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Posted 03/25/2021
What is street photography? Is it an urban exercise? Is it black-and-white or color? Is it collaborative or solitary? Can it be an intimate portrait or a long-term project? These are some of the questions we ask of our guest on today’s episode of the B&H Photography Podcast. And Gulnara Samoilova does not take the bait. Samoilova is interested in expanding street photography, not limiting it with a definition. To her, and as is represented beautifully by the new book she edited, street photography is all of the above—it can happen anywhere, and it is simply “unplanned photos taken in public places.” In addition to be being an editor and curator and the founder of the @womenstreetphotographers Instagram feed, Samoilova is an accomplished photographer herself, and we spend the first half of the show talking street photo practices and how she uses verbal and nonverbal communication to interact with subjects, how she holds the camera, and how a location may affect the style of a photo. She also mentions that she has been a FUJIFILM X  shooter for some time. In the second half of the show, we focus on Women Street Photographers, the new book edited by Samoilova, which profiles one hundred street photographers from around the world, and we find out how this book was edited and produced and about some of the photographers included. Join us for this insightful discussion. Guest: Gulnara Samoilova Photograph © Gulnara Samoilova Myanmar © Gulnara Samoilova New York City © Gulnara Samoilova Ufa, Bashkiria © Gulnara Samoilova © Gulnara Samoilova Cover, Women Street Photographers edited by Gulnara Samoilova © Prestel Verlag, Munich London New York, 2020. “Untitled”; From Women Street Photographers, © Nina Welch-King, 2018 “A Dance of Joy”; From Women Street Photographers, © Regula Tschumi, 2019 “Tokyo Smokers”; From Women Street Photographers, © Hazel Hankin, 2007 “A Night Bus in Kolkota, India”; © Emily Garthwaite, 2017 “The Serpentine”; From Women Street Photographers, © Efrat Sela, 2007 “Sleeping Beauty”; From Women Street Photographers, © Elena Alexandra, 2019 “Materic Water #1”; From Women Street Photographers, © Bruna Rotunno, 2011 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 01/14/2021
On this week’s episode of the B&H Photography Podcast, photographer Matt Price describes skate photography as the “perfect blend between studio and sports photography” and, from our engaging conversation, this idea will be made clear. Price knows of what he speaks—in addition to an acclaimed freelance career, he has been a staff photographer and editor for The Skateboard Mag and is currently Brand Director at CCS Skateshop and creates the magazine, Golden Hours Skateboarding. Price has lost more than one lens to the rigors of his craft, and we talk with him about getting close to skateboarders with a fish-eye lens, as well as other shooting and lighting techniques. We also discuss how he fell in love with skating and, at a very young age, began to submit his work to forums and, ultimately, to editors. He admits to taking his lumps from online critics for his early work, but his passion for skating and desire to improve his photo craft provided the courage and commitment to keep going and, eventually, his “energy-based” photo style caught the eye of editors and brands who sent him around the world to cover the skate scene. We discuss many topics in this easygoing conversation, from skating techniques to the business of skateboard photography to the differences between the various skate publications. We also get into the relationship between skater and photographer and how such a niche photo style has grown to influence a range of disciplines. Finally, we talk about gear choices and what has worked for Price. Starting with a Canon Rebel that he purchased with money his grandmother helped him secure, Price has worked with Hasselblad and Sony systems, but is currently back where he started, shooting with a Canon EOS 5D Mark IV and the Canon EF 8-15mm f/4L lens. Guest: Matt Price Photographs © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price © Matt Price Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 12/24/2020
I think most photographers have tried to document their experience during the COVID-19 shutdown, but none have done it quite like Neil Kramer. Kramer is riding out the pandemic in a two-bedroom apartment in Queens, New York, with his 86-year-old mother and his ex-wife. Did I mention that this is the apartment in which he grew up…and that he is living with his mother and his ex-wife? Kramer has become the star of his own drama and aptly describes the process of creating this series as “part art, part desperation.” Perfectly fitting. Kramer is primarily a street and portrait photographer with a healthy Instagram following and editorial or assignment gigs, but when the streets emptied in early March, he turned to his unlikely living situation for