July 2010


Jul 26 | By Joerg Colberg

A Conversation with Trevor Paglen

The occasion of the upcoming release of an Aperture book by Trevor Paglen (Invisible) seemed like the perfect opportunity to talk with the artist about his work. (more)
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Jul 21 | By Joerg Colberg

Photographers and Social Networking

You’re a photographer, and you want to do it right. The big question, of course, is: What exactly does it mean to do things “right” in this digital day and age? The photography aside, there are a lot of other aspects to photography, and most of them have to do with, well, business, or at least with trying to reach other people, to entice them to look at your work. How do you do that? There’s an industry of people who specialize in telling photographers how to do that, and I have no intention of joining them. However, the longer I’m following what seems to be going on right now, the more of a tingly feeling I am getting in the fingers I typically use for typing. In particular, I really want to write a few words about what people call “social networking.” Of course, I’ll happily admit that I’m no more of an expert on this particular topic than most other people, so you’ll have to take that into account. (more)
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Jul 15 | By Joerg Colberg

A Conversation with Dawin Meckel

Shortly after discovering Dawin Meckel’s portrait of Detroit, I approached him to find out more about this body of work: How did he go about photographing Detroit? How did this body of work get made? (more)
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Jul 7 | By Joerg Colberg

A Conversation with Dhruv Malhotra

Dhruv Malhotra was one of the photographer at the 2010 Hyères Festival of Fashion and Photography. He was picked as the recipient of a scholarship for SVA’s Photo Global program, so he’ll have a chance to come to New York and work there. I approached Dhruv to talk about his own work and a little bit about photography in India in general. (more)
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Jul 5 | By Joerg Colberg

Ping Pong with Michael Itkoff, Round 4

Round four of the ping-pong chats with Daylight Magazine’s Michael Itkoff centers on individual images, the impressions they leave, their power, and their uses, in the context of the (at the date of this writing) ongoing Gulf oil spill.
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