“The paradigm for photographers today is that you just can’t be, you have to be sort of a jack of all trades, you can’t just specialize anymore,” said VII Photo Network photographer Benjamin Lowy, featured by Kristen Joy Watts this morning on the NY Times Lens photoblog.

Lowy strikes the perfect chord, and from a newspaper perspective, it’s easy to agree with him. One day you’re shooting a story on industrial pollution,  the next day you’re shooting fashion at the Ritz-Carlton, the following day you’re shooting video and filling a request to fix a 400mm Canon lens (well, that may be an extreme, but it’s plausible as you can see).

Specialization of personal style has its place, but I also believe now — contrary to thoughts in my early years of photojournalism– that you sometimes have to “tailor” your style or look to a particular assignment, or better yet as Lowy explains it:

“I tailor how I see, and I let each situation I’m in impact my eye and the way I work.”

People I meet on assignment always ask me the same question. “What kind of pictures do you take? Sports? News?” I have the same answer every time — everything, and anything, or if not still pictures, then video or audio gathering. Call it a one man band like one of those poor broadcast saps who do standups on their own sticks, but that’s the direction this industry has taken, for better or for worse. Either way it’s a win-win for the photographers. We’re more versatile, creative, and attractive to potential clients.

“The time has passed where, you know, the photographers of the last generation were able to really get into a niche, and I think today we need to be able to do a little bit of everything, and that doensn’t water down the preciousness of your work, it doesn’t water down your vision.”

Via Click and the NY Times Lens photoblog.

Twins, St. Louis, Missouri. Photo by Erik M. Lunsford

Heaven sent, there are so many great comments on photography and life these last few days. As I juggle multiple personal commitments at the moment, please enjoy.

Alex Majoli at The F Blog.

“I say: “take some pictures.” And they reply: “of what? why?” So I’m taking a picture of it and they like it and say: “No! but you’re a good photographer!”. My answer is: “No I’m not! I’m just taking pictures, while you don’t!” It’s always like that! They need to have a big story, they need to go to Iraq to take a pictures. C’mon take a picture here!”

and more Alex:

“We should think of a photographer as a Samurai who makes rituals, moves and gestures in order to develop his techniques and his instinct.”

Matt Slaby on Luceo’s blog.

“I’m writing this as I’m about to step outside to do my gardening.  Which is turning into an interesting Holga project, slides of all the plants I’ve been growing in my yard over the past few years.  The thing about all this technology that kills me is that you gotta draw a line between your real life and reporting on your real life.  This stuff makes for an interesting lens on our lives but, all things said and done, I’m doing my best to keep it balanced.”

Alec Soth at NYTimes.

“I’m famous for sweating when I photograph people, which doesn’t seem to happen when I’m photographing landscapes,” he added. “My own awkwardness comforts people, I think. It’s part of the exchange.”

Carl Kiilsgaard on Facebook

“Fuck a digital SLR…my p/s now owns my world.”

(I agree, I love keeping a Canon G10 around my neck)
Michael McNamara on Sportsshooter

“Nobody got into photojournalism for the money…it’s something we do because we love storytelling and photography. But like any relationship, that love is not unconditional, and when you don’t feel it coming back, it gets harder and harder to put forth the same effort you once did.”

Jörg Colberg on his Tumblr page.

“A book publisher telling me they’re now charging for formerly free review copies. Should I write back and tell them I’m now charging for formerly free reviews?”

David Carson at Pictures:

“My job is better than yours….most days.” (note inflection)

Max Bittle on Whimsical Whatnots:

“confusion is fun, but at the same time drives one insanely mad.

what makes someone good?

is it the quality of work? maybe

their attitude? maybe

their friends? maybe

their awards? maybe

their looks? maybe

so so so confused……….

i don’t get the system, like at all.”

and the best of all, the JLP bible, courtesy of Aphotoaday.

“If you are not having fun then what is the point. Surround yourself with good people, work hard, and keep things personal.” (many more where that came from)

The Uighur section of Gulgia is patrolled by columns of military and police, photographs copyright David Degner and used by permission.