inspiration. Initially, there was humor and novelty in his images; he enlisted his “roommates” as players, and eventually as collaborators, in these one-shot dramas. As the weeks and months passed, his diaristic Instagram feed went from funny shots of faux-fights and crowded bathrooms to more introspective and isolated posts, complete with tender and insightful commentary. On this week’s episode of the B&H Photography Podcast, we speak with Kramer about developing this project, about “learning to take a photo when I’m not behind the camera,” about tethering, lighting, and bribing his “cast and crew” with doughnuts. Join us for this Seinfeldian chat, which might just help us keep our humor and creative spirit alive during the most difficult of situations. Guest: Neil Kramer Photograph © Neil Kramer Quarantine in Queens, Day 11. © Neil Kramer Quarantine in Queens, Day 12. © Neil Kramer Quarantine in Queens, Day 26. © Neil Kramer Quarantine in Queens, Day 49. © Neil Kramer Quarantine in Queens, Day 70. © Neil Kramer Quarantine in Queens, Day 85. © Neil Kramer Quarantine in Queens, Day 133. © Neil Kramer Quarantine in Queens, Day 158. © Neil Kramer Quarantine in Queens, Day 222. © Neil Kramer Quarantine in Queens, Day 263. © Neil Kramer Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 10/22/2020
In the 1970s, under the aegis of the Great Society’s Model Cities Program, photographer Earlie Hudnall, Jr. began to document the predominantly African-American neighborhoods of Houston’s 3rd, 4th, and 5th wards, and for more than forty years he has continued to create an indelible portrait of life in these neighborhoods. To be sure, Hudnall has photographed all around the world, and worked for years as the photographer for Texas Southern University, but it is his images of the people of Houston that we discuss today, and that are included in his current exhibition at the Photographs Do Not Bend Gallery in Dallas, running through October 31, 2020. On this week’s episode of the B&H Photography Podcast, we talk with Hudnall about the relationship between the stories he tells with his images and those he grew up with in his native Mississippi; how the tradition, culture, and community of his youth reveal themselves in the faces and facades of modern Houston. We also talk about his organic approach to photography and how respect for his subjects informs his process, and how eye contact and body language are tools to connect with people on the street. Hudnall is old school—he works with digital cameras when needed—but his Hasselblad and Nikon film cameras are his primary tools and he discusses why he chooses one over the other to make a particular image. Hudnall also prints his photographs, so we talk about sourcing supplies, Ilford paper, and darkroom techniques. And while we do get into camera talk and a “sweet, sweet, sweet, soft Rolleiflex,” much of our conversation with Hudnall focuses on how memory and inspiration react in a moment to create a powerful image and how staying sensitive to your surroundings will serve your imaging. It is a joy to listen to Hudnall; please join us for this conversation. Guest: Earlie Hudnall, Jr. Photograph © Earlie Hudnall, Jr. Mr. Shine, 3rd Ward, Houston, 1988 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Girl with Flag, 3rd Ward, Houston, 1991 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Hip Hop, Galveston, TX, 1993 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Looking Out, 3rd Ward, Houston, TX, 1991 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Feeling the Spirit, 3rd Ward, Houston, TX, 1987 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Boy Eastern Star, 3rd Ward, Houston, TX, 1984, © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, T Roots, 1997 © Earlie Hudnall, Jr., courtesy PDNB Gallery, Dallas, TX Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 07/29/2020
On this week’s episode of the B&H Photography Podcast, we present a conversation with two photographers. We start with Aaron Turner, who is also a scholar, an archivist, and the host of the podcast “Photographers of Color.” Turner stays with us as we speak later with Laylah Amatullah Barrayn about her street portraiture during the COVID-19 outbreak in New York and  the recent uprising in Minneapolis. With Turner, we talk about the genesis of The Center for Photographers of Color, which is currently located at the School of Arts at the University of Arkansas, and how it grew from a Twitter feed as an attempt to recognize and connect the many African-American photographers both currently working and of historical significance and influence. We discuss the Center and its research, exhibition, archiving goals, and overall mission to develop and maintain a community of photographers. We also chat with Turner about his personal photography and how that has evolved over the years from photojournalism to documentary to a more conceptual form integrating personal and cultural histories. After a break, we welcome