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Posted 12/06/2018
In 1958, Art Kane, already a successful art director looking to jump-start his photography career, pitched the idea of a “class photo” for Vogue magazine’s annual jazz edition. In addition to individual photographs of jazz legends, he proposed a group portrait of musicians gathered on a stoop, in Harlem. For music and photography aficionados, the photo, now commonly referred to as “A Great Day in Harlem,” is an iconic image and, on today’s episode of the B&H Photography Podcast, we speak with Jonathan Kane —Art Kane’s son and an accomplished musician and photographer in his own right—about the creation and impact of this photograph. We also discuss the new book, Art Kane. Harlem 1958- 60 th Anniversary Edition, which provides context for the image creation and never-before published outtakes. In the second half of the show, we welcome contemporary jazz photographer Clara Pereira, who is one half of the team behind the blog Jazztrail.net. Pereira speaks on the nuts and bolts of jazz photography, including tips on gear, technique, settings, and lighting. We find out that her simple approach is very effective, as she explains how to keep a low profile while shooting, the differences between working a club and a concert hall, and between performance and portrait work. Join us for this enjoyable episode and take a listen to our earlier episode on the image, “A Great Day in Hip-Hop,” which was photographed years later at the same Harlem location as Art Kane’s masterpiece. Guests: Jonathan Kane and Clara Pereira “Harlem 1958” © Art Kane Louis Armstrong, 1958 © Art Kane Jim Morrison, 1968 © Art Kane Great Day in Queens, 2018 © Jonathan Kane © Jonathan Kane Joshua Redman © Clara Pereira Pharoah Sanders © Clara Pereira Ben Goldberg © Clara Pereira Donald Harrison © Clara Pereira Francisco Mela © Clara Pereira Kidd Jordan © Clara Pereira Christian Sands © Clara Pereira Jamie Branch © Clara Pereira Jazzmeia Horn © Clara Pereira Clara Pereira © John Harris Allan Weitz and Clara Pereira © John Harris Previous Pause Next   Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 05/25/2018
What makes a photographer follow their moral compass and photograph the stories they feel need to be told, no matter what the personal costs? Furthermore, how do they do so without the support of a news outlet or even an agency to distribute that work? And then, what if they decide to shoot primarily with black-and-white film?! On today’s episode of the B&H Photography Podcast, we speak with Greg Constantine, who made and continues to make these decisions. In this affable conversation, we find out what prompted Constantine to pick up a camera and how he made the subject of “statelessness” a recurring theme in his work. We also learn why he continued to shoot film, even after digital became the more affordable and accepted format, and why the more established route of assignments for news outlets was not the best path for his storytelling. We also discuss the financing of his work through a combination of grants, commissions, and out-of-pocket spending, the obstacles to exhibiting documentary photography and, ultimately, the satisfaction of seeing the positive impact his work has had. As mentioned, much of Constantine’s work documents oppressed communities, and he has lived and traveled extensively in Asia and, more recently in Europe, to follow stories of migration and persecution. Specifically, he has worked in Burma with the Rohingya people, with the Nubians in Kenya, and with communities around the world that live without the basic right of citizenship. His current project, Seven Doors, has brought him back to his home country to document stories on immigration detention. Constantine’s work ultimately did make it into well-recognized newspapers. He has published books and won awards, and his work has been exhibited in the halls of the U.S. Capitol Building, but he continues to press forward—guided not by credit lines, but by the desire to grow as a photographer, to be inspired by the people he photographs, and to tell the stories that demand to be told. Join us for this inspiring conversation. Guest: Greg Constantine Kenya, 2008, from “Nowhere People” © Greg Constantine Kuwait, 2011, from “Nowhere People” © Greg Constantine Italy, 2014, from “Nowhere People” © Greg Constantine Iraq, 2014, from “Nowhere People” © Greg Constantine Bangladesh, 2017, from “Exiled to Nowhere: Burma’s Rohingya” © Greg Constantine Bangladesh, 2017, from “Exiled to Nowhere: Burma’s Rohingya” © Greg Constantine Bangladesh, 2017, from “Exiled to Nowhere: Burma’s Rohingya” © Greg Constantine Bangladesh, 2017, from “Exiled to Nowhere: Burma’s Rohingya” © Greg Constantine United States, 2018, from “Seven Doors” © Greg Constantine United States, 2018, from “Seven Doors” © Greg Constantine United States, 2018, from “Seven Doors” © Greg Constantine Malaysia, 2017, from “Seven Doors” © Greg Constantine Greg Constantine on the B&H Photography Podcast © John Harris Allan Weitz and Greg Constantine © John Harris Previous Pause Next DON'T MISS AN EPISODE SUBSCRIBE NOW:   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 04/13/2018
