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Professional PhotographyProfessional Photography

Professional Photography September 2016

Each issue celebrates world-leading professionals and their images through in-depth interviews and extensive photographic portfolios. With 4 issues in a 1 year subscription, you can enjoy inspirational galleries from established and emerging names in photography – as well as keeping up with news and reviews of the latest pro kit, exhibitions and books.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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IN THIS ISSUE

access_time2 min.
letter from the editor

Walking around Photo London was the perfect preamble before I went to chair this issue’s Round Table discussion (page 62), on whether a photograph is ever worth six figures. Admittedly, I didn’t see any million pound price tags at the Fair, but many had six figures against them, making those with just five figures seem affordable by comparison. You can’t help wonder what makes one image so considerably more expensive than the other. In fact, there are answers to that question, and the specialist, gallerist, agent and artist on our panel explain the disparity – it’s a great read. Much of the media thought it was ridiculous when Kevin Abosch’s picture of a potato sold for €1m. Ridiculous! But nobody stopped to ask who the photographer was, and how much his photographs…

access_time2 min.
this month’s featured pros

GREGORY CREWDSON PAGE 16 Photographing tableaux of American neighbourhoods, the Brooklyn-born fine art photographer blurs the lines between reality and fiction. KYLE WEEKS PAGE 28 Born in Namibia, Kyle Weeks is the founder of the agency Cape Collective Assist. We celebrate his Magnum Award-winning shot of African life. JERRY SPAGNOLI PAGE 36 The New York photographer explains how and why he’s resurrected the daguerreotype, and adapted it to suit a contemporary clientele. MARTA KOCHANEK PAGE 50 An award-winning commercial assignment from Birmingham Royal Ballet inspired a key personal project for the Polish photographer. LOUISE CLEMENTS PAGE 91 The artistic director of QUAD and FORMAT international photography festival shares her favourite read, The Jungle Book by Yann Gross. ANDY GOTTS PAGE 74 Famed for his black and white portraits of Hollywood actors, Andy Gotts invites us to his temporary ‘studio’ at Flemings Mayfair hotel in London. HANNAH MODIGH PAGE 31 The…

access_time3 min.
what makes a photograph legendary?

Photographs have become pawns to be sacrificed in the name of social and political advance. A couple of weeks back, the Reuters photographer Jonathan Bachman took a picture of a black woman standing calmly in front of advancing police officers at a rally in Louisiana (see page 82 for more of the story). The picture was immediately described as ‘legendary’ by commentators. Now, what follows is not a critique of Mr Bachman and the portfolio he created that day, which contains many notable images. The issue is, what was so legendary about the image, how does an image become legendary, and who decides? Things achieve a legendary status over time, as they seep into our consciousness. It is an unexplained phenomenon, born of many small things that seem to accumulate a mass.…

access_time2 min.
story _ behind _ edmund _ clark

“I can’t tell you how I found where he lives. I’d risk getting someone into trouble if I did that. ”Edmund Clark This street is where an American pilot lives. He flew rendition flights [a controversial CIA practice allegedly aimed at facilitating the torture of prisoners on non-US soil]. They carried people around the world to secret prisons and to be interrogated. I can’t tell you how I found where the pilot lives. I’d risk getting someone into trouble if I did that. The image was taken in America, three years ago. My research led me to those houses: I wanted to record those spaces. I was also working in and around the homes of men who’d been subject to extraordinary renditions. I decided to redact the image on legal advice, but also…

access_time5 min.
“i practically incinerated jimi. you couldn’t do that any more”

I think I got paid £75 to do it. It wasn’t a big deal, record albums never were a big deal, and then it came out and the shit hit the fan. Electric Ladyland was The Jimi Hendrix Experience’s third and final studio album, ranking as their most commercially successful release. But it wasn’t just the music that left a lasting impression on its audience. Captured by David Montgomery in 1968 in London, Electric Ladyland featured an image of 19 naked women, a bold and hugely controversial industry first. “They shot a cover in America and they didn’t like it,” recalls Brooklyn-born Montgomery, now 79. “Chris Stamp, who owned the record company, said, ‘This isn’t going to sell any records’. So they came up with the idea of shooting the girls. Then they…

access_time9 min.
theatre of the mind

A photograph is frozen, still and mute: it makes sense to me in a way other narrative forms don’t. It was on a forest trail in Becket, Massachusetts, surrounded by wilderness and open water, that photographer Gregory Crewdson reconnected with himself and his art. Following a difficult divorce, he’d found himself with the equivalent of writer’s block, unable to make pictures. To restabilise his life, he moved out of Manhattan and into a church in Great Barrington, MA. “It was during one of those winters, cross-country skiing in a pine forest miles away from civilisation, where I came across a little sign for a path through the woods called Cathedral of the Pines,” he says. “It was the moment when the entire body of work came together for me.” With production budgets…

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