Laylah Amatullah Barrayn and jump right into a conversation about her decision to return to her Brownsville, Brooklyn, neighborhood to photograph the residents during the early uncertain days of the COVID-19 outbreak. In addition to an assignment on funeral directors, she created a wonderful series on the fashion and cultural statements of wearing a mask. We also speak about her work in Minneapolis during the June uprising there, and how she focused on portraiture of the residents, as opposed to the protests themselves. We also discuss technique with a FUJIFILM mirrorless system and a 35mm lens, the need to bear witness, the value of working with a community of photographers, and the “power of the archive.” Join us for this wide-ranging and passionate conversation about the importance of recognizing tradition, supporting your fellow photographers, and pushing for necessary changes within the photography sphere and the culture at large. Guests: Aaron Turner and Laylah Amatullah Barrayn Photograph © Aaron Turner Looking at Drue King, from The Black Alchemy, Vol 2 series, 2018 © Aaron Turner Untitled, from The Black Alchemy, Vol. 1 series, 2015 © Aaron Turner Great Uncle Sammie's Funeral, Marion, Arkansas, 2014 © Aaron Turner Bethel A.M.E. Church, Lansing, Arkansas, 2015 © Aaron Turner Terrence D., Dumas, Arkansas, 2015 © Aaron Turner Lougè Delcy, also known as Dapper Lou, wears a custom-designed mask near the entrance of Prospect Park, May, 2020 © Laylah Amatullah Barrayn Aïssatou, from Conakry, Guinea, waits for the shuttle train at the Prospect Park station, Brooklyn, May 2020 © Laylah Amatullah Barrayn Minneapolis, June, 2020 © Laylah Amatullah Barrayn Minneapolis, June, 2020 © Laylah Amatullah Barrayn Mutual aid networks, distributing food and supplies in north Minneapolis, June 2020 © Laylah Amatullah Barrayn Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 06/17/2020
On this week’s episode of the B&H Photography Podcast, we welcome Margit Erb and Michael Parillo, of the Saul Leiter Foundation, to discuss Saul Leiter’s career and their work preserving the art and the legacy of this pioneer of color photography. Born and raised in Pittsburgh, Leiter veered from the traditional religious path his parents desired for him and moved to New York City to follow his own calling. Met with early success in the 1950s—Leiter’s photography was included in exhibits at MoMA and he built a steady career as a fashion photographer for Esquire and Harper’s Bazaar —by the 1980s, he was forced to give up his studio and struggled financially, but late in life his huge archive of color street photography, much of which was unseen beyond a few curators and colleagues, became a treasure chest of fine art photography. A painter and photographer, he left behind a tremendous amount of work, including hundreds of rolls of unprocessed film, that has been entrusted to Erb and the Leiter Foundation. We talk with Erb and Parillo about Leiter’s early life, his growth as a photographer, his shooting style, his work in fashion, and even how he turned down an invitation to be included in the legendary “Family of Man” exhibition at MoMA. After a break, we discuss the nuts and bolts of organizing and maintaining an archive that is at once massive and unwieldy and a never-ending source of inspiration. Join us for this fascinating conversation about a photographer whose complete body of work is yet to be fully appreciated. Guests: Margit Erb and Michael Parillo Photograph © Saul Leiter Foundation, courtesy of Howard Greenberg Gallery Sunday Morning at the Cloisters, 1947 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Five and Dime, 1950 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery From Harper’s Bazaar, February, 1959 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Mirrors, 1962 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Red Curtain, 1956 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Red Umbrella, 1955 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Haircut, 1956 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Snow, 1970 © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Untitled, 1950s © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Self-portrait, 1950s © Saul Leiter Foundation, courtesy Howard Greenberg Gallery Previous Pause Next   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 01/15/2020