The “Day to Night” series that Stephen Wilkes has been working on for several years has received much-deserved attention and has grown from its New York roots to encompass locations in Europe, the Middle East, Asia, and Africa. These photographs, which capture a full 24-hour cycle in one frame are awe-inspiring when viewed as a whole; fascinating when analyzed in detail, and monumental when considered as a production. On today’s episode of the B&H Photography Podcast, we speak with Stephen Wilkes and Bette Wilkes, his wife, business manager, and the behind-the-scenes producer of these incredible photographs. Our conversation is easy-going and bounces back and forth between Mr. and Ms. Wilkes, emphasizing their intertwined working relationship. With Mr. Wilkes, we speak of the genesis of the project and the influences he finds in the paintings of the Dutch Masters and the Hudson River School. We also discuss his process, which is both physically and technically demanding. He speaks of a desire to “get lost” in the moment and ultimately how his images are “a representation of his memory” from the day and place. With Ms. Wilkes, we speak of the knotty and time-consuming process of arranging a shoot that will last more than twenty-four continuous hours in some of the world’s busiest and most desolate locations. We discuss many photographs, but concentrate on two images from the “Day to Night” series to highlight their complicated productions—the first is a photograph of New York City’s Flatiron Building and, in the second half of the show, we visit a watering hole in the Serengeti Plain. To see these images, please visit our website, and, if you are in Washington D.C. prior to April 29, 2018, check out the “Day to Night” exhibit at the National Geographic Museum, and keep your eye out for the upcoming book, to be published by Taschen. Guests: Stephen Wilkes and Bette Wilkes The Highline, New York City © Stephen Wilkes Times Square, New York City © Stephen Wilkes The Flatiron Building, New York City © Stephen Wilkes Coney Island, New York City © Stephen Wilkes Santa Monica Pier © Stephen Wilkes The Western Wall, Jerusalem © Stephen Wilkes Inauguration Day, 2013, Washington D.C. © Stephen Wilkes Yosemite National Park, California © Stephen Wilkes Serengeti National Park, Tanzania © Stephen Wilkes The Grand Canyon © Stephen Wilkes Regata Storica, Venice, Italy © Stephen Wilkes Stephen Wilkes © John Harris Bette Wilkes © John Harris Stephen and Bette Wilkes © John Harris Bette Wilkes, Allan Weitz, and Stephen Wilkes © John Harris Previous Pause Next DON'T MISS AN EPISODE SUBSCRIBE NOW:   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 03/09/2018
Are the 1990s history? Well, for today’s episode of the B&H Photography Podcast, we look back to that decade when a new aesthetic in fashion photography was born in England, and later spread to the United States and the world; a transformative style whose influence is apparent almost thirty years after its birth. First appearing in small but influential magazines such as The Face, i-D, and Blitz, and growing from a reactionary youth culture, this raw style reflected a new aesthetic, one that rejected the glam, the supermodel, and the highly stylized photos of the 1980s in favor of eclectic clothing, waifish models, a low-tech, "straight-up" photo style, and a lot of “frickin’ attitude.” For this episode, we welcome fashion photographer Michael Sanders, who is a regular contributor to Italian Elle and who shot for many of the ’90s “style bibles” mentioned above. Sanders came of age in this era and discusses the social and economic factors that lead to this new aesthetic, the cyclical nature of fashion, and the overly simplistic idea of heroin-chic. He also provides a sense of the technologies that made this movement a reality, the gear most commonly used, and the assignment process and shooting-styles embraced. Finally, Sanders offers firsthand insight into the community of photographers, stylists, and models who are associated with this movement, including David Sims, Corinne Day, Kate Moss, Melanie Ward, and the important photographer and bridge figure, Nick Knight. Join us for this interesting look back to the birth of a style and photographic movement that is still reverberating. Guest: Michael Sanders Photograph © Corinne Day, model: Kate Moss, The 3rd Summer of Love cover from “The Face.” 1990 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, courtesy “Italian Elle” Allan Weitz and Michael Sanders, Photograph © John Harris Previous Pause Next DON'T MISS AN EPISODE SUBSCRIBE NOW:   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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