Remember when you were young and you'd stare off into the distance, hoping against hope for a future of excellent stock photography?




Me too.

Well, your dreams have been answered, thanks to Shoot! The Day's amazing winners. Our July event was a great success, and now you can relax and just concentrate on being the best ballerina (or drunken swimmer) that you can be.

Zoom!

photo by Julia Baum

And he shall loveth all things photography.

Seriously, folks. This week we're starting off the gallery season with a bang. Shows are listed many places, but no one does it more cohesively than Peggy Roalf in the DART newsletter. Here's what she tells us about Thursday (and beyond):

"This month offers the best in contemporary photography, showcasing themes that continue to ripple to the top of a very full glass. Here are 100 or so shows in the not to be missed category, covering themes of identity, race, class, the consequences of war, environmental concerns, and new approaches to setup photography, to name just a few."

To receive this newsletter, fill out the information requested here on AI-AP's website.

Here are some of the picks. And make sure to click on the jump on the bottom-- this thing spans states and countries, so it's a loooong list.


NEW YORK: CHELSEA and DOWNTOWN

Michel Szulc-Krzyzanowski: The Early Sequences: 1977-1982
Robert Mann Gallery
September 4 - October 18, 2008
Opening Reception: September 4, 6 - 8 pm

Alexandra Sanguinetti: The Life that Came
Yossi Milo Gallery
September 4 - October 18, 2008
Opening reception: September 12, 6 - 8 pm

Julia Baum: A Rare Breed -- Portraits of Redheads
NY Studio Gallery
September 4 - 27, 2008
Opening reception: September 12, 7 - 9 pm

Jonathan Calm: New Video and Photography
Caren Golden Fine Art
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Polixeni Papapetrou: Games of Consequence
Foley Gallery
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Paul Fusco: RFK Funeral Train Rediscovered
Danziger Projects
September 4 - October 4, 2008
Opening reception and book signing: September 4, 6 - 8 pm

Meredyth Sparks: We Were Strangers For Too Long
Elizabeth Dee Gallery
September 4 - October 11, 2008

Jane Hammond: Photographs
Galerie Lelong
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Michael Thompson
Hasted Hunt Gallery
September 4 - October 25, 2008
Opening Reception: September 11, 6 - 8 pm

Amada Means: Glass + Light
Ricco Maresca
September 4 - 27, 2008
Opening reception: September 4, 6 - 8 pm

Michal Chelbin: Strangely Familiar
Andrea Meislin Gallery
September 4 - October 18, 2008
Opening Reception and Book Signing: September 4, 6 - 8 pm

Josef Koudelka: Invasion 68 Prague
Aperture Gallery
September 5 - October 30, 2008
Opening reception: September 4, 6 - 8 pm

Shimon Attie: Racing Clocks Run Slow
Ka Hassan: Recent photographs
Jack Shainman Gallery
September 4 - October 20, 2008

The Figure Today featuring multimedia work by Julia Fullerton-Batten, Lynn Goldsmith, Saul Leiter, Chris Raecker, and Jeong Mee Yoon, among others
Jenkins Johnson Gallery
September 4 - September 27, 2008
Opening reception: September 4, 6 - 8 pm

Kevin Cooley: At Light's Edge
Massimo Audiello Gallery
September 4 - October 11, 2008
Opening reception: September 4, 6 8 pm

Joel Sternfeld: Oxbow Archive
Luhring Augustine
September 6 - October 4, 2008
Opening reception: September 5, 6 - 8 pm

Guido Castagnoli: Provincial Japan
Sasha Wolf Gallery
September 11 - November 1, 2008
Opening reception: September 11, 6 - 8 pm

Jeff Whetstone: Post-Pleistocene
Julie Saul Gallery
September 12 - October 25, 2008
Opening reception: September 12, 6 - 8 pm

How I Spent My Summer Vacation, featuring work by Rachael Dunville, Sebastian Lemm, Christopher Rauschenberg, Roger Eberhard, Josh Quigley, Caleb Charland among others
Michael Mazzeo Gallery
September 12 - October 11, 2008
Opening reception: September 12, 6 - 8 pm

Vivan Sundaram: Trash
SEPIA International | The Alkazi Collection
September 17 - November 1, 2008
Opening reception: September 17, 6 - 8 pm

Joshua Lutz: Meadowlands
Dave Anderson: Roadside Ghosts (Project Room)
ClampArt
September 18 - October 18, 2008
Opening reception: September 18, 6 - 8 pm

Doug Aitken
303 Gallery
September 20 - November 1, 2008

Parsons MFA Photography Thesis Exhibition
Sheila C. Johnson Design Center | Parsons the New School for Design
Through September 12, 2008


click on the link below to see MANY MORE!

digital file from original nitrate neg


I feel compelled to post some versions of Dorothea Lange's famous "Migrant Mother" image. This was one of the pictures that resonated with me during my very first photo class at RISD a gazillion years ago; I chose Lange to profile in my requisite slide presentation, and have been fascinated by the FSA photographers ever since.