Despite the six thousand-ish unopened aphotoaday listserv emails weighing down the mailbox, I managed to stumble upon Florida-based David Degner’s essay of the Uighurs in Xingjiang, China. The gritty black and white photographs — from Fuji Neopan black & white film –  communicates a timeless quality to the plight of the Uighurs, one of a group of fifty-five ethnic minorities who are facing an identity crisis as the Chinese government “cements its hold on the region.”

“I knew the Olympics would be an ideal time for their separatist movements in Xinjiang to make a statement.  So, when my internship ended [at the St. Petersburg Times]… I flew to Beijing and took the long route to Xinjiang.  I lived there for about 6 months learning the language and exploring the oasis towns.  As the Olympics approached there were rumors of arrests, crackdowns, and protests. While confirming one of these rumors of a protest in a small village the police picked me up and kicked me out into Kazakhstan.”

Guns are illegal throughout China but especially in Tibet and Xinjiang. Two attackers in Kashgar reportedly used handmade guns in an attack against police before the Olympics.

While I believe the use of black and white film gives the style a certain photographic purity, Degner had a pretty good reason for the use of Neopan — which he admits was the cheapest to obtain and use for the project.

“I shot film because it fit the pace and logistics of the essay.  I wanted to return with a cohesive essay not with a bunch of spot news, film kept me from getting distracted.  Also, I thought if I used black and white film there would be no way the police could see my pictures. But I learned that even in the rural town of Yili the police had their own dark-room with expired chemicals.”

It’s unfortunate that Degner was escorted out of China, because the work is full of potential and ripe for more in-depth study. Here is the link to his collection and his overall work for you.

A Muslim Uighur prays at home, which is illegal in Xinjiang.

There’s a certain essence of raw finesse in Rebecca Rijsdijk’s collection, Plant People, on display at I Heart Photograph and her website portfolio. It seems in an industry deluged with heavy post-production and complex setups, Rebecca’s photographs have a staggeringly simple attention to form, content, and lighting. Her collection concept “my branches are not what they used to be” has a strong, symbolic, and personal feel represented in the images of intertwined humanity and nature. It seems as if Rebecca peeled away the layers of complexity and broke it down into the simplest denominator. It gives a certain child-like joy to browse these photographs. They may not speak to everyone directly, but they encapsulate that simple art of photographic study that we all practice. Imagine a shoot with no predetermined concepts, no meetings, no art direction, no editors — just you, your subject, your concept, your camera, and your lust to make tangible an idea that sprang forth from the creative well — that’s what I see analyzing this collection. If it’s the beauty and sophistication of simple photography that allures you, then check out more of Rebecca’s work on her website, and be sure to take an extra long contemplative work at her other collection, stiletto paradoxes.

Rebecca Rijsdijk’s Plant People, photographs copyright Rebecca Rijsdijk, used with permission.

Browsing Victor Cobo’s work demands time. At first glance, his images are dreamy vignettes linked loosely by a very unique photographic style. By studying his statements and spending time lingering over his complete body of work, the images (in his three separate essays) each take on a strikingly voyeuristic feel that takes the viewer on a stream-of-consciousness journey through the lives of both Victor and his subjects.  There is a certain visceral quality that is truthful in a poetic light. Looking at the collection reinforces that Victor has a splendid visual toolbox at his disposable when telling stories. Cobo has some truly remarkable and different work worth visiting.

Cobo’s latest essay, American Dreams, is on display at David Alan Harvey’s Burn magazine, and Victor’s two previous essays “remember when you loved me” and “way down in the hole” are available on his website.

Photographs copyright Victor Cobo, used with permission.

Chris Bentley
Rona Chang
Daniel Farnum
Elizabeth Fleming
Lee Gainer
Matthew Genitempo
Inka Lindergård & Niclas Holmström
Natascha Libbert
Bradley Peters
Carlo Van De Roer
Daniel Shea
Manuel Vazquez
Jens Windolf
Susan Worsham
Bahar Yurukoglu

While you’re there take a look at the work of Mike Osborne from his work in China and Taiwan. I love the empirical and painterly quality of his images. Plus, a prize for the first person who finds the image on his website made in my hometown. Email me at senditmyway[at]eriklunsford[dot]com when you find it.

