PDNedu, Vol. 15, No. 2, Fall 2016

Page 1

edu Brought to you by PDN and Nikon

Vol. 15 ISSUE 02 / FALL 2016

Photo © Joel Sartore/ National Geographic Photo Ark

the Conservation issue

pg.

40

JOEL SARTORE’S mission to save wildlife, one photo at a time.

24

pg.

AMI VITALE channels her inner panda for National Geographic.

50

pg.

TEAMING UP The rise of photography collectives.

THE MAGAZINE FOR EMERGING PHOTOGRAPHERS AND PHOTO EDUCATORS

The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its Affiliates is under license.

Nikon is a registered trademark of Nikon Corporation. ©2016 Nikon Inc.

When you’re a bird Lover, just thinking about the open sky inspires you to jump out of bed before dawn. Then, you’ll spend hours waiting for that one moment. 153 densely packed AF points and up to 10 frames per second of continuous shooting make it worth waiting for. And with an ISO range of up to 51,200–expandable to over 1 million–that photo can happen in almost any light with the Nikon D500. Plus, its SnapBridge technology lets you share instantly.

Show Your Love Some Love. nikonusa.com/D500

Contents

VOLUME 15 — ISSUE 02 Yusuf, a keeper at the Lewa Wildlife Conservancy in Kenya, sleeps among

Snapshots

three baby rhinos. From Ami Vitale’s series “Kenya’s

14 News and Views

Last Rhinos.”

PDNedu x Nikon at PhotoPlus Expo; Fall and winter photo festivals; Work from ICP graduate Wentao Wei; Q&A with RIT graduate Brittney Lohmiller; Star Teacher John Ganis from Detroit’s College for Creative Studies.

18 Media Reports Olivia Bee’s Kids in Love; Gregory Crewdson’s Cathedral of the Pines;

TALE

Danila Tkachenko’s Restricted Areas.

AMI VI

20 Photo Gigs

TO ©

Karen Bednorz, art buyer at

PHO

Patagonia Works.

22 Is It Legal? 1DQF\ :RO΍ OLVWV ZKDW \RX QHHG WR NQRZ EHIRUH \RX ȵ \ \RXU GURQH

24

24 Project X Ami Vitale’s recent wildlife conservation work in China and Kenya; The Pulitzer Prize celebrates its centennial

pg.

at Parsons School of Design.

Features 30 Storytellers

34 One to Watch

40 It’s a Living

46 Special Report

A portrait of coal town Racine, Ohio,

Aaron Vincent Elkaim photographs

Joel Sartore’s mission to help save

Three “green” schools for eco-minded,

by Ohio University graduate student

indigenous communities in the Amazon

wildlife, one photo at a time.

aspiring photographers. BY JACQUI

CK Vijayakumar. BY BRIENNE WALSH

ȴ JKWLQJ WR VXVWDLQ WKHLU ZD\ RI OLIH

BY HARRISON JACOBS

PALUMBO

BY LUCY MCKEON PHOTOS © (LEFT TO RIGHT): CK VIJAYAKUMAR, AARON VINCENT ELKAIM, GREGORY URQUIAGA

30

34

46

Tips & Tech

Dept.

50 Business Smarts

58 What Does It Cost…?

06 Editor’s Letter

The rise of the photography collective

To study, live and work in San Diego.

in documentary and assignment pho-

BY AMANDA BALTAZAR

08 Contributors

64 Product News

10 Bulletin Board

THIS PAGE: Behind the scenes of Nikon Ambassador Corey Rich’s virtual reality shoot with the Nikon KeyMission 360.

tography. BY AMY TOUCHETTE AND JACQUI PALUMBO

The latest gear for students and

54 Step x Step

educators. BY GREG SCOBLETE

Corey Rich provides tips for making

72 Out of the Past Gary Braasch, pioneer in documenting

.

360-degree imagery with Nikon’s new

70 PDNedu Asks…

climate change

KeyMission 360 camera. BY GREG

How to prep for a shoot in a new

BY HILARY REID

SCOBLETE

location. COMPILED BY JACQUI

PHOTO © COREY RICH PRODUCTIONS

PALUMBO

02

In a world of likes, we’re all about Love.

Are you the one with passions, not just “hobbies”? Are you the one who, has Loves, not just “likes”? Nikon cameras and NIKKOR® lenses are for everyone who ever thought,

Show Your Love Some Love. showyourlove.nikonusa.com #NikonLove

PHOTOS © KEITH LADZINSKI

FOLLOW US!

facebook.com/nikon

twitter.com/NikonUSA

instagram.com/NikonUSA

youtube.com/NikonUSA

NEW HEIGHTS:

KEITH LADZINSKI TAKES THE NIKON D500 TO THE VERDON GORGE

D

angling from a rope 800 feet off the ground in the Verdon Gorge, a river canyon in southeastern France, Nikon professional photographer and filmmaker Keith

Ladzinski had a lot on his plate while shooting stills and videos of two climbers. He says: “You’re multitasking your safety, composing [the image], watching the action and timing it while hanging in an uncomfortable harness and trying to stay steady.” Climbers may get the glory for scaling rock walls and reaching awe-inspiring heights, but if it weren’t for equally adventurous photographers like Ladzinski, those feats of daring would remain undocumented. Ladzinski, whose work appears in magazines such as National Geographic and whose client list includes Red Bull and adidas, found himself in the Verdon Gorge last November for a Nikon D500 campaign. It was the first time he got to work with the 20-megapixel, DX-format D500, which he dubbed “a little Ferrari” because of its wealth of features and incredible performance. “[Climbing is] demanding on everything: the athlete, the cameraman and the equipment,” Ladzinski says. “You want every advantage a camera can give you to get the shots you need.” Though the D500 is compact and light, it doesn’t sacrifice power. “You need to be light and fast in exposed vertical terrain, but still have what you need to get the shot,” he explains. Since the D500 is the first DX-format Nikon DSLR to capture 4K UHD video—and offers dual XQD/SD card slots—Ladzinski was all set to meet the still and video demands of the assignment in a single camera. Ladzinski kept his gear lightweight by combining the D500 with wide-angle lenses such as the AF-S DX NIKKOR 10-24mm F3.5-4.5G ED, the AF DX Fisheye-Nikkor 10.5mm f/2.8G ED and the AF-S NIKKOR 16-35mm f/4G ED VR. The D500’s smaller body also allowed him to mount the camera on a drone to capture exciting aerial footage, along with two Nikon SB-5000 AF Speedlights—which utilize a radio-controlled advanced wireless lighting system—to light climbing shots. “The size is perfect for the drone; I used two but could easily do four,” he says. Both the still-image and 4K-video quality, particularly the D500’s dynamic range and the benefits of Nikon’s Active D-Lighting technology, impressed Ladzinski. “Once you get past the honey light hour, shadows can be problematic,” he explains. “I used Active D-Lighting in video and stills and you can totally see the difference.” With an ISO range of 100-51,200 (expandable to 1,640,000), Ladzinski had no he reports, delivers “a clean file, even when you crank the ISO.” Even in video, Ladzinski says, “there was no red and blue noise dancing around. Just clean black, which is a huge benefit.” There were some features Ladzinski wasn’t sure he would use, like the camera’s touchscreen autofocus. That changed up on the cliffs. “It’s crazy—the first day on the wall, you’re locked up and in an awkward position,” he recalls. “I started to utilize it [touchscreen AF] subconsciously while filming. It was so easy to establish focus just by tapping the screen.” Later, when on assignment in Montana for Red Bull, he says: “I found myself instinctively using the touchscreen to swipe and pinch zoom.” Equally as important was his ability to effortlessly switch between still and video modes. “It’s tough to ask athletes to do something more than once in a place like this,” he explains, “so switching from photo to video reliably and efficiently is key.” Away from the Verdon Gorge, Ladzinski continued to use the D500 while photographing wildlife and landscapes. And perhaps even harder to photograph than climb-

Go behind the scenes at Verdon Gorge:

ers are birds. “Birds are tough,” Ladzinski says. “They’re fast and unpredictable, and

youtu.be/sg6a0f10sBo

it’s a big demand on a camera’s autofocus, especially when working with a telephoto lens. I leaned heavily on the D500’s 153-point autofocus system and it was remarkably

Watch Keith Ladzinski’s D500 film, “Exposure”:

accurate.” Combined with the camera’s exceptionally fast 10fps continuous shooting

youtu.be/IozEYbCHfTM

speed and the extra reach on the telephoto lens, Ladzinski came away with extraordinary photos to match his extraordinary eye.

Nikon D500

Nikon SB-5000 AF Speedlight

AF-S NIKKOR 16-35mm f/4G ED VR

AF-S DX NIKKOR 10-24mm F3.54.5G ED

AF DX FisheyeNikkor 10.5mm f/2.8G ED

NIKONUSA.COM/PDNEDUFALL2016

problems shooting in a cave, lit only by the climbers’ headlamps. The D500,

EDITOR’S LETTER

edu PH

It’s a common sentiment among photogra-

OTO

© PE T E R

phers that creating imagery is their purpose

R HU

in life, but for some, the call to photography

LE

goes beyond that. Photographers who dedi-

Y

cate their time to social issues and environmental work do so in the hopes that their photography will incite change on

VOLUME 15, ISSUE 2

a global scale.