A few folks have alerted me to the PBS film on this topic that's airing tonight, and the related article in the Times: "Documenting the Face of America: Roy Stryker and the F.S.A./O.W.I. Photographers" shows how the small Farm Security Administration's New Deal project to document poverty turned into a visual anthology of thousands of images of American life in the 1930s and early '40s."

Sounds unmissable.

One of the thing I like so much about the FSA works is that they're public domain; they show an incredible cross-section of America, and they belong to all Americans. It seems downright patriotic to me.

Something I've been meaning to do forever is to order a "Migrant Mother" print. It's amazing how easy and inexpensive this is to do. I also went searching in the Library of Congress' online vaults, and I found out some interesting things about the print. They provide three versions (you can also download very high-res files and print them yourself). The version up above is  the original nitrate negative for "Migrant Mother". It was retouched in the 1930s to erase the thumb holding a tent pole in lower right hand corner. The file print made before the thumb was retouched can be seen in copy negative (second image below).

There's also some more information about the people in the image:

"Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California" 



digital file from print


digital file from b&w film copy neg. of unretouched fileprint showing thumb in right corner


It's pretty unbelievable how easy it is to order a print-- printed by a real person no less-- from the Prints and Photographs Online Catalog.

Here's the pricing structure. Looks like I'll be getting an 11"x14" fiber print (since it's from a nitrate neg) for $78.00. Pretty good deal, I'd say.







Check out more available imagery-- you'll be owning a piece of (beautiful) history for nearly nothing.

Oooh a real treat on the blog today, Rachel is excited! You know why? Because she's got the Jack! Yeah, that's an AC/DC reference, mmhm.

OK, in all seriousness, pay attention here. This is a multi-layered blog attack and you're going to need all your brain cells. Put the Scrabulous down. Above is a picture of Mr. Andrew Hetherington. Aside from being a rather fantastic photographer, he's also become a mainstay of this cozy little photography blogtown with whatsthejackanory. I was reading this thing back when I was in blog diapers, and I've learned a lot.

SO, today Mr. Hetherington has an image featured in Jen Bekman's genius 20x200. I'm not going to tell you which picture, but it's on this page somewhere, and it rhymes with shoo(t).

In honor of this awesome and auspicious event, I've asked Mr. Hetherington 20 quick questions.

Here's an additional exciting bit:

If you can identify the man who is not Mr. Hetherington in question 17, you will win one of Mr. Hetherington's books. Two are available.


Let's GO!


1. andrew! what is your current state of mind?

Optimistic.

2. what do you consider your finest photographic achievement?

Escaping death on a Swiss Alp as an assistant. I was inches away from slipping off a 4,000 ft. peak had a saving hand not intervened.

3. vodka or gin?

Beer please.

4. what picture has the best wall space in your house?

Big red apple. Right above the bar. Gift from Mrs TH.




5. dream shoot?

A fulfilling one.

6. desert island. you can only have one companion: a photo editor. choose one.

Impossible to choose. They are all my favorites.

7. same desert island. film or digital?

Film

Kodak 160NC 220




8. favorite beatle?

Ringo. He married Barbara Bach from the Bond movie The Spy Who Loved Me.




9. biggest photographic inspiration?

Life.


10. brand of shoes on your feet right now.

Vans slip ons. White of course.




11. last camera you shot with?

 Hasselblad 503cw.




12. name of your childhood pet.

Had a goldfish. Can't remember his name.


13. you can only shoot advertising. client of choice?

 A repeat one.


14. you can only shoot for cute overload. animal of choice?

A  Cow.




15. first concert you went to without your parents?

Big Country. RDS Dublin 1983.


16. most visited website?

Shoot the Blog of course. first thing every morning. right after http://news.bbc.co.uk/


17. What photographer were you most excited to take your picture with?
 
This guy. He's such a badass.




