.
WWW.PHOTOPLUSEXPO.COM

Emerging Photographer 2014 Spring

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