Beijing 2007, photograph copyright Mike Osborne

Flower portraits from the book Intimacy by Joyce Tenneson, used with permission.

Portrait photographer Joyce Tenneson lectured recently in St. Louis. At the risk of sounding selfish, she spoke at the perfect time. Staying visually motivated on assignment had become increasingly painful. I critically needed to hear the language of photography, to soak in the liquid inspiration. I needed a calming presence. I needed reassurance that photography is and will continue to be a tangible form of beauty that communicates to use on a visceral level.

At Joyce’s presentation, she spoke softly, charismatically, warmly. Her voice summoned tranquility. She weaved in personal and commercial work, each carving their own lyrical themes. Near the end, she presented photographs from her book Intimacy: the sensual essence of flowers, featuring beautiful and trance-inducing portraits of common and exotic flowers. It was arresting, graceful, and seductively serene. At the end of her lecture, I bought a copy of Intimacy. She wrote my name and “Blessings” on the inside cover. Thank you.

Several days later, I carried a heavy burden of frustration home from the paper. It had been especially hard persuading editors on several visual ideas. I remembered what Joyce said about compromise when photographing pieces that pay the bills. I lamented for my personal work. Late before bed, I opened Intimacy again and paddled along the pages like a canoe on a silent lake. Around me, the world hushed. I dived into each photograph and studied every detail. It was a truly hypnotic experience. I immediately felt visually refreshed. The pages lapped up frustration. I sensed that calm, confident, and assertive self. Visually the flame of passion grew.

It seemed so surreal. How could a simple subject such as flowers be so entrancing, so magnetic? Energy flowed from the crisp pages. Remarkable, I said aloud.

So simple, so perfect.

If you have had the opportunity to review Intimacy, I would love for you to share your thoughts. If you have not yet, I strongly recommend picking up a copy. It is a small and unobtrusive book that is certainly well worth a part in your collection.

I woke up this morning to an email from World Press Photo. I love how they start a communication.

“Dear friend of World Press Photo.”

Um, I’m only your friend when I win something or join the Joop Swart masterclass. Take note.

Okay, enough quipping.

They released the jury (judges) for this year’s contest and a preview of upcoming Masterclass work. The theme this year is “balance.” We all could use a little of that.

The judges:

Chair:
>MaryAnne Golon, USA, consulting photography editor

Members:
>Akinbode Akinbiyi, Nigeria, photographer, writer and curator
>Patrick Baz, France/Lebanon, regional photo-manager, the Middle East, Agence France-Presse
>Jonas Bendiksen, Norway, photographer Magnum Photos
>Peter Bialobrzeski, Germany, photographer Laif
>Erin Elder, Canada, digital media manager The Globe and Mail
>Per Folkver, Denmark, photo editor in chief Politiken
>David Friend, USA, editor of creative development Vanity Fair
>Ayperi Karabuda Ecer, Sweden/Turkey, vice president pictures Reuters
>Volker Lensch, Germany, head of photo department Stern
>Ricardo Mazalan, Argentina, photographer The Associated Press
>Arianna Rinaldo, Italy, photo editor D La Repubblica delle Donne and editor-in-chief OjodePez
>Sujong Song, South Korea, freelance photo editor

Biographies of the jury members are here. Also, see the Masterclass work on the gallery here.

Here’s Nachtwey’s one wish he made during last year’s TED event.

“I’m working on a story that the world needs to know about.
I wish for you to help me break it, in a way that provides spectacular proof of the power of news photography in the digital age.”

This is perfect. The power of quality still photojournalism isn’t going to dwindle anytime soon in the face of new mediums. In fact, I believe it only helps to advance the quality of still photojournalism for community storytelling.

Hurricanes are strenuous and scary to cover both before they hit and the devastation they leave behind. Besides being mentually grueling, they also take a physical and emotional toll especially if your home is in the path.