18. first picture you took that you were proud of?

My father just mailed me this one he stumbled across

maybe from1985

in Dublin

I was mad into the cycling

processed and printed it myself in the bedroom darkroom

wish I had pictures of that set up




19. motto?

He who dares wins.


20. how much money would you accept to shave your beard?

Enough for round the world tickets for two. Business class. Not to be greedy.


---

SWEET. OK, a reminder. Things you must now do.

1. tell us who the dude is in #17 to win one of these books:

2. Check out the 20x200 Hetherington edition.
3. Look at Andrew's pictures, words, and available stock.
4. Have a pleasant and fulfilling day.



moo.

I received this "media alert" in my inbox last week and did a triple take. Behold:

MEDIA ALERT

What:
Introducing Bond Street Gallery, a new gallery for contemporary photography, located in Carroll Gardens, Brooklyn. The first exhibition opens next week and is titled Young Curators, New Ideas. A group exhibition organized by Amani Olu and curated by Alana Celii & Grant Willing (Fjord Photo), Michael Bühler-Rose, Jon Feinstein (Humble Arts Foundation), Laurel Ptak (I Heart Photograph), Amy Stein, and Lumi Tan (Why + Wherefore).

The exhibition examines different trends and perspectives in contemporary art photography through the bias of six new and seasoned curators. Each curator (or curatorial group), using roughly ten feet of space, aims to engage viewers in a discussion on where he or she believes art photography is today.

__

Um, WHOA. That's a crazy A-List group of curatorial folk! I decided to have a little chat with one of these curators, specifically, Humble Art Foundation's Jon Feinstein, who is also a photographer. I asked him about lots of things, but found the conversation about the rise of mysticism and magic in contemporary photography especially interesting. The photographers Feinstein chose-- Hannah Whitaker, Talia Chetrit, Noel Rodo-Vankeulen, and Ann Woo, represent a new canon of rising stars in art photography.



This is Jon Feinstein.

Jon! This Bond Street show has quite the young curator star list! How did you become part of the show?

Totally. I'm psyched to be a part of it! I've worked closely with Amani on Humble Arts Foundation shows for the past few years so it was pretty natural for him to invite me to participate.

How did you become a curator in the first place-- I am a big fan of your portraiture; how do you balance doing your own work and the curatorial stuff? Do they feed off of each other?

I got into curating while I was still working as a photo editor for Heeb magazine. While I loved working on editorial and fashion shoots, my background was in art photography, having studied under Stephen Shore (and other amazing professors who I won't name drop at the moment) at Bard, and I wanted to do something more in line with those interests. I started working at a stock photo agency and met Amani, who had begun brainstorming ideas about Humble Arts Foundation.


Jon Feinstein, Bob and Lindsay, 2003

We got to talking about our backgrounds in magazine editing and photography and came up with the idea for Humble's original inception, group-show.com, which at that point was a simple monthly showcase for emerging photographers. It has now grown to include online solo shows, affordable limited edition prints, a grant program and about four physical shows per year. We have a big group show coming up in Chelsea in the fall, as well as our first Humble promoted physical solo show which will be announced soon. It's incredibly daunting to be making my own work simultaneously so I try to keep it as separate from Humble as possible, but am incredibly inspired by all of the work I've been seeing over the past few years.


Jon Feinstein, Ben, 2003

Where do you think the new interest in photographic mysticism came from? From NASA's astronomy picture of the day, to Hannah Whitaker's rainbow bunny, I'm seeing (and loving) this stuff everywhere. Is it particular to our generation-- to our notions of "futurism" and "fantasy"? Does World of Warcraft play a role, mayhaps?

I think this new "photographic mysticism" is incredibly interesting, and has many more layers than just light, color, prisms,etc. I think the larger umbrella of new mystical explorations in photography can in some ways be interpreted as a step beyond postmodern and narrative photography. While earlier generations of photographers were exploring identity politics and notions of truth and representation, often through staged photographs, this new "movement" seems to be focused more on form and photography's physical properties, not only for their aesthetic value, but but for their metaphorical qualities as well.