Fall 2016

In this issue, we feature photographers who address conservation in their work. In Project X (pg. 24), we catch up with

SENIOR VICE

Ami Vitale, who recently returned from the China Conserva-

PRESIDENT, PHOTO+

DIRECTOR

tion and Research Center, where she photographed the re-

John McGeary

Daniel Ryan

lease of captive pandas into the wild. In One to Watch (pg.

PRODUCTION

VICE PRESIDENT &

PRODUCTION MANAGER

34), we present Aaron Vincent Elkaim’s work in the Amazon

PUBLISHER, PHOTO+

Gennie Kiuchi

Basin, where the building of hydroelectric dams threatens to

Lauren Wendle

displace indigenous communities. And in It’s a Living (pg. 40), we speak to longtime National Geographic photographer Joel Sartore, who founded the National Geographic Photo Ark to

CIRCULATION DIRECTOR, CUSTOM MEDIA & EVENTS Moneer Masih-Tehrani

ONLINE PROJECT

MANAGING EDITOR

Reiko Matsuo

document every species in captivity. It’s an ambitious project—one that Sartore is committed to for life. We also address the value of community as a catalyst for

MANAGER Jacqui Palumbo ASSOCIATE PUBLISHER

change. Special Report features a roundup of three schools

ASSOCIATE EDITOR

that aim to be models in sustainability (pg. 46), and Business

Taryn Swadba

Smarts (pg. 50) reports on the rising popularity of photography collectives, which provide a network of support and

Lori Golczewski

Mark Brown (646) 668-3702 SENIOR

COPY EDITOR

ACCOUNT EXECUTIVES

Elissa Hunter

Mike Gangel (646) 668-3717

resources within a tight-knit group.

Lori Reale (858) 204-8956

For the gearheads, check out Product News (pg. 64) and Step X Step (pg. 54), where Corey Rich provides tips for shooting 360-degree/virtual reality imagery with Nikon’s new KeyMission 360 camera. Keep up with PDNedu between issues at pdnedu.com and

DESIGN

Jon McLoughlin

Mauricio Vargas

(646) 668-3746

CONTRIBUTORS

ACCOUNT EXECUTIVES

Amanda Baltazar, Mindy

Dennis Tyhacz

Charski, Harrison Jacobs,

(646) 668-3779

Lucy McKeon, Hilary

facebook.com/pdnedu.

Reid, Greg Scoblete, Amy

— Jacqui Palumbo

Touchette, Brienne Walsh,

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On the Cover A Florida Panther at the Lowry Park Zoo in Tampa, Florida, photographed by Joel Sartore for the National Geographic Photo Ark.

VICE PRESIDENT, GENERAL COUNSEL AND SECRETARY David Gosling SENIOR VICE PRESIDENT, OPERATIONS Lori Jenks

SENIOR VICE PRESIDENT, DIGITAL Teresa Reilly SENIOR VICE PRESIDENT, MARKETING SERVICES Joanne Wheatley VICE PRESIDENT, HUMAN RESOURCES Eileen Deady VICE PRESIDENT, CORPORATE OPERATIONS Denise Bashem

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Student Photo Contest 2017

Enter by: Dec 15, 2016

PRIZES ONE GRAND-PRIZE WINNER WILL RECEIVE:

$1,000 cash award SIX GRAND-PRIZE WINNERS WILL RECEIVE: > A Nikon digital SLR camera > A $150 B&H gift card > A portfolio review

PHOTO © JOY NEWELL

edu

WINNERS and HONORABLE MENTIONS will be featured in the Spring 2017 issue of PDNedu and in an online gallery, promoted to PDN’s network of more than 350,000 followers.

WINNERS and HONORABLE MENTIONS will receive a one-year PHOTO+ Basic Membership.

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NEWS AND VIEWS TO GET YOU THINKING.

“RESTRICTED AREAS” In Danila Tkachenko’s monograph Restricted Areas, Tkachenko maps abandoned Sovietera military technology and research facilities in Bulgaria, Kazakhstan and Russia. Pictured here: The world’s largest diesel submarine, photographed in Russia’s Samara region.

18

pg.

pg.

PHOTO © DANILA TKACHENKO

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THIS PAGE: Alivia with her lambs, Westley and Buttercup.

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AN

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AR

John Ganis

KXUULFDQHV RU FRXOG EH DÎ? HFWHG E\ ULVLQJ VHD OHYHOV

Photographer, educator, author and environmental advocate.

spread overdevelopment of barrier islands and

and storms in the future. “[The book addresses] things such as the wideother fragile coastal environments being unsustainable due to rising sea levels,� Ganis explains in a recent interview with PDNedu. He began taking the images in 2009, but it

Germany. That book focused on overdevelopment

wasn’t until shooting the aftermath of Hurricane

and how Americans exploit the land for purposes

You must have something to say with your art.

Sandy in 2013 that he realized the work could be

like housing or logging.

That’s what John Ganis likes to tell his students at

content for a book—one he hopes will serve as a

the College for Creative Studies (CCS) in Detroit,

time capsule of sorts.

by MINDY CHARSKI

George F. Thompson Publishing is behind his QHZHVW SURMHFW EXW DV LV QRZ FRPPRQ IRU Č´ QH DUW

where he’s been teaching since 1980. It’s a man-

“I think it will help to raise awareness, but at

photo books with small runs, Ganis needs to help

date he attributes to the late photographer Paul

the same time will still be a historic document

cover expenses like printing and designing by pay-

Strand, and one he follows himself.

because some of those same areas are going to

ing what’s known as a “subvention fee.� He’s doing

In his own work, Ganis sheds light on the

be destroyed in the future,� Ganis says. It’s why

WKDW ZLWK VXSSRUW IURP WKH DUWV QRQSURČ´ W )UDFWXUHG

HÎ? HFWV RI FOLPDWH FKDQJH RQ ULVLQJ VHD OHYHOV

he included the elevation and GPS coordinates of

Atlas and through crowdsourcing.

His new book, America’s Endangered Coasts: Pho-

each photo location.

“Anybody who has a good idea for a project

tographs from Texas to Maine, is scheduled to

Photographing the land has long been a pas-

FDQ JHW Č´ VFDO VSRQVRUVKLS LI WKHLU ZRUN LV ZRUWK\ Č‹

publish this November and will feature 170 pho-

sion for the educator. He got hooked on the idea

he says, adding that photographers can alterna-

tographs of low-lying areas that have been hit by

during a series of road trips in the 1980s, but it

tively detour the traditional publishing route by

wasn’t traditional landscape photography that

using self-publishing services like Blurb.

excited him.

It’s the kind of encouragement one would ex-

“My interest is in how the land is being altered

pect from someone who says that helping stu-

by humans,� Ganis says. “It’s not as romanticized

dents discover their own creativity is part of why

>DV ZRUN WKDW JORULČ´ HV QDWXUH@ EXW P\ ZRUN VWLOO

he loves teaching so much. EDU

has a very strong emotional content to it because I feel a strong empathy with what I photograph.� This semester he plans to share with students some of the lessons he’s picked up about publishLQJ D ȴ QH DUW SKRWR ERRN ZKLFK KHȇV QRZ GRQH

THIS PA AGE: Fun Town Amusement Pier, destroyed by Hurricane Sandy. Seaside Park, New Jersey, 2013. Elevation 16 feet, N 39.94122 W 74.07093 (above)

twice. +LV Č´ UVW ERRN Consuming the American Landscape, was published in 2003 by Dewi Lewis Publishing in Great Britain and Edition Braus in

Beach houses after Hurricane Sandy. 959 East Avenue, Mantoloking, New Jersey, March 2013. Elevation 9 feet, N 40.05418 W 74.04623 (left)

16

HEADSHOT ŠNEIL CHOWDHURY PHOTOS Š JOHN GANIS

SNAPSHOTS: S tar Teac he r

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SNAPSHOTS: Pho to Gi g s

Karen Bednorz Q&A with the long-term art buyer for Patagonia Works, the umbrella company of Patagonia apparel. Interview by JACQUI PALUMBO

PHOTO © AMY KUMLER

Sparks, handle photo permissions and request the rate that correlates with our budget. I al-

PDNedu: How w does Patag ago onia fin nd new photo ogra aphe er talent? ?

ways say: “I’m the end of the snake.” Currently, the only negotiations I hammer

KB: Our four photo editors—Jane Sievert,

out with a contributing photographer, or on

Jenning

the rarest occasion, a stock agent, is a buy-out

(XJ«QLH )UHULFKVDUHȃDUH WDVNHG ZLWK ȴ QGLQJ

license. My day-to-day is spent going through

and mentoring new talent, or, with a very se-

a payment checklist and addressing priority li-

lect few, collaborating with photographers for

FHQVHV Ζ DOVR SXW RXW ȴ UHV DQG IROORZ XS ZLWK

an assignment. Andrew Marshall provides the

our accounting department when ducks are

products to our on-spec and assignment pho-

not in a row.

tographers.

Steger,

Cameron

Tambakis

and

Because of my long history with the company, I am also tapped for legacy information: where a historical photo was published or [for contextual information] when reaching out to a

PD DNE EDU U.C COM ———

PDNedu: Ho ow did d you u come to be an art buye er? ? Wh hat wass you ur backgrround before joiniing g Pattagonia a? Karen Bednorz: I came into my role rather

photographer or contact we haven’t communicated with for years.

PDNedu: Hass the ty ype off imag gery Pa atago onia loo oks for ch hange ge ed overr the years? ?

