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Posted 09/02/2021
There is a vibrance, a joy, and a love for photography that one feels when speaking with Meryl Meisler. It’s also very cool that by day she was a high school art teacher in Brooklyn and, by night, dancing and photographing at legendary clubs like Studio 54. Anyway, that’s just how I see it. Of course, there’s a lot more to Meisler’s photography than just 1970s disco and 1980s Bushwick, and we talk about a wide range of subjects on this episode of the B&H Photography Podcast. Meisler’s latest book, New York PARADISE LOST Bushwick Era Disco, is a wonderful look back at two very different versions of New York. It juxtaposes images she took in the Brooklyn neighborhood of Bushwick and those in the clubs and discos of Manhattan. We speak about how photography starts conversations, and how we can feel more confident with a particular camera, whether medium format, FUJIFILM X series, or a Canon point-and-shoot. We also discuss editing and maintaining a large body of work over a period of decades, studying with Lisette Model, balancing a photography practice with a full-time job, and an upcoming exhibit of Meisler’s work to be held at the same public school at which she taught. Join us for this uplifting conversation and check out Meisler’s extended exhibition at The Center for Photography at Woodstock, through September 15, 2021. Guest: Meryl Meisler Photograph © Meryl Meisler Shirtless Man Wearing Hood and Jeans, Gates Avenue, Bushwick, Brooklyn, NY, June 1982 © Meryl Meisler, courtesy of ClampArt Potassa de la Fayette Poised on Grand Piano, the Copacabana, NY, NY, February 1977 © Meryl Meisler, courtesy of ClampArt Student Interviews 83rd Precinct Police Officers, Bushwick, Brooklyn, NY, June 1982 © Meryl Meisler, courtesy of ClampArt Five Fashionable Rejects (With JudiJupiter) Studio 54, NY, NY, October 1978 © Meryl Meisler, courtesy of ClampArt Nose Ring, Earring, Mustache and Hickey IS 291, Bushwick, Brooklyn, NY, April 1991 © Meryl Meisler, courtesy of ClampArt Turban and Brooch, La Farfalle, NY, NY, June 1978 © Meryl Meisler, courtesy of ClampArt Anklets and High Heels Hurrah, NY, NY, March 1978 © Meryl Meisler, courtesy of ClampArt Sneakers, IS 291, Bushwick, Brooklyn, NY, 1984 © Meryl Meisler, courtesy of ClampArt Magnolia Tree Gates Ave, Bushwick, Brooklyn, NY, May 1983 © Meryl Meisler, courtesy of ClampArt Teacher Carrying Math Books IS 291, Bushwick, Brooklyn, NY, 1984 © Meryl Meisler, courtesy of ClampArt Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Shawn C Steiner
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Posted 07/15/2021
On this episode of the B&H Photography Podcast, we are thrilled to help celebrate the first anniversary of Black Women Photographers. Founded in July 2020 by Polly Irungu, the mission of Black Women Photographers is to “disrupt the notion that it is difficult to discover and commission Black creatives.” And toward that goal, BWP is now a global organization of more than 600 members, and as an online directory, has become a home for Black women and non-binary photographers to receive proper recognition and, most importantly, to get hired. We welcome Polly Irungu to discuss the founding of BWP, and to talk about the challenges and joys of running an organization that has blossomed so quickly, and about the successes of the past year and goals for the future. On that note, Irungu thrills us by announcing new grants available to photographers. We are also joined by photographer Dawn Bangi, who received her first professional assignment—with the New York Times, no less—through Black Women Photographers. We ask Bangi how she became familiar with BWP and about the assignment she received. We also discuss her other work, the Nikon and Mamiya gear she uses, and the influence of Gordon Parks. Join us for this inspiring episode and discover some of the great work found at Black Women Photographers. Guests: Polly Irungu and Dawn Bangi Photograph © Polly Irungu © Polly Irungu © Polly Irungu © Polly Irungu Courtesy of Polly Irungu/Black Women Photographers © Dawn Bangi/New York Times From the “Davin and Davis series” © Dawn Bangi From the “Davin and Davis series” © Dawn Bangi From the “Davin and Davis series” © Dawn Bangi Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Shawn C Steiner
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Posted 04/22/2021
On this week’s episode of the B&H Photography Podcast, we focus on the work of photographer Todd Webb and, specifically, the series of images he created in Africa in 1958, while on assignment for the United Nations. We are joined by Betsy Evans Hunt, the Executive Director of the Todd Webb Archive, and by Aimée Bessire and Erin Hyde Nolan, coauthors of the new book, Todd Webb in Africa—Outside the Frame. With our guests, we discuss the photographic career of Todd Webb, including his work in New York and Paris in the 1940s and 1950s, and the founding and mission of the Todd Webb Archive. Our primary topic, however, is the rediscovery (in a steamer trunk) and eventual archiving and publishing of Webb’s photographs taken in several African nations over the course of a multi-month assignment organized by the United Nations. The images are notable not only for their fateful recovery but for their large and medium format color composition and intelligent eye; they tell a vibrant story of Africa at a moment between colonization and independence. With authors Bessire and Nolan, we discuss the making of their book, which is both a photography book of unique vision and a multifaceted study of the images themselves, with essays and interviews providing historical context and cultural and artistic analysis. Join us for this conversation on the work of an overlooked 20th-century master photographer and on a sweeping series of color photos that sat unseen for almost 60 years. Guests: Betsy Evans Hunt, Aimée Bessire, and Erin Hyde Nolan Photograph © Todd Webb Cover, “Todd Webb in Africa – Outside the Frame” © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive © Todd Webb, 1958/Todd Webb Archive Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Shawn C Steiner