Noel Rodo-Vankeulen, Geode, 2008


Hannah Whitaker, Apple Tree

I see both as being incredibly influenced by painting, but while Crewdson or diCorcia may have been influenced by both Hopper and some of the surrealists, this group of younger photographers, especially Ann Woo and Talia Chetrit, seem to be playing with much more abstract ideas of expressionist painters like Rothko and Barnett Newman. As for trends in photography, I think the growing attention to this kind of work in some ways may come from a desire to create work that is as controlled as the staged work that was studied in college photo classes, but without relying on excessive budgets and other people's schedules. I was talking to a photographer a few weeks ago about how so much of this work can be made from a photographer's studio or home, and really takes the idea of "making" photographs to an entirely new level.


Ann Woo, Lisa, Sunset



Talia Chetrit, Spectrum, 2007, Inkjet, 2007

How do you see your future in the industry? It's so interesting to see so many of these young curators multi-tasking as designers and photographers... do you think there's a new trend in the curatorial world to make it more accessible, now that things like blogs and small arts organizations are gaining more of a foothold in the industry?

I'm not quite sure where I see my future in the industry. Much of my curatorial work will operate through Humble (unless of course a major institution invites me to curate a show, but that hasn't happened yet :) ), but my main aim is to continue to curate bodies of work that are not only pretty to look at, but are informed and challenging and push the medium of photography forward. I definitely think there's been a growing trend in online-based photo organizations, and it has democratized photography at an amazing rate.


Hannah Whitaker

As long as the editing and curation is tight, informed and well organized, I think it's a wonderful thing. What I think is so great about the development of new/online curation is that it has allowed new ideas to flourish with more focus on work that is challenging, and less on what is potentially saleable. As for my own work, I have a couple new projects that I have been developing over the past year which will be officially "launched" within the next few months. Some of this work is going to be  in a couple shows that will be opening in the fall in NYC and Chicago.


Did you coordinate your image and theme ideas with the other curators, or were you all on your own? What's your favorite photo in the show (will you tell me)?


Gerald Edwards III, Investigation into the Disruption of Power, 2006


We were pretty much all on our own. Since there are such unique visions from the curators involved there has been little overlap and I think the show will feel incredibly varied. I won't comment on my favorites from my own show, but I've seen some previews of Laurel's animated GIFs presentation and think it's fantastic. I also love Gerald Edwards' image (which was used as the postcard for the show) which is featured in the Fjord show and Ofer Wolberger's "Maggie" series, which is included in Amy Stein's show. I haven't seen any of the other work yet so I can't really comment at this point, but I'm excited!


Ofer Wolberger, from the Maggie Series
___


Here are the specs for tomorrow's opening; If you're in New York and you like photos and rainbows, it's pretty much a must:

A new blog was born today, and it's destined for great things. Photographer Vincent Laforet is off to Beijing for two weeks to cover the Olympics for Newsweek, and is taking the opportunity to show us some behind-the-scenes imagery and explain how he makes his work.

Oooh, color me ready to bookmark!

Laforet was in Shanghai and Beijing in 2001; that's where these images are from. His blog is promising not just because he's making great work in interesting places, but because he's very generous with sharing interesting cultural details, too (including drinking stories):

A sip:

"I went to Shanghai and Beijing in early 2001 with one of my best friends Harry How (who will also be covering the games for Getty Images.)  A lot has changed since then-- 9/11 happened a few months after our return and clearly the world has changed quite a bit since then.  But mostly I'm looking to see how China has evolved since my first visit.

I have a lot of great memories from that trip. Harry and I first went to Shanghai and Harry hooked us up with an incredible deal at the Ritz Carlton-- $80/night with complimentary access to the Executive Level. This meant that we could go to the Executive Level every afternoon and get unlimited refreshments-- at no additional charge. Four to Five Gin and Tonics-- each-- is a great way to kick off an evening. We had a blast-- most of our time was spent doing street photography 10-14 hours a day. We both shot film (I shot everything with a Hasselblad X-Pan panoramic 35mm rangefinder camera, a 45mm lens, and 60 rolls of Ilford XP2 B&W film.) Shooting black and white film with only one camera, on lens, and a small Billingham bag... man those were the days... times sure have changed in the past 7 years.  

I can't wait to see how things have evolved-- and I hope to get a least a brief chance to walk the streets again-- before I get sucked into the Olympic bubble. Some of the initial posts will detail the gear I'm bringing, why I'm leaving some stuff behind, and how I packed it."

Find more photos like this on SLIDELUCK POTSHOW

Could we love the folks at Slideluck Potshow more? No, we could not. They are the best and the brightest and they believe in pictures and excitement and foods. Two thumbs WAY UP. If you're anywhere near Brooklyn this Saturday, consider checking out the show.