PDNedu: You are e an advocate e for co onserva ation n, se serviing on n the board of Ventu ura Hiillside des Con nservan ncy. How doe es yourr passiion forr th he en nviron nmen nt inform m yourr work k as an n arrt bu uyer? KB: It’s everything, and one overlaps the other. Anyone passionate about working at Patagonia sees all aspects of our job through the lens of

serendipitously, with hard work, dedicated

Falll 2016 6

determination and some very good karma.

KB: In layman’s terms, I say: “Think if National

awareness. We’re not perfect, and at times we

I worked my way up from the sample room

Geographic sold clothes.” In fact, we have many

have had to adjust the course, but we try and

and retail store. Our original and founding

contributing

every day my work counts for something better

photo editor, Jennifer Ridgeway, hired me in

conservation activists who are with National

part due to my reputation for being organized.

Geographic Society. That being said, what has

I’d be remiss if I didn’t mention my direct

been a constant are authentic images that tell

manager [at Patagonia], Rafael Dunn. His trust

a story. The Chouinard family [the owners]

and support of me has been incredible, not

has increasingly focused on environmental

only in my work, but also over the years when

issues—and more recently, social issues—in-

I’ve been working on big events for Ventura

KB: Our publishing image process is unique in

cluding dedicated departments to support this

Hillsides Conservancy, be it the Hillsides Music

that we rarely solicit photos. Images are sub-

H΍ RUW ΖQ WKHLU KHDUWV WKH\ WU\ WR GR JRRG RQ HY

Festival or the Wild & Scenic Film Festival. EDU

mitted to us on spec by photographers, with

ery level of their business, within their personal

whom we establish a collaborative relationship

lives, and for the planet. They are an inspira-

over time, many becoming good friends.

WLRQ WR PH Ζ DP ȴ HUFHO\ OR\DO WR WKHP EHFDXVH

PDNedu: Wha at are your day-to-day responsibillities? ?

Our photo archivists, Sus Corez and Kyle

outdoor

photographers

and

than myself.

of their kindness and ethics.

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The Federal Aviation Administration (FAA) has authority to regulate and oversee all aspects of Ameri-

ILLUSTRATION © MAURICIO VARGAS

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22

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Nancy E. Wolff is a partner at Cowan, DeBaets, Abrahams & Sheppard, LLP. Her practice focuses on intellectual property and digital media law. Visit: cdas.com

GOT A LEGAL QUESTION? Jacquelyn.Palumbo@emeraldexpo.com

Keep up with us PDNedu.com has fresh content and a brand-new look.

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Want your work featured? Drop the editor an email at jacquelyn.palumbo@emeraldexpo.com.

23

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edu

PHOTOS Š AMI VITALE (LEFT); AMI VITALE/NATIONAL GEOGRAPHIC (BOTTOM CENTER)

SNAPSHOTS: Pr o ject X

Looking Ahead Ami Vitale strikes a balance with her wildlife conservation work.

by JULIE GRAHAME Catching Ami Vitale at home in Montana for a couple of days, she spoke to PDNedu about her

THIS PAGE E: From the story “Kenya’s Last Rhinos� (above); An outtake from “Pandas Gone Wild,� from the August 2016 issue of National Geographic (below).

recent trip to China—where she gave a talk at PDNEDU U.C COM ———

TEDxShanghai that was broadcast live all over

for two-thirds of the day and are hard to see,

hopes of breeding them. But rhinos seemed

Asia, Europe and the U.S.—and discussed her

even in the smaller enclosures. Over the course

to garner little interest from potential clients,

ongoing work with endangered animals.

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with concerns that the story wouldn’t be visual

photographed a cub’s birth and the release of

enough. Vitale kept pushing, and says: “A good

captive-born pandas into the wild.

story is always harder than it looks.�

The theme for the seventh TEDxShanghai conference was “Balance,� and it’s balance that

Falll 20 016 6

the Nikon Ambassador and National Geographic

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Vitale eventually cobbled together some

photographer believes is necessary to help tell

an endangered species. Though she has worked

funding and traveled with the rhinos to Ol

stories about the environment. She says: “I don’t

as a photojournalist for the span of her career,

Pejeta Conservancy in northern Kenya. Working

want people to get the impression that I think

she shifted her focus to cover environmental

with local organizations like Lewa Wildlife

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and wildlife stories in 2009. She learned that

Conservancy and the Northern Rangelands

about what unites us as human beings and say

four of the world’s seven remaining northern

Trust, Vitale has been photographing “Kenya’s

that there are hopeful signs.� As an example,

white rhinoceroses were to be airlifted from

Last Rhinos� each year since. She discovered

she

a zoo in the Czech Republic back to Africa, in

that

mentions

the

Chinese

government’s

in

Kenya,

too,

positive

things

are

enactment of the ban on sales of ivory. “I want

happening; with the support and involvement

to discuss the challenges we face, but also focus

of local communities, there is a broadening

on solutions and show success stories where

understanding of the importance of saving the

conservation is working,� she explains. “This

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does more to motivate people, and it seemed

calls the local communities “unsung heroes�

to resonate with [the TEDx] audience.�

and says that in these small pockets of northern

ΖQ VKH ZDV RÎ? HUHG WKH FKDQFH WR photograph giant pandas being bred for release

Kenya where communities have come together, no rhinos have been poached for two years.

into the wild. “I was surprised to discover

Vitale is delighted to be able to tell positive

how much the Chinese government is doing

tales of renewal. One of her favorite tools is

to restore and protect forest coverage,� she

Instagram (@amivitale), which she uses to tell

says, pointing to the tens of billions of dollars

the stories of the organizations she works with.

being invested in creating and linking habitats.

She’s also excited to use Nikon’s new KeyMission

“It is one of the few countries in the world

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where forest coverage is growing. There is an

making people curious. In the coming months

increasing cultural awareness of the importance

Vitale will travel to the Czech Republic, Georgia

of preservation.� At the China Conservation

and Kenya. EDU

and Research Center for the Giant Panda in Wolong National Nature Reserve, she set out to

See Vitale’s recent panda series for National

photograph these elusive creatures that sleep

Geographic: on.natgeo.com/29PGByT

24

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SNAPSHOTS: Pr o ject X

The Pulitzer Prize Photographers A night with The Eddie Adams Workshop x Parsons School of Design.

by MINDY CHARSKI The Pulitzer Prize is celebrating its centennial, and a New York City event in May, presented by

THIS PAGE E: A Pulitzer Prize-winning image of the Battle For Iwo Jima in the Volcano Islands, Feb. 23, 1945 (above); Panelists at The Pulitzer Prize Photographers (below left).

Parsons School of Design and The Eddie Adams and lasting attention.�

Workshop, honored both the images that have

described by Santiago Lyon, vice president

won the coveted award and the photographers

for photography at Associated Press. Lyon

The great diversity of images that have

responsible for bringing them into the world.

moderated the event with Hal Buell, former

emerged as winning entries can serve as

“The Pulitzer Prize Photographers,� sponsored

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reminders that photojournalists have many

by Nikon and B&H with support from Associated

Moments: The Pulitzer Prize-Winning Photographs.

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Press, showcased each photograph honored VLQFH WKH FDWHJRU\ ZDV Č´ UVW LQWURGXFHG LQ $O\VVD $GDPV ZKR LQ FR IRXQGHG 7KH

celebration

is set that journalism is ‘bang bang’ and being

were voices of some recipients, including

at the war front, you begin to see there are

interviews that Buell had conducted in years

equally important areas of journalism that are

past with Eddie Adams, who took the famous

available,� Buell says.

Sprinkled

throughout

the

photo “Saigon Execution;� Joe Rosenthal, who

industry

veteran

also

wants

photographers to see the Pulitzer as something

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attainable.

honored for his coverage of the Korean War.

winners on a pedestal, and while they deserve

“Sometimes

we

put

Pulitzer

Likewise, seven Pulitzer recipients on stage

recognition, they are, in the end, working

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photographers,� he says. “They go out every

including Robert H. Jackson, who photographed

day and shoot assignments.�

“Oswald Shot, Live to the World,� and Jessica

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Rinaldi, who won this year for her series “The

but not all of it. “You don’t have to travel halfway

Life and Times of Strider Wolf.� They and other

around the world to some distant dateline

winners also answered audience questions.

to make pictures,� Buell says. “You can make

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for whom it’s named, set the tone for the night

annual prize.

with her introductory remarks to the more than

Buell tells PDNedu that he hopes the

500 people in attendance at Parsons. Adams,

chronological presentation of winning images

who is also deputy photo editor of TV Guide,

showcased how photography has changed over

said: “What we are going to be viewing tonight

the years—and how the award has evolved to

are images that are bigger than their frames,

include longer projects on social issues, such as

images that have burst out of the perimeter and

epidemics and migration. Notably, he says, the

continue to reverberate beyond the moment

new subject matter “did not eliminate the need

they were taken.�

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The

photographed Marines planting the American

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Watch the Event — Watch a video of the event, or listen to B&H Photo’s podcast with presentation highlights at: bit.ly/21n4MW0

standalone photo that commands immediate

NEXT Storytellers

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STORYTELLERS

by BRIENNE WALSH

THIS SPREAD: 7KH FRDO ĚĽ UHG $(3 0RXQWDLQHHU 3RZHU 3ODQW LQ :HVW 9LUJLQLD VLWV DORQJ WKH 2KLR 5LYHU DFURVV IURP 5DFLQH DQG LV D VRXUFH RI HPSOR\PHQW IRU QHDUE\ UHVLGHQWV 7KH VNLII WUDIĚĽ F RI WKH 2KLR 5LYHU ZDV RQFH D PDMRU VRXUFH RI HFRQRPLF DFWLYLW\ LQ 5DFLQH

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hat does a post-industrialist

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landscape look like in America?

