Because I Cannot Take Photographs

I've had a hard time taking photographs.  Here are bookmarked pages I've scanned and would like to share with you. Grab some ideas! There are also links for the photographers and magazine and additional reading.

     American Photo, March/April 2011, scan

Steve McCurry, one of the most influential contemporary photographers of our time in article, "The Last Roll" by Jacky Crager in American Photo Magazine, detailing McCurry's journey with the last roll of Kodachrome on his final assignment.

     Dwell Magazine, June 2006, scan

Aneta Grzeszykowska and Jan Smaga duo Polish photographers take bird's eye view photographs of Warsaw apartments.

     Anthropology December 2010 issue, scan. 

Anthropology catalog photographers can often employ elaborately staged, dream-like worlds. Recently found its even a coined word in photography circles that defines a certain type of stylized shooting techniques.

     Ad layout, Departures Magazine, September 2011 issue, scan.

Ermendgildo Zegna, tailored suites ad layout. Checkout ZegnArt Projects, combining various, international projects in the field of contemporary visual arts in collaboration with curators, cultural institutions and organizations.

     Dwell, September 2005 in "Living in Oblivion," scan

David Maisel, aerial landscape photographer's new work called Oblivion, documentation of the city of Los Angeles.

     Departures Magazine, September 2011, scan.

Rodney Smith photographer in "A Night to Remember," a fashion portfolio shoot at The American Museum of Natural History in New York City, Departures Magazine.

      American Photo, March/April 2011, scan.

Dan Winters, recognized for his unusual celebrity portraiture, shoots Kodak and expresses in article, "A Winter's Tale by Michael Kaplan:

"For all of Winter's studding work, those who hire him have to be willing to do things the Winters way. He does extremely tight edits, for example, to the point that art directors pretty much receive the number of images they need and not many more. It's a rule that went into effect long before he achieved his current degree of success. "I rarely deliver options when I deliver film, "he says. "There is the paradigm of the picture editor and he staff leaning over a light table. But I'm not a machine. My job is to edit the world and edit what I experience. So why should I give them so many shot to choose from? People would tell me that they  need to see the shoot. I never do that. I never show contact sheets. When it says, 'photo by Dan Winters,' that is my credit and I live and die by it. i give the one that works. I watch the arc of the shoot and know when I've gotten to the photo that works - and I don't need someone to look at everything in order to figure out when it started to work."