Here are the official details from the brilliant faces behind the curtain: Alys Kenny and Casey Kelbaugh:

Hot Town!  Summer in the City.

For the first time in New York, Slideluck Potshow will be venturing from isle of Manhattan and into Kings County.  It will also be our first outdoor slideshow potluck in NYC.  We invite you to join us on Saturday, August 2nd, for Slideluck Potshow XII at McCarren Park Pool in Williamsburg, Brooklyn!

For those of you not familiar with this venue, it's a gem of the Moses/LaGuardia era.  It opened in 1936, in the middle of The Great Depression, and was designed to get people's minds off the economy.  Here we are, 72 years later, hoping to do the same.  In the last couple years, the giant pool has lain empty, but has been filled with the sounds of great live music.  This is the last summer before the city converts it back into a swimming pool and they have a fantastic line-up:  Devo, M.I.A, Gogol Bordello, The Black Keys, DJ Shadow, Wilco, and What!?  Slideluck Potshow?  Like any truly historic occasion, it will smell of barbecque.

SLIDELUCK POTSHOW XII
Saturday, August 2nd, 2008
6:30pm Potluck
8:30pm Slideshow
Nearby Afterparty to follow

RSVP

*RSVP Required. You will be asked to log in to our new Network to rsvp.  The event is listed in top left of page.  Check out what we have going in New York and elsewhere, and don't forget to join the NYC group!

This our first venue in New York where capacity is not going to be an issue, so you are welcome to pass this invitation along to others that would enjoy a participation-based event such as this. Membership will not be required at this show, though there will be an area reserved only for Slideluck Potshow Members.

If you have not become a member, we encourage you to do so now and enjoy the benefits!  
Thanks for your time and we hope to catch you poolside.

More info here

McCARREN PARK POOL


Ooh, I'm gonna tie this back to PhotoShelter here. We like to talk about ourselves. Here are some pictures from Marc McAndrews' project, Brothels, which will be shown at Slideluck. So consider this a SNEAK PEEK.

Two interviews in one day! Fun!

We just spoke to a photographer who's working on self-promotion; now we'll speak to a photo editor who can help you with your edit.

Stella Kramer is a Pulitzer Prize winning photo editor who has worked for many top industry publications, and one of a few who has gone on to consult and lecture as well. She began her career at Vanity Fair, was a photo editor at Newsweek, and served as Director of Photography at Brill's Content. She has also worked as a freelance photo editor for major publications including The New York Times, People, Entertainment Weekly, Sports Illustrated, and Money. She clearly knows the industry inside and out, and allowed me to ask her a few questions about her experiences.

zip zip:


How did you get started as a photo editor? Was there a particular niche that was most interesting to you, or did you fall into it?

I got started as a photo editor in a sort of roundabout way. I was asked by the temp agency I went to work for whether I wanted to work for companies on Wall St. or for midtown magazines. I chose the latter, having majored in journalism/political science in college. My first gig was in the photo department of Vanity Fair, where I simply kept track of film that came in and sent it back.

From there I went to a promotional department at Time Inc., gathering images for use in TV commercials. After I cut a direct deal with them to get out from under the temp agency, I worked there for about a year. My next gig was PEOPLE magazine, then Sports Illustrated. That's how I started. I really hadn't known that there was such a thing as a photo department, since I didn't come to it from school or from a photo agency. I was lucky, and it proved to be a great fit for me.

I was always most interested in photojournalism, but each job I've had (entertainment, sports, business, etc.) has had its moments. I went wherever I found work. It wasn't until I got to Newsweek that I got a real chance to work with news. We did an incredible cover story called "Murder: A Week In the Death of America" that won several awards.


photo by Eugene Richards

That was really thrilling for me.

What's the most rewarding project you've worked on?

Without a doubt, the most rewarding thing I've ever done was the work I did at The New York Times related to 9/11, both the "Portraits of Grief" project I worked on for several months, and the initial editing work I did on the day of the attacks.


photo by Ruth Fremson/ The New York Times

It was the first time I felt like a real journalist, and working for such an important and professional publication like The Times was extraordinary. There was so much film that came into the newspaper that day (after all, the attacks were the most photographed event in history) from staff, freelancers, and just people off the street; I cannot remember how much I saw. I can't even really separate events of the first week-- all I remember was long hours, not leaving the building, looking at film, and stumbling home to cry and watch cable news late into the night.