He purchased a 2005 Honda Accord Coupe,

Photographer CK Vijayakumar

and began spending all of his free time taking

looks to the town of Racine, Ohio, as his case

long drives and photographing. Although

study—a town that he came upon by chance.

Vijayakumar had never taken pictures before,

Before coming to the United States to work

he had always been interested in cinema.

as a software engineer in 2009, Vijayakumar,

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who was born and raised in Chennai, India, had

parts of the world every week. After watching

never picked up a camera. He was compelled

An American Journey: Revisiting Robert Frank’s

to do so upon his arrival in Houston, where

“The Americans�—a documentary by French

he moved for his company, Infosys. What

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impressed him most about the city was the

seminal 1958 series—he was inspired to

infrastructure. “There is a lot of order,� he says.

become more serious about his photography.

“You get to drive a car on big roads. I really enjoyed that.� Cars are very expensive to own in India; in

By 2013, Vijayakumar was contemplating a career in photojournalism. He researched some of the best photography graduate programs in

the country, and decided to apply. “I said [to myself]: ‘I have a great job, I have a green card application; if I don’t get in, I’ll continue with my good life.’” He was accepted into the master’s program at the Ohio University School of Visual Communication, from which he graduated in 2015. While in school, Vijayakumar continued on with his wanderings, going on long car rides whenever he had the chance. It was on one of these trips that he came across Racine, a town of 675 people on the banks of the Ohio River. Located on the Appalachian Plateau, the place had once served as an entertainment and shopping hub for miners working in the coal industry in the region. Long in decline, the

31

STORYTELLERS: CK Vijayakumar

region bore the marks of a long, hopeless economic recession. Vijayakumar was drawn to the landscape. “There was a coal power plant across the river and the village itself looked like it had seen better days,â€? he says. In gray, rainy weather, the lawns around the houses, even in winter, were deep green. It was a cinematic place, he says, and “strikingly beautiful.â€? As an outlander observing American society at close proximity, the town also seemed to embody WR KLP WKH HÎ? HFWV RI ČŠLQWHUQDO FRORQLDOLVPČ‹ČƒWKH act of using a group of people within a society for WKH EHQHČ´ WV RI FDSLWDOLVP DQG WKHQ GLVFDUGLQJ them when they are no longer useful. According to the locals whom Vijayakumar spoke with and photographed for the project, Racine went into decline not only because the coal industry slowed GRZQ SURGXFWLRQČƒZKLFK LW GLG LQ WKH VČƒ but in part because of the arrival of modern-day “conveniencesâ€? such as box stores, supermarkets, DQG DÎ? RUGDEOH DXWRPRELOHV LQ WKH HDUO\ V Rather than spending time in Racine to shop, residents in the region began driving to the nearest Walmart to buy all of their necessities. “What in contemporary society is being touted as a great deal for the common man in the end turns out to be another system of oppression,â€? Vijayakumar says. “If we don’t critique such behavior, all our cities and towns will be turned into company towns.â€? He says that it is a fear of internal colonialism, rather than compassion or aesthetics, which drove him to photograph Racine. “It is a critique of power in its subtlest forms that I’m interested in,â€? he explains. The town became the subject of his master’s project

at

Ohio

University.

Unlike

previous

series he had worked on for school, in which he personally embedded himself in the communities he was photographing, Vijayakumar tried to stay as detached as possible. Every morning for three months, he woke up at dawn and drove 35 minutes from the Ohio University campus to Racine, utilizing WKH HDUO\ PRUQLQJ QDWXUDO OLJKW XQWLO DURXQG D P He returned to Racine in the evenings to capture the landscape in the golden hour before sunset. People were largely unperturbed by his presence, partially because when he began the project, he introduced himself to the mayor of the town. 5DWKHU WKDQ ZRUNLQJ ZLWK D VSHFLČ´ F QDUUDWLYH in mind, Vijayakumar relied on his intuition. “I believe that the subconscious has a better way of compared to a conscious approach,â€? he explains. Vijayakumar’s detached approach paints a portrait of suburban solitariness, with a mix of THIS PAGE: 5DFLQH LV QRW HYHQ D RQH VWRSOLJKW WRZQ WKHUH DUH QR WUDIĚĽ F OLJKWV RU VWRS signs on the stretch of Ohio State Route 124 that passes through, which some locals ĚĽ QG SHDFHIXO WRS D ER\ ULGHV KLV ELF\FOH LQ D QHLJKERUKRRG PLGGOH &KULVWPDV VHD VRQ ZLWK WKH VPRNH VWDFNV RI $(3 LQ WKH GLVWDQFH ERWWRP

environmental portraits and landscapes of open Č´ HOGV DQG VLQJOH IDPLO\ KRPHV 3OXPHV RI VPRNH from factories are often nestled in the backdrop of

PHOTOS Š CK VIJAYAKUMAR

bringing images and your deepest feelings together,

THIS PAGE: A portrait of a local hardware store owner. Vijayakumar says local store owners believe that dropping sales are due to the opening of large supermarkets and superstores in neighboring towns, and, farther back, the proliferation of automobiles.

his scenes as a reminder of the town’s former renown.

PDN Photo Annual. Since graduating, Vijayakumar has turned

The future of coal production has been

his attention away from the United States. He

Tech Specs

a hot-button issue in national politics, with

traveled with grant money from Ohio University

—

Appalachia at its center. Vijayakumar feels that

to Turkey, a country that he considers to be

in the debate of environmental protection,

“desperately in the center of the dividing line

understanding the residents’ perspective is lost

between the East and the West,� for a series

in the larger debate. “If a man comes up to a

about displaced Syrian refugees. Currently,

poor Appalachian farmer, who happens to own

Vijayakumar is in Los Angeles, working as a

a bit of land, and says: ‘Hey can I drill in your

software engineer to save up money for a

backyard, I’ll give you $20,000,’ that guy will be

yearlong road trip through India. Back in his

like, ‘To hell with environmental protection, I

native country, he plans on continuing the

UHS-II

want 20,000 bucks,’� Vijayakumar explains. “In

peripatetic lifestyle he picked up in the United

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States, and in doing so, is poised to follow in

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these people actually do need the money. This

the footsteps of the photographer-wanderers

reality is somehow missing from the narrative.�

before him. EDU

Cameras: Nikon D700, D610 Lenses: AF-S NIKKOR 24mm f/1.8G ED, AF NIKKOR 35mm f/2D, AF Nikkor 50mm f/1.8D

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He adds: “It’s the lower classes in America that have neither the means to production nor the access to a discourse. I think that’s where my role as photojournalist comes into the picture.� In the end, Vijayakumar’s series on Racine totaled 42 images, and a smaller edit was honored in the student category of this year’s

33

NEXT One to Watch

ONE TO WATCH

Striving for Co-Existence AARON VINCENT ELKAIM DOCUMENTS INDIGENOUS COMMUNITIES UNDER THREAT OF DISPLACEMENT IN THE AMAZON. by LUCY MCKEON 35

PHOTO © AARON VINCENT ELKAIM / ALEXIA FOUNDATION

THIS PAGE: A Munduruku woman and her baby brother in a hammock in the village of Praia Do Mangue, Brazil. The Munduruku DUH FXUUHQWO\ ̥ JKWLQJ DJDLQVW JRYHUQPHQW SODQV WR FRQVWUXFW WKH 6¥R /XL] GR 7DSD MµV 'DP WKDW ZRXOG ̦ RRG PXFK RI WKHLU WUDGLWLRQDO ODQGV

ONE TO WATCH: Aaron Vincent Elkaim

F

or three decades, the indigenous people of the Xingu River in Brazil have been at the forefront of a battle against

the construction of one of the world’s largest hydroelectric plants, the Belo Monte Dam. The Xingu River is home to 16 indigenous tribes, and is a biodiversity hotspot in the Amazon Basin. It’s here that Canadian photographer Aaron Vincent Elkaim traveled for his long-term ongoing series “Where the River Runs Through.â€? Elkaim, ZKR VWXGLHG FXOWXUDO DQWKURSRORJ\ DQG Č´ OP LQ university, has always been interested in original communities. He was raised in Winnipeg, where Canada’s largest number of indigenous people reside. Elkaim has also had an interest in photography from a young age, and after purchasing a camera at age 20, he enrolled in a photography program in Winnipeg, then in Loyalist College’s turned the camera on his own identity. After

With the mentorship of acclaimed photographer

participating in The Eddie Adams Workshop in

After decades of construction and legal

Donald Weber, former member of VII Photo, and

New York in the fall of 2008, Elkaim was inspired

battles, the Belo Monte Dam is projected to be

an internship with award-winning photographer

to follow his family history. “Going to Morocco

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Roger Lemoyne, Elkaim began thinking about

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River, the Munduruku people are resisting the

who he wanted to be as a photographer. He

history of that country,� Elkaim says, “that’s when I

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considers the beginning of his career to be his

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internship that same year at the Toronto Star,

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though his work has traveled far distances—both

out and document this or that issue, [you have

and increased mining operations in the Amazon,

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to ask:] who are you?� This project helped him to

all which cause displacement. Elkaim recently

discover his developing photographic voice, and

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it gained recognition from both publications and

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photography festivals.

to Brazil to document three stages of the issue:

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Since then, he’s pursued several projects of

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his own, while also taking on assignments. His

of the situation during construction, and the

clients have included The Globe and Mail, The New

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Yorker, The New York Times, TIME and The Wall

documenting the whole narrative of hydroelectric

Street Journal.