Imagine the privilege of being present at the creation of one of the “wonders of the world,” and then imagine being asked to document the magnitude—and the details—of that creation. Our guest on today’s episode of the B&H Photography Podcast has just that privilege and that responsibility and, as he puts it, this telescope may “change the way we understand our universe.” Chris Gunn has been a NASA contract photographer for almost twenty years but, for the past ten, he has dedicated himself to the James Webb Space Telescope and documenting the construction and eventual launch of this spacecraft, which will replace the Hubble as NASA’s most powerful telescope. We speak with Gunn about all aspects of his job and, specifically, about the gorgeous medium format images he creates that are made available to the public. Gunn is responsible for documenting the construction process, which includes portraits of scientists, as well as macro shots of screws, and he relates how he has “taken the extra step” to evolve as a photographer, incorporating medium format photography and detailed setups. Gunn must be prepared to shoot any style of photo and he discusses his daily responsibilities, how his gear has evolved over time, the lighting he chooses, and his interaction with the hundreds and technicians and scientists he works with regularly. We also discuss marketing yourself as a photographer and the specific challenges that make his job like no other, including working in giant “clean rooms,” accepting that your work is immediately in the public domain, and incorporating the aesthetics from science-fiction films. Sitting in on this recording is our own member of the B&H Space Force, writer Todd Vorenkamp. Join us for this fascinating episode in which we learn about this incredible spacecraft and the work that goes into documenting its creation and check out our 2016 episode, in which we speak with the imaging scientists from the  Hubble Telescope mission. Guest: Chris Gunn Above photograph © Chris Gunn Chamber A Door © Chris Gunn/NASA Blanket Inspection © Chris Gunn/NASA Wings Deployed © Chris Gunn/NASA Lights Out Inspection © Chris Gunn/NASA Container Doors © Chris Gunn/NASA Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 01/09/2019
On this week's episode of the B&H Photography Podcast, we welcome two artists whose work blurs the line between street photography, documentary, installation and digital art, while cultivating a contemporary interpretation of the art and craft of collage. Both artists utilize photography-based processes and take urban architecture and street scenes as their subject, but from there, the work goes in very different directions. Jennifer Williams creates large, often site-specific collages that inspect but distort the architectural scenes she documents. As she has stated, “The rectilinear shape that is the traditional photograph never fulfilled my desire to show everything in space," and that will be immediately clear upon seeing her work. Layering images of buildings upon one another, she creates angular and abstract collages while still providing a path for the viewer to connect the image she creates with the neighborhood or street that she photographed. Williams speaks about her process, including the original imaging, her manipulation in post-process, and her large-scale installations, often made on Photo Tex media. Tommy Mintz wrote a software program that creates "automated digital collages" and he has experimented over the years how he (and the program) composes the street scenes he photographs. The tools he uses for image capture and computation have evolved and become more powerful, but unlike the painstaking control Williams exercises over her collages, the key element in Mintz's process is the random arrangement and layering of images that the software creates. This is not to say that his images are out of control—after all, he wrote the program. He selects scenes to photograph and he does adjust the final product in Photoshop, but the software-generated placement of images creates layers, unexpected shadows, multiple exposures and even seeming glitches that add up to an intriguing and whimsical take on street photography. Join us as we learn about the conceptualizations and processes of these two visual artists and hear how they integrate Nodal Ninja, Epson 24" printers, and the Sigma dp2 Quattro Digital Camera into their workflow. Guests: Jennifer Williams and Tommy Mintz City of Tommorow- Manhatten: Billionaire's Row (57th Street) © Jennifer Williams Blacksburg Unfurled (Virginia Tech, Blacksburg, Virginia) © Jennifer Williams Surveying Liberty (Newbugrh, NY) © Jennifer Williams The High Line Effect: Approaching Hudson Yards © Jennifer Williams Ladders (Installed at Robert Mann Gallery) © Jennifer Williams © Tommy Mintz © Tommy Mintz © Tommy Mintz © Tommy Mintz © Tommy Mintz Jennifer Williams, Tommy Mintz, and Allan Weitz © 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 06/22/2018