When I was asked to work on getting the photos for the "Portraits of Grief", I didn't realize I was going to be part of something that would become almost a sacred rite for some people.  It was so difficult getting the photographs from family and friends that were of happy times (weddings, births, graduations, etc.), and cropping them down to obituary photos.



from "Portraits of Grief"


It became vital to me that I had a photograph to go with every bio, as I wanted people to look into the eyes of those killed, so that the event wouldn't become an incomprehensible statistic. How could you not feel the impact of the event when you saw people who might even have been your own family?  The work took its toll on me emotionally, and I will never forget it.

I also discovered an amazing photographer, Michael Lisnet, who had been shooting the scene at Ground Zero for days and I was able to get The New York Times Week In Review to publish an essay of his work.  I am very proud of that.



photos by Michael Lisnet


What is an ideal assignment for you-- how much involvement do you like to have in the development of a story; do you consistently work with the same stable of photographers?

My ideal assignment is one that I help bring into being, from discussing the idea to choosing the photographer, to being at the shoot and collaborating with them, to editing and presenting the photographs to the editors. Having some autonomy to do my job without interference. One great example is a shoot I did with Nathaniel Welch, who photographed Chris Brown for me when I was at PEOPLE. It was a great time all around.


photo by Nathaniel Welch

Sometimes I've gotten to be there from the initial editorial meeting, sometimes I've jumped in when the story has been turned over to me to visualize. But being able to come up with creative ideas and choose the right photographer is the best part of Photo Editing. That, and the excitement of seeing the images for the first time. Depending on where I was I might use a lot of the same photographers. But the best part of having had a varied career is that I've worked with a wide range of wonderful photographers: from still life shooters to conflict photographers and everyone in between. I couldn't have asked for more.

What does your career consist of now-- are you able to cobble together both consulting/teaching with editing work?

Nowadays I spend more time working with photographers than editing for a publication. And with the way things have gone in publishing I have the better end of the deal. I am involved with creative work, and creative people. I am not just the data entry person, inputting images to show to editors who won't listen to my opinion. Photo editing has changed so much that there is less autonomy than ever, and that's too bad for everyone.

Working in magazines for so many years allows me to explain from the inside out how magazines approach photography. I know how important a strong, tight edit is. And with fewer pages in magazines, there is more need than ever to be able to present a strong project, whether it's for print or for the web. Too often I find photographers unable to focus their essays, choosing the wrong photographs or adding text where it isn't needed in order to explain what their stories are about. I'm hoping to show people how you can tell a story without words, in a complete way that gives the viewer everything they need to know.

I love looking at photography and showing people a different way of looking at their own work. I think there is even more need now for photographers of all levels to open themselves up to other eyes.  And anyway, it's so much fun!

PhotoShelter's Shoot! The Day event went down yesterday at Shoot Digital studios, and though I was shamefully late to the festivities, I did successfully convince Emiliano Granado (that dude above) to send me some goodies. I felt that I needed some visual representation of the awesome-hood. If you'll recall, there were expert panels and shooting teams getting down to business all day; here are some of the portraits that came out of the Granado camera.


His file names were so funny that I just decided to leave them as-is. Recognize some of these folks?


willy_too_cool

If you're not festivaled out, you're going to want to head down to Charlottesville in June, because Look3 seems almost like a photographer's utopian festival dream. From the 12th to the 14th, all of Charlottesville will be taken over by photography; even the trees (Flip Nicklin's undersea whale images will be suspended high in the trees along Charlottesville's outdoor pedestrian mall).



The event centers around three masters of the craft, who will each deliver an Inside The Actor's Studio type lecture, albeit with NPR's Alex Chadwick in lieu of James Lipton. This year:


Mary Ellen Mark, James Nachtwey and Joel-Peter Witkin.





These three folks will also have shows up in Charlottesville. In addition, there will be talks, screenings, books, portfolio reviews-- the works. On the evenings of the 13th and 14th there will be projected shows; one is called Shots, and the other, Works.  A partial list of the artists in Shots:

Christoph Bangert
Juliana Beasley
Lucas Foglia   
Ed Kashi & Julie Winokur
Erika Larsen
Joseph Sywenkyj
Jonathan Torgovnik



And Works:

Andrea Modica
Marcus Bleasdale
Dan Winters
Simen Johan
Antonin Kratochvil
Balazs Gardi