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Shot over the course of two years, “Where

“It’s not just about the third-largest dam in the

the River Runs Through� is Elkaim’s third long-

world. It’s about the long-term destruction of the

term project. Through his work, he shows how

Amazon rainforest, which is the most important

deeply connected the Xingu people are with their

ecosystem on our planet.�

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It’s easy to see “Sleeping with the Devil�—

American conservation, has been to keep people

Elkaim’s earlier two-year project— as a precursor

out of the land, because people are destructive,�

to his work in Brazil. That series documents

he says. “And that’s backwards, because these people’s lives, their whole way of life, is [organized] around surviving with the land. So they’re deeply invested in THIS PAGE: (clockwise from left) A group of boys climb a tree on the Xingu River; Members of the Munduruku tribe protest against plans to construct a series of hydroelectric dams; Many indigenous communities, though they live off of the land, are provided with generators, refrigerators and televisions by the government and industries hoping to win their support for the proposed dams.

protecting the forests around them.â€? In fact, Elkaim points out, these indigenous communities can help the country to monitor the land. As “the eyes and ears of the forest,â€? they can raise the Čľ DJ LQ WKH FDVH RI LOOHJDO ORJJLQJ

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or mining.

photojournalism program in Ontario in 2008.

Professional Intensive: An 8-month program for career-minded photographers

Beginning September 2017

Interested? Let’s start the conversation. Call us today at 800-394-7677 or visit rmsp.com/professional to request more information. @rmsp.stories

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ONE TO WATCH: Aaron Vincent Elkaim

the Fort McKay First Nation people, who have

an unbiased objectivity. Elkaim feels that his

become tied to the Athabasca oil sands in

main responsibility as an observer is to be true

northern Alberta. Both projects examine what

to his perspective and experience of the places

Tech Specs

happens when indigenous communities are

he photographs. “I personally care about this

—

forced to confront modern industrialism and

issue, and that’s why I’m photographing it,� he

Cameras: Nikon D750, D4S

materialism.

says of his work in the Amazon. “There’s a vested

Lenses: AF-S NIKKOR 35mm f/1.4G,

As a founding member of Boreal Collective, a

interest for me, and I think for all of humanity,

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to protect this ecosystem.� Then, he believes,

form documentary photography, Elkaim explains

once the photographs are taken, there’s a certain

the purpose of the collective as camaraderie

responsibility to get them out to the public.

for inspiration and connection, as well as

“People are opening their doors to you, allowing

social outreach: “[We are] a support network.

you into their lives. It’s your responsibility to

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VKDUH WKRVH SKRWRJUDSKV Č‹ )RU WKH Č´ UVW WLPH

important to have community support. By being

ever, Elkaim’s photos of Brazil were exhibited at

Editing Software: Photo Mechanic,

together, we’re able to share contacts, pricing

LOOK3 in June, in Charlottesville, Virginia.

Adobe Photoshop

and resources.� It also becomes a branding tool;

The story is constantly evolving, and Elkaim

when one member of Boreal gains recognition, it

hopes to spend the time necessary to convey

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WKH ORQJ WHUP SURJUHVVLRQ RI WKH LVVXHV DW KDQG

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He says: “The Amazon rainforest is the lungs of

terms of promotion.� [Ed: See our story on the rise

the world. It belongs to the planet, it belongs to

of photo collectives, including Boreal, on pg. 50]

all of us, and it belongs especially to the people

There’s been pushback, in photography

who have lived there sustainably for generations.

as well as other forms of documentation,

I think we all have a right to protect it and to care

against the mandate—even the possibility—of

about it.� EDU

AF-S NIKKOR 50mm f/1.8G

Lighting: Nikon SB-900 AF Tripod: Manfrotto 290 DUAL Bags: Think Tank Retrospective 10

NEXT THIS PAGE: A Munduruku man looks at a map, showing where the SĂŁo Luiz do TapajĂłs Dam will EH EXLOW ZKLOH LQVLGH %UD]LOȤV 1DWLRQDO ,QGLDQ )RXQGDWLRQ RIĚĽ FHV LQ ,WDLWXED 7KH RIĚĽ FHV were occupied in protest of the government’s refusal to recognize Munduruku territory.

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IT’S A LIVING

The

Conservatio Photograph JOEL SARTORE’S MISSION TO SAVE THE ENVIRONMENT, ONE PHOTO AT A TIME. by HARRISON JACOBS

THIS PAGE: A critically endangered red wolf at the Great Plains Zoo, photographed for the National Geographic Photo Ark (natgeophotoark.org).

PHOTO © JOEL SARTORE/NATIONAL GEOGRAPHIC PHOTO ARK

nister

41

IT’S A LIVING

ORFDO VWRULHV WKDW PLJKW EH RÎ?HUHG XS WR DQ\ QHZ

Sartore believes it was his penchant for the

has been his favorite, renowned

initiate to photojournalism, from local high school

uncommon path, and his dogged persistence,

National Geographic photographer

stories to the “pothole of the week,� and every

that enabled his success. He thinks young

Joel Sartore points to a November 1998 feature

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photographers are often quick to dismiss the

on Nebraska, because “I got to sleep in my own

apart was the belief that every story, no matter

power of stories in places like Nebraska and

bed,� he says. The Nikon Ambassador, who spoke

how big or small, was worthy of his best work. The

Kansas in favor of big cities. But, for Sartore,

with PDNedu in his hometown of Lincoln before

DWWLWXGH SDLG RÎ? DV 6DUWRUH ZDV VRRQ JLYHQ WKH

being able to uncover and capture compelling

heading out on his latest travel marathon to

latitude to shoot whatever story he wanted one

stories in Kansas made him stand out. Sartore

North Carolina, Alaska and Spain, says: “Travel is a

day each week. And while some would take such

is adamant that what he did is replicable—the

huge pain. I just want to tell stories.�

recognition as a signal that it was time to move to

RQO\ URDGEORFN LQ Č´QGLQJ LQWHUHVWLQJ VWRULHV LQ small towns and small cities

One might assume that the famed National Geographic

is

photographer’s

statement

desire to look for them and

a

photographer’s

own

exaggeration—after

a willingness to plug into the

all, he’s been traveling for

local communities that are

assignments for the magazine

yearning to be heard.

is

an

“There

for more than 25 years—but

are

millions

of

according to Sartore, it was

opportunities in every town

his love-hate relationship with

every

the road that got him his gig in

“Once you’ve been around

WKH ȴUVW SODFH ΖQ ZKHQ

long enough, you realize that

asked by the then-director

any town is as good as any

of photography for National

other‌and once you realize

Geographic, Kent Kobersteen,

that, you can make great

why he should hire Sartore

photos anywhere.�

for

assignment

day,�

Sartore

says.

work,

the interview with a miserable

Balancing Beauty and Candor

head cold and a pounding

:LWK

headache—said exactly what

Sartore had access to some of

was on his mind: “I don’t

the most exotic locations in the

know. I don’t like people much

world. He kept resolute in his

and I hate to travel.�

search for truth and impact.

Sartore—who had come to

Sartore left thinking he

National

Geographic,

The

epitome

of

this

had bombed the interview,

approach

came

when

an

but a couple of weeks later,

editor at National Geographic

he received a letter telling

contracted Sartore to shoot

him to expect an assignment.

Bolivia’s nascent national park,

Kobersteen later told him that

Madidi, one of the most bio-

every

photographer’s

diverse places in the world. Five

response to his question was

years after the establishment

the same: “I love to travel.�

of the park in 1995, Madidi was

Not only was Sartore’s answer

facing an existential crisis in

honest, but Kobersteen knew

the form of a soon-to-be-built

Sartore wouldn’t spend his

hydroelectric dam. Sartore and

time

other

enjoying

the

exotic

ORFDOHV DÎ?RUGHG E\ National Geographic. Instead, he’d be focused on the assignment.

writer Steve Kemper traveled THIS PAGE: One of Sartore’s favorite “feel-good� assignments was a 2006 story about the hunt for the ivory-billed woodpecker in Arkansas’s White River National Wildlife Refuge (top); A woman who hand-raises orphaned koalas in Ormiston, Australia (bottom).

More than 25 features later,

down to Bolivia to meet with Rosa Maria Ruiz, the founder of Eco-Bolivia and someone who fought to establish the

on subjects ranging from natural disasters to the

a paper in a bigger city, Sartore stuck around to

park. Ruiz, whom Sartore described as a “one-

most bio-diverse place in the world, Sartore no

see what he could unearth in Kansas.

woman army,� took him on a two-month journey

doubt proved Kobersteen right: he couldn’t care

Harper and Sartore’s belief that visually

less about enjoying the scenery; for him, it’s all

arresting and powerful stories could be found

about getting the story.

in the local communities of Kansas proved to be

:KLOH WUHNNLQJ DQG FDPSLQJ WKURXJK PLOHV

an irresistible match. Over the course of the next

of untamed wilderness, Sartore beautifully

Every Town Has a Story

six years, during which time Sartore ascended to

documented poisonous snakes, rare macaws,

Sartore cut his teeth in photojournalism at The

director of photography at the Eagle, he produced

poached monkeys and illegally logged forests.