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Posted 01/28/2021
Photography has long been used as a tool to explore and analyze history, but in the hands of an artist, that same tool is not asked to be exacting or accurate to the historical record. If anything, artists challenge this idea of photography as fact. And for this reason, it is such a pleasure to welcome artist and photographer Barbara Mensch to the B&H Photography Podcast. Mensch has created a book of history by using photographs she took as an artist. Having lived in the shadow of the Brooklyn Bridge for many years, she photographed the bridge in varied light and perspective, but it was not until she ventured inside the bridge's anchorage that she become interested in using her photographic story as the basis for a researched and nuanced study of the three principle creators of the Brooklyn Bridge. The book, In the Shadow of Genius: The Brooklyn Bridge and Its Creators, is the successful result of her work, and we talk with Mensch about reevaluating older work, the endurance needed to complete a long project, the ability of photography to tell stories, and about square format and Hasselblad. In the second half of the program, we take up Mensch’s current book project, which also re-addresses earlier work, in this case from her wonderful series on the workers of the South Street Seaport or, as it was then called, the “waterfront.” Here we discuss the intrapersonal skills needed to photograph in authentic, yet potentially dangerous situations, the creative and youthful zeal that fuels such projects, and even about Bergger photography paper. Join us for this engaging conversation. Guest: Barbara Mensch Photographs © Barbara Mensch From “In the Shadow of Genius: The Brooklyn Bridge and Its Creators” © Barbara Mensch From “In the Shadow of Genius: The Brooklyn Bridge and Its Creators” © Barbara Mensch From “In the Shadow of Genius: The Brooklyn Bridge and Its Creators” © Barbara Mensch From “In the Shadow of Genius: The Brooklyn Bridge and Its Creators” © Barbara Mensch Klebber’s Murder © Barbara Mensch Child in Shoe Bin, Lower East Side © Barbara Mensch From the upcoming book, "Ghosts of South Street" © Barbara Mensch From the upcoming book, "Ghosts of South Street" © Barbara Mensch From the upcoming book, "Ghosts of South Street" © Barbara Mensch From the upcoming book, "Ghosts of South Street" © Barbara Mensch Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 05/01/2019
On May 10, 2019, the 150th anniversary of the “golden spike,”—the ceremonial completion of The First Transcontinental Railroad, will be celebrated, and we at the B&H Photography Podcast are taking this opportunity to talk railroad photography. In the first half of the episode, we discuss the iconic image created by photographer A.J. Russell, at Promontory Summit, Utah, in 1869 of hundreds of workers gathered on and around two steam locomotives for this momentous occasion. We also touch upon the relationship between photography and the growth of rail travel in the United States and mention other important railroad photographers. During the second half of our show we focus on the gear, techniques, and safety protocols employed by three accomplished contemporary railroad photographers. Joining us for this episode are Scott Lothes, photographer and President and Executive Director of the Center for Railroad Photography & Art and the editor of its journal Railroad Heritage. Lothes discusses the Russell photograph and the Center’s mission, its archive, and its publications, including the recent book,  After Promontory: 150 Years of Transcontinental Railroading. We are also joined by photographers Eric Williams and Dennis Livesey. Williams is a fine art photographer who incorporates railroad and landscape photography into his work. He provides tips on workflow and shooting techniques and offers an overview of the subtle differences between the photographic styles within this subgenre. Livesey, who concentrates on urban rail transit and steam locomotives, brings his encyclopedic knowledge of railroad history and an insight on how to turn your passion into a photo project, specifically using his 2016 book, Smoke Over Steamtown, as an example. Join us for this timely and celebratory episode. To read more about railroad photography and view some exquisite train photographs, click into Todd Vorenkamp's article, 15 Tips for Better Train and Railway Photos. Guests: Scott Lothes, Eric Williams, and Dennis Livesey Above photograph © A.J. Russell, courtesy Center for Railroad Photography and Art © Eric Williams © Eric Williams © Eric Williams Erie Railroad freight train at Tuxedo, New York, October 22, 1944 © Donald W. Furler, courtesy Center for Railroad Photography & Art Cover of After Promontory, published by Indiana University Press (cover photograph by Carleton E. Watkins) Hawk’s Nest, West Virginia © Scott Lothes Pomona, Washington © Scott Lothes The Valley Railroad’s 2-8-2 Mikado bursts through the night and snow in Essex Connecticut, 2017 © Dennis A. Livesey Engineer Shane Frederickson and his son run the Reading Blue Mountain & Northern Railroad 4-6-2 Pacific No. 425 steam locomotive in Nesquehoning, Pennsylvania, 2017 © Dennis A. Livesey Central Railroad of New Jersey 0-6-0 switcher steam locomotive gets steam up in Minersville, Pennsylvania, 2018 © Dennis A. Livesey New York is exploding with construction, yet the No. 7 train just keeps rolling along. Long Island City, New York, 2017 © Dennis A. Livesey “The Champagne Photo,” celebrating the completion of The Transcontinental Railroad, May 10, 1869. Photograph by A.J. Russell, courtesy of the Center for Railroad Photography & Art Previous Pause Next   Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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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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