On this week’s B&H Photography Podcast, we welcome three members of the Kamoinge photography workshop and, through their collective eyes, we discuss African-American photography of the past sixty years and the role that Kamoinge has played in nurturing and presenting that photography. We also discuss the making of their current exhibition and the artists involved, called, “The Black Woman: Power and Grace,” which is at the National Arts Club through June 30, 2018. To speak on Kamoinge and the exhibit, we have with us photographers Russell Frederick, Delphine Diallo and Jules Allen. Mr. Frederick is the current vice-president of the collective and provides some historical context and a sense of the mission of the group, which was formed in 1963. Mr. Allen discusses a few of the important figures in the group’s history, including Beuford Smith, Roy DeCarava, and Ming Smith; and Ms. Diallo reflects upon the appeal the workshop held for her when she arrived in Brooklyn, as well as thoughts on the obstacles women photographers still face in our industry. Each brings to the table a personal insight on the range of topics that come up during this humorous, provocative, and historically informative conversation. Kamoinge has deep and significant roots, but it is ever-evolving, and the diverse work of Mr. Frederick, Ms. Diallo, and Mr. Allen is testimony to the wide range of photography that finds a home at Kamoinge. Join us for this lively episode and check out the “Power and Grace” exhibit, at the National Arts Club. Guests: Delphine Diallo, Jules Allen, and Russell Frederick From “womensofnewyork” © Delphine Diallo, included in “The Black Woman: Power and Grace” From “Highness” © Delphine Diallo From “Highness” © Delphine Diallo From “Afropunk” © Delphine Diallo "I got your back." Two best friends declare their friendship and loyalty to each other for life. Bedford Stuyvesant, Brooklyn, 2007. © Russell Frederick "We celebrate you. Rest in power." A local marching band honors fallen hometown councilman James Davis. Bedford Stuyvesant, Brooklyn. © Russell Frederick Mrs. Edwards stops for a portrait on Easter Sunday right before she heads to the bus. Bedford Stuyvesant, Brooklyn, 2009. © Russell Frederick Havana, Cuba. © Jules Allen, included in “The Black Woman: Power and Grace” Betty Shabazz at the funeral for her husband, Malcom X. Harlem, N.Y., 1965. ©Adger Cowans, included in “The Black Woman: Power and Grace” Dionne Warwick, Maxine Waters, Johnette Besch-Cole, Maya Angelou, Cicely Tyson, and another distinguished woman, 1993 © Eli Reed, included in “The Black Woman: Power and Grace” “Contrast in Black and White.” New York, 1970. © Frank Stewart, included in “The Black Woman: Power and Grace” Graduates of Spelman College © John Pinderhughes, included in “The Black Woman: Power and Grace” Church ladies. New York, 2005 © Jamel Shabazz, included in “The Black Woman: Power and Grace” Dr. Deb Willis. © Terrence Jennings, included in “The Black Woman: Power and Grace” Untitled © Salimah Ali, included in “The Black Woman: Power and Grace” Delphine Diallo looks at Roy DeCarava photographs. © John Harris Jules Allen © John Harris Russell Frederick, Delphine Diallo, Allen Weitz, Jules Allen © 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 04/27/2018
The simple theme for today’s episode of the B&H Photography Podcast was to be “how to speak to people in the street when you’d like to take their photo.” For this conversation, we invited two of the best street portraitists in New York— Amy Touchette and Ruddy Roye, both incredibly talented photographers (and writers!) whose work has appeared in the New York Times, New Yorker, Time, Esquire, and many other publications. They are both also very active on Instagram, with work that seems ideally suited for the best that medium has to offer. However, as good conversations often do, ours takes a winding road. We discuss personal and family histories, gentrification, race, and a range of subjects, all along tying these ideas to the fundamental aspects of engaging with people, often strangers, to produce passionate and compassionate street photography. We ask our guests how they approach people, how they describe their work when asking for a photograph, and about the importance of body language and eye contact to convey your intention and develop trust. We also examine the differences in approach when photographing people from cultural and economic backgrounds different than your own, when shooting groups of people and, finally, we discuss how to handle pushback, requests for money, outright rejections, and even upsetting encounters. For the gearheads, we touch on working with formats from medium format to cellphone, and how that effects your approach and the interaction with your subjects. Join us for this inspiring conversation. Guests: Amy Touchette and Ruddy Roye Top Shot © Amy Touchette 125 St., Harlem, Manhattan, 2017 © Amy Touchette Bedford Ave, Bed-Stuy, Brooklyn, 2017 © Amy Touchette Skillman St., Bed-Stuy, Brooklyn, 2016 © Amy Touchette From "Personal Ties: Street Portraits in Bed-Stuy, Brooklyn" © Amy Touchette From "Personal Ties: Street Portraits in Bed-Stuy, Brooklyn" © Amy Touchette From "Personal Ties: Street Portraits in Bed-Stuy, Brooklyn" © Amy Touchette © Ruddy Roye © Ruddy Roye © Ruddy Roye © Ruddy Roye © Ruddy Roye From the series “When Living Is a Protest” © Ruddy Roye Amy Touchette © John Harris Ruddy Roye © John Harris Amy Touchette, Ruddy Roye, and Allan Weitz © 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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