Wichita Eagle, the largest paper in Kansas, and he

four yearlong photo-essays, each more powerful

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cultivated his belief in photojournalism’s power to

than the last. The last one, a look at the legacy of

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change lives under the tutelage of photo editor

mining and pollution in southeast Kansas, netted

required weeks of chemotherapy. Yet, for Sartore,

Steve Harper. At the paper, Sartore took on the

him the fated interview with National Geographic.

the months of trekking through thick, humid

through the park in order to raise awareness about its plight.

42

PHOTOS Š JOEL SARTORE/NATIONAL GEOGRAPHIC CREATIVE (THIS PAGE); JOEL SARTORE/NATIONAL GEOGRAPHIC PHOTO ARK (OPPOSITE PAGE)

W

hen asked which of his assignments

THIS PAGE: 0RQDUFK EXWWHU̦LHV photographed at a sanctuary LQ 0H[LFRȤV 6LHUUD &KLQFXD PRXQWDLQ UDQJH

THIS PAGE: Actor Mads

43

IT’S A LIVING: -RHO 6DUWRUH

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jungle and the weeks of medical treatment that

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followed were all worth it for a single reason: “The

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National Geographic VWRU\ H΍ HFWLYH ΖQ D VWRU\

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kids from getting into it—the world needs good

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ZKDW JRHV RQ EHKLQG WKH VFHQHV

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spent preparing: researching the

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and meeting the people

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The “Hustle” That Doesn’t End

WR

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photographers

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need and

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THIS SPREAD: A southern three-banded armadillo, photographed at the Lincoln Children’s Zoo in Nebraska.

SHRSOH

6DUWRUH

A Career-DeďŹ ning Cause

he says. In 2006, Sartore put his assignments on

Each time, Sartore uses the same method:

Even after more than three decades in the

the back burner to tackle one of the most pressing

Elinchrome strobe lights, a white or black

photography business, Sartore is still an idealist

issues of our time: the impending extinction of

background and a Nikon D810 to capture

at heart. “Photojournalism has the real power to

the earth’s diverse and amazing wildlife.

each species in a way that he says is “a great

change the world. A lot of people need our voice. They need our help to get their message out,�

The Photo Ark, which has since been sponsored

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by the National Geographic Society, is a herculean

National Geographic Photo Ark will take the rest

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of his shooting career, a daunting proposition

captivity in order to document their existence and

for some. For Sartore, who idolizes the singularly

raise awareness about their possible extinction.

focused careers of painter John James Audubon

Monk-like, Sartore has devoted himself to

and photographer Edward Curtis, the prospect

the task with a singular focus. He has

of devoting his life to one worthy story is thrilling.

traveled to around 300 zoos,

“We need people to realize that as nature

wildlife

goes, so do we,� Sartore says. “It’s foolish to think

rehabbers to photograph

that we can doom half of the species on earth to

aquariums,

and

6,000 species—and he’s only halfway done.

H[WLQFWLRQ EXW WKDW ZH ZLOO EH Č´ QH ΖWȇV QRW JRLQJ WR work that way.â€? Sartore believes so fully that even when he’s not shooting species for the National Geographic Photo Ark, he is evangelizing its cause, speaking at schools, zoos and conferences or appearing on WHOHYLVLRQ DQG LQ GRFXPHQWDULHV 7KH HÎ? RUW KDV lead to the projection of Photo Ark images onto the United Nations and Empire State Building in New York City and St. Peter’s Basilica in Vatican City. It has even jumpstarted projects to help protect certain endangered species from extinction. For a photographer, who only ever wanted to make an impact, that’s about all you can ask for. EDU

Tech Specs

—

Cameras: Nikon D750, D4S Lenses: AF-S NIKKOR 35mm f/1.4G,

Lighting: Nikon SB-900 AF Speedlight Tripod: Manfrotto 290 DUAL Bags: Think Tank Retrospective 10 Editing Software: Photo Mechanic, Adobe Lightroom, Photoshop

45

NEXT: Special Report

PHOTOS Š JOEL SARTORE/NATIONAL GEOGRAPHIC PHOTO ARK

AF-S NIKKOR 50mm f/1.8G

Sustainable Schools How green is your school? It might not be a factor you consider, but many academic institutions are striving to become a model in sustainability. Princeton Review, Best Colleges and Sierra Club each rank “green” colleges and “cool” schools, measured by varying factors that cover campus operations, curriculum, research and community engagement. Here we present three schools with stellar sustainable track records for aspiring photographers. by JACQUI PALUMBO

DAVIS, CALIFORNIA

University of California, Davis

University of California’s ten campuses across

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the state are working to achieve a zero carbon

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footprint by 2025. UC campuses frequently rank

With a campus culture that’s focused on

high, but it’s Davis we’re highlighting for its total

innovation and creativity, it’s only natural that the

immersion of sustainability into campus design

arts program has an interdisciplinary approach.

and culture, in addition to its multi-disciplinary

Young Suh, co-chair of the department of art

approach to its arts program.

and art history, says that it’s the integration of

Sustainable

2nd

Century

is

UC

Davis’s

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mission to be a model sustainable campus

photography,

through building design, energy-consumption

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printmaking,

sculpture

and

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programs so unique. “We view photography

environmentally

and

as an integral part of a larger contemporary art

sustainable food services. All new buildings at

practice,� Suh says. “We prepare students with

UC Davis are required to be built to meet LEED

an understanding of photography not only in the

(Leadership in Energy and Environmental Design)

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FHUWLČ´ FDWLRQV DW WKH 6LOYHU OHYHO DQG DERYHČƒ

image-based culture that we are part of.�

conscious

purchasing

including a brewery, winery and food-science lab

School Stats

are

also

encouraged

to

take

advantage of the full curriculum the university

standards.

KDV WR RÎ? HU ČŠ:H QRW RQO\ HQFRXUDJH FURVV

Beyond infrastructure and administrative

media practices within arts, but also combine

decisions, students have opportunities to get

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Website: ucdavis.edu

involved, too. A student-run farm produces locally

university,� Suh explains.

'HJUHH 2Î? HUHG B.A., Art Studio;

grown food, and the EcoHub, which houses

M.F.A., Art Studio

student-led units, manages events like the annual

black-and-white

zero-waste Whole Earth Festival for music, food

and photo books. UC Davis follows a quarterly

and the arts. There are more than 250 courses

schedule, making the ten-week courses intensive

related to sustainability at UC Davis, and some

and challenging. Facilities include a darkroom, a

more unique learning experiences as well:

fully equipped studio, large-format and desktop

8& 'DYLV :HVW 9LOODJHČƒD KRXVLQJ FRPPXQLW\

LQNMHW SULQWHUV Č´ OP VFDQQHUV DQG WKH VWXGHQW UXQ

PDGH XS RI VWXGHQWV IDFXOW\ DQG VWDÎ? ČƒLV DQ

Basement Gallery, where advanced students can

active research project in sustainable living that

exhibit their work.

—

Length of Program: Four years (B.A.); Two years (M.F.A.)

Size of Department: 180 students Annual Tuition: Undergraduate $14,047 (in state); $40,729 (out of state) Graduate $13,243 (in state); $28,345 (out of state)

is working toward a goal of zero net energy by producing solar power onsite. In fact there are so many eco-friendly sites to see on campus, there’s a “Sustainability Map�

47

Students

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Undergraduate photography courses cover analog,

digital

photography

3+2726 k .$5Ζ1 +Ζ**Ζ16 23326Ζ7( 3$*( 8& '$9Ζ6 $%29(

THIS SPREAD: Student Jessy Schmidt tends to the tomatoes in the student farm greenhouse (opposite page); bicycling is a major mode of transportation at UC Davis, DQG ELNH ĚĽ [ LW VWDWLRQV DUH available on campus (right).

SPECIAL REPORT: Sustainable Schools

BOONE, NORTH CAROLINA

Appalachian State University

If fresh mountain air and beautiful scenery is your

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WKLQJ $SSDODFKLDQ 6WDWH 8QLYHUVLW\ $68 RÎ? HUV

community and its dedication to sustainability

an impressive commercial photography program

in the region. ASU hosts a multitude of events,

that has an emphasis on both creativity and

from the Appalachian Energy Summit (AES)—

business practices.

an annual gathering that engages students

John Latimer, assistant professor, says the four-

from schools across the country—to its Energy

year program has “comprehensive curriculum�

Center Workshop Series that provide learning

in editorial, product and fashion photography,

opportunities to the public.

in addition to video, retouching and portfolio

ASU is also big on transparency and sharing

building. Within the program, students can take

data. The school reports its own greenhouse

a tailored business course for photographers,

gas emissions and has a “living� roadmap to

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carbon neutrality that is updated frequently.

and

the

It’s also a pilot participant in the Sustainability

communications department and business school

Tracking, Assessment & Rating System (STARS),

at Appalachian State.

a “transparent, self-reporting framework for

PHOTO Š CHIP WILLIAMS

THIS PAGE: Assistant professor Andrew Caldwell takes photography students to the scenic Blue Ridge Parkway in Boone, near the App State campus.

general

business

practices

from

The program prepares students to build their brand and engage clients immediately, with a

colleges and universities to measure their sustainability performance.�

senior capstone that culminates in a professional

On campus, you can see the initiatives

portfolio and personal marketing materials.

wherever you go. Renewable energy is produced

The school also utilizes its connections to help

three ways: a wind turbine on the highest point

School Stats

launch its students’ careers (their relations with

of campus, eight photovoltaic (PV) systems that

—

industry partners help with job and internship

generate electricity and eight solar-thermal

placement, Latimer notes), and, despite being far

systems that provide hot water to the facilities.

from major photography hubs, students still have

Since 2007, all new buildings are mandated

an opportunity to get a taste of the New York City

WR PHHW /((' 6LOYHU TXDOLČ´ FDWLRQV DQG WKUHH

hustle through the school’s Manhattan loft used

UHVLGHQFH KDOOV DUH *ROG FHUWLČ´ HG

Website: appstate.edu 'HJUHH 2Î? HUHG B.S., Commercial Photography

Length of Program: Four years Size of Department: 130 students Annual Tuition: $7,416 (in state); $21,932 (out of state)

IRU QHWZRUNLQJ Č´ HOG WULSV

Students searching for an active lifestyle will

In fact, the school’s location—tucked away

Č´ QG LW DW $68 7KH VFKRRO RÎ? HUV RXWGRRU WULSV

in the mountains of Boone, North Carolina—is

that include caving, backpacking, bouldering

an advantage, in Latimer’s opinion. “[It] has its

and climbing, plus longer expeditions to places

RZQ VSHFLDO LQČľ XHQFH RQ WKH SURJUDP Č‹ KH VD\V

like Grand Teton National Park in Wyoming and

“We have beautiful landscapes around us for

remote mountain areas in Italy.

environmental shoots, and a lot of students are also into adventure-sport photography.�

48

by Jacqui Palumbo

STORRS, CONNECTICUT

University of Connecticut

Like UC Davis, University of Connecticut (UConn)

approach, encouraging convergence in media

is a large research school that promotes an eco-

and supporting courses in humanities and social

responsible lifestyle for its 30,000-plus students. 70

sciences. Two years of studio arts courses are

percent of students graduate from a program that

R΍ HUHG EHIRUH XQGHUJUDGXDWH VWXGHQWV GHFODUH

includes sustainability in its curriculum, according

a concentration. Out of the 120 required credits

to Sierra Club. Students can engage with initiatives outside of the classroom through

programs

and

groups like EcoHouse, the EcoHusky Student Group and the ECOalition, which provide

opportunities

ranging from discourse to community outreach to event coordination. There’s also

the

Spring

Valley

Farm, where students live and work to produce local, organic produce for the campus. Through

its

Climate

Action Plan and its Sustainability Framework

to graduate, 66 are in art, 12 in art history and 42

Plan, UConn aims to be carbon neutral by 2050.

in outside electives. Janet Pritchard, an associate

UConn’s

an

professor of art, says: “We try to work with

recycling

students through advising and getting to know

program, including an agricultural

them to help them to think about good crossovers

composting facility; a partnership

for their interests.”

eco-friendly

PHOTO © JANET L. PRITCHARD

extensive

overhaul

includes

campus-wide

with Eversource to bring LED lights

Students can concentrate in Photography/

and motion sensors to 31 buildings;

Video at the B.A. level, and it’s introduced “as

lighting, air-handling and heating

a craft, as a history, as a community [and] as

and cooling renovations in Gampel

a way of seeing the world,” Pritchard explains.

Pavilion, the arena that hosts Huskies

Basic, intermediate and advanced courses are

sports; its own Co-Generation power

complemented by electives in documentary

plant to meet campus energy needs;

photography and video; portrait, large-format,

and an award-winning reclaimed

landscape

water facility.

alternative processes. By senior year, students

and

studio

photography;

and

is

work on assignments that “get them to think

acutely aware of the school’s role in consuming

more actively and proactively about what it is

resources. Since 2005, after a quarter-mile stretch

that’s unique to them,” Pritchard says, followed by

of the nearby Fenton River ran dry, in part due to

a capstone project and gallery show.

UConn’s

administration

UConn’s water intake, the school has developed

)DFLOLWLHV LQFOXGH WKH R΍ FDPSXV $UW6SDFH

School Stats

a Water Supply Emergency Contingency plan to

Windham, where seniors exhibit; DASL, a digital

address its impact on local rivers and to implement

art services lab where students get real-world

—

conservation strategies. The university has also

printing experience; a studio space; video-editing

added 101 acres of land to the nearby Hillside

facilities; and VASE, an experimental art gallery

Environmental Education Park’s existing 33 acres

that typically hosts solo shows by students who

'HJUHH 2΍ HUHG B.F.A., Studio Art;

of wetland and 31 acres of uplands, and, in March

have been awarded one of the three grants

M.F.A., Studio Art

2010, the school struck a conservation deal with

available to art students.

Website: uconn.edu

Length of Program: Four years (B.F.A.); Three years (M.F.A.)

Size of Department: 180 students, 20 photo concentrators (B.F.A.); 5 students (M.F.A)

Annual Tuition: Undergraduate $13,366 (in state); $34,908 (out of state) Graduate Fully funded

the Connecticut Forest and Park Association and

The M.F.A. program, Pritchard notes, is a best-

the Norcross Wildlife Foundation to protect 531

kept secret in higher education: Five students

acres of forest land and three miles of hiking trails.

are accepted for a three-year program, which

Currently, UConn is seeking the development

is fully funded, including a tuition waiver, an

of its own microgrid to bolster local infrastructure

assistantship with a stipend and health insurance.

and support the Co-Generation power plant in

Each student also receives a “generous” studio

times of grid outtages. The school also recently

space. At both levels, Pritchard says, the program’s

received grants to install electric vehicle charging

strong faculty, curriculum diversity—which allows

stations on campus.

wide-ranging individual choice within the larger

Impactful ideas are at the core of UConn’s

research university environment—and sense of

sustainability initiatives, as well as the core of the

community are some of the strengths of UConn’s

arts program. UConn takes an interdisciplinary

program. EDU

NEXT 49

Business Smarts

PHOTO © PETER MORENUS / UCONN PHOTO

THIS PAGE: Students from EcoHouse and Spring Valley Farm hand out potted plants during the university’s Earth Day celebration (right); printing at the DASL facilities (below).

TIPS & TECH: Business Smarts

50

Photographers

Unite! PHOTO © BOREAL COLLECTIVE

THE RISE OF THE COLLECTIVE

As the model for a photographer’s income stream has changed, one avenue, born from passion and community, has begun to emerge: the photo collective.

by AMY TOUCHETTE and JACQUI PALUMBO

Collectives have long EHHQ D ZD\ IRU ȴ QH DUWLVWV WR MRLQ IRUFHV EXW LWȇV D VRPHZKDW new development among photographers, who have largely depended upon their own individual hustle to sustain their careers. The desire to group up has as much to do with solving ȴ QDQFLDO FKDOOHQJHV in a radically evolving PDUNHW DV LW GRHV ZLWK the deep desire to connect with fellow photographers. And for many, the formation of a photographer-run FROOHFWLYH ZDV MXVW D QDWXUDO QH[W VWHS

51

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Prime Collective was founded, in part, as a

important [to have] going forward.�

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response to traditional agency representation

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in documentary and editorial photography,

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according to co-founder Dominic Bracco II. “Up

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until that point,� he tells PDNedu, “agencies still

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held a certain amount of power in the industry,

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and getting into that room, getting into that world,

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was little-to-no interest in our style of long-

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to support each other at a time when it felt very

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shared information,� Bracco says. “The three of us

as presenting an opportunity to accomplish

were constantly sending each other emails with

initiatives that were larger than any one of us as

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an individual.�

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draw in the sort of attention we were unable to JDWKHU RQ RXU RZQ Č‹ %UDFFR H[SODLQV ČŠ:H ZHUHQȇW DEOH WR JHW WKH NLQG RI LQGXVWU\ UHFRJQLWLRQ WKDW we were able to get immediately after [forming]. And a large part of that was because a crowd RI FUHDWLYH SHRSOH LV TXLWH IUDQNO\ D ORW PRUH LQWHUHVWLQJ WKDQ RQH SHUVRQȇV ERG\ RI ZRUN DQG GRAIN Images had a similarly organic inception. )RXQGHUV *UHJ .DKQ /H[H\ 6ZDOO DQG 7ULVWDQ 6SLQVNL ZHUH DOO VWDÎ? SKRWRJUDSKHUV DW D GDLO\

Sustaining Individuality

newspaper, but behind the scenes functioned

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they created GRAIN as a way “to continue the

model for its members. For some photographers,

same accountability with one another� they

a collective can replace representation altogether.

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THIS SPREAD: (clockwise from opposite page) Mauricio Palos of Boreal speaks to attendees of the Boreal Collective documentary workshop; Tristan Spinski and Preston Gannaway discuss the year’s agenda at a GRAIN meeting; a group photo of Prime members at the San JosÊ Foto festival in Uruguay.

Joining Forces, Sharing Resources

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NEXT Step X Step

ILLUSTRATION © MAURICIO VARGAS; PHOTO © BOREAL COLLECTIVE

THIS PAGE: 3KRWRJUDSKHU FUH DWLYH GLUHFWRU DQG 0-5 FROOHF WLYH PHPEHU 1RDK 5DELQRZLW] gives a portfolio review at the %RUHDO %DVK

Every Photo Tells a Story Earn a Degree or Take Classes in San Francisco or Online School of Photography // Advertising / Documentary / Fashion / Fine Art / Still Life Student image by Kevin Hofer

Academy of Art University | Founded in San Francisco 1929 | 888.680.8691 | academyart.edu/PH | Yellow Ribbon Participant Visit academyart.edu to learn more about total costs, median student loan debt, potential occupations and other information. Accredited member WSCUC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (B.ARCH, M.ARCH), CTC (California Teacher Credential).

TIPS & TECH : Step x Step

with the KeyMission 360. by GREG SCOBLETE

I

t’s not often that a new technology hits the scene that promises

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to fundamentally upend how people create and consume visual

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virtual reality (VR) and 360-degree imaging.

point moment� in his career.

“This is a technology that’s here to stay,â€? he tells PDNedu. ȊΖW FKDQJHV WKH way we tell stories and communicate.â€? 5LFK LV RQH RI WKH IHZ Č´ OPPDNHUV ZKRȇV KDG WLPH LQ WKH Č´ HOG ZLWK

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PHOTO © COREY RICH PRODUCTIONS

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18 -year-old kayaking wunderkind Alec Voorhees.

pair of wide-angle lenses and image sensors that can record completely

Rich mounted a KeyMission 360 to Voorhees’ kayak for several trips

spherical 4K video or still images. Unlike the intimidating virtual reality rigs

down the rapids of the Alseseca River in Veracruz, Mexico. During that

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shoot and others with the KeyMission 360, Rich gained valuable insights

post-production, the KeyMission makes capturing 360-degree as simple

into the particular challenges and opportunities of creating 360-degree

as point and shoot: Since it’s an integrated solution, the video is stitched

content, which he agreed to share with us.

as you record it. It’s the perfect camera, in other words, to immerse viewers in a world they might otherwise never see—like the world of 55

TIPS & TECH : Step x Step

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In or Out?

still photographers accustomed to framing a scene through a single Before you even start recording, you need

rectangle, thinking spherically requires a mind shift. “We learned that

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complex situations are

appear in the frame or not. Since 360-degree

there’s action in

cameras capture nearly everything around

the other, that’s

them, there’s nowhere for a camera operator to hide if he or

says.

she is holding the camera.

audience

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The

more engaging,� Rich says. “If only one lens, and nothing in a lackluster VR shot,� he

“There’s

not

to

enough

for

the

look at.�

other

challenge during

in

the

spherical

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thinking comes

edit.

retrieving the camera when the adventure was over. That said,

KeyMission 360

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it’s not wrong to appear in the camera in all circumstances,

but it will appear

Rich says, as long as “you think about the experience your

your monitor. During

viewer is going to have.� Having one of the KeyMission 360

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cameras on you and the other on the scene unfolding in front

viewed through a device with 360-degree capabilities. Changes, such as

of you could work well for documentary-style work or for the

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when the footage is viewed spherically, Rich cautions. It also works the

records a spherical image, DV RQH ORQJ Čľ DW LPDJH RQ WKH HGLW WKLV Čľ DWWHQHG IRRWDJH

RWKHU ZD\ DURXQG Ȋ)RRWDJH WKDW ORRNV D ELW ODFNOXVWHU ZKHQ YLHZHG Ⱦ DW has looked much better in VR,� Rich says. It’s one of the learning curves of VR, he adds, but not an insurmountable one.

One

challenge

in

Experiment with Monopods

thinking spherically is deciding where and how to mount the

camera. The KeyMission comes with mounting accessories and a standard socket for a tripod or monopod, and ȴ OPPDNHUV ZLOO QHHG WR GHFLGH ZKHWKHU WKH\ ZDQW WKH mount to appear in the video. When using boom poles and monopods, the camera may capture at least part of the pole in the frame (this isn’t an issue when the camera is mounted to handlebars or a helmet). If you’re using a boom pole or monopod, you can exploit the camera’s seam, where the images created by the two cameras

overlap

at

the

top

and

bottom of the camera, to hide the pole. Depending on the length, vertically orienting a monopod can keep it out of view. It takes some experimentation to ȴ QG RXW MXVW ZKHUH WKDW VZHHW VSRW LV Rich says, because it varies depending PHOTOS Š COREY RICH PRODUCTIONS

on the pole you’re using and the angle

Shoot in Broad Daylight

at which it’s extended from the tripod socket of the camera. Using mounting

ΖQWURGXFLQJ DUWLȴ FLDO OLJKW LQWR D GHJUHH VKRRW FDQ EH D FKDOOHQJH

poles that are color-matched to the

Rich says. You can position lights in the camera’s blind spots, but those

background also helped to disguise any

FRXOG DSSHDU XQČľ DWWHULQJ KH ZDUQV 7KDW OHDYHV \RX DW WKH PHUF\ RI

portion that was visible, he adds.

natural light. While many action cameras and compact 360-degree cameras struggle in low light, Rich says he was pleasantly surprised with how the KeyMission 360 fared during the golden hours (early morning DQG HYHQLQJ 6WLOO IRU WKH FOHDQHVW ȴ OHV LWȇV EHVW WR VKRRW LQ PLG GD\ VXQ

Watch the Footage

he says.

— Nikon has premiered Corey Rich’s immersive video on the KeyMission 360 YouTube channel:

Featured 360-degree images were shot with a KeyMission 360 prototype.

youtube.com/c/nikonkeymission

Stay Close to Your Subjects The KeyMission 360 uses wideangle lenses to ensure the broadest possible reach, so it’s best to keep subjects up close and personal—at a minimum of 3 feet—lest they get lost in the background. “Anything farther than 10-15 feet away is going to be too far,� he says.

Just Say No (to Quick Cuts)

A key virture of the KeyMission

360

is

that it automatically

stitches the video recorded by its two cameras, sparing you from

You’re Not Doing It Wrong

a labor-intensive post-production. The spherical H.264 video Č´ OH WKDW HPHUJHV IURP WKH FDPHUD FDQ EH LPSRUWHG LQWR DQ\ common video editor. It was during the post-production edits that Rich learned

Rich was quick to stress that it’s very early days

another valuable VR lesson: traditional pacing rules don’t apply.

in the development of 360-degree imagery, and as such, there’s really

“In a conventional video edit, for, say, a commercial, we might do

no “right way� to shoot it. The standard orthodoxies and compositional

a one- or two-second cut,� Rich says. That pace is far too quick

UXOHV WKDW GRPLQDWH WUDGLWLRQDO VWLOO SKRWRJUDSK\ DQG ȴ OPPDNLQJ KDYHQȇW

for VR. “The viewer needs enough time to explore the frame, [so]

had a chance to solidify around VR, even if some tentative best practices

during the editing and post-production, it’s vital to structure the

are now emerging. The only real rules of the virtual road, Rich says, are

edit in such a way as to maximize a viewer’s time in a scene.� That

the same ones that should guide any visual storyteller: capture beautiful

means giving the viewer between seven and 10 seconds to linger

light, compelling subject matter and great moments. EDU

and explore a scene before cutting to the next one. VR may be just the cure for our declining attention spans. THIS SPREAD: Kayaker Alec Voorhees with the KeyMission 360 mounted on his helmet (opposite page); a close-up of the KeyMission 360 (above left); 7KH .H\0LVVLRQ LQ DFWLRQ ĚĽ OPLQJ ERXOGHUHUV LQ %LVKRS &DOLIRUQLD DERYH ULJKW $ ĚŚ DW GHJUHH LPDJH IURP WKH %LVKRS VKRRW EHORZ

TIPS & TECH: What Does It Cost?

What Does It Cost...

by AMANDA BALTAZAR

PHOTO Š ANDREW REILLY

TO STUDY, LIVE AND WORK IN SAN DIEGO? San Diego, the second largest city in California (and the eighth largest city in the country), is known for its temperate climate, active living and beautiful beaches. It’s an outdoors-y city, with lots RI ZDONLQJ KLNLQJ ELNLQJ DQG RI FRXUVH VXUČ´QJ There are also nine art districts in San Diego and an exploding craft-beer scene with more than 120 breweries. And because the city has become a healthcare and biotechnology center, it’s a mixed market for photography work, says Rob Andrew, a lifestyle and food photographer. “There’s a lot of product work and a lot of corporate work; a lot of manufacturing [and] startups,â€? he says. “You do have to be a bit more diverse—it’s hard to be just a food photographer or just fashion.â€? San Diego has spread into two areas: North &RXQW\ &RDVWDO ZKLFK FRQVLVWV RI GLÎ?HUHQW WRZQV such as Oceanside, Encinitas and Carlsbad, and Downtown. The northern area is more of a coastal beach community; the south is the city center. While the cost of living is fairly high, it’s cheaper than Los Angeles, San Francisco and San Jose, according to expatistan.com.

58

To Study... Univ versiity of ornia a, San Die ego Califo —

TUITION UNDERGRADUATE: $13,672/year (in state); $40,354/year (out of state)

ucsd.edu

GRADUATE: $16,630/year (in state);

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$31,732/year (out of state)

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COST: $9,455-$13,150/year

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(residence halls)

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$9,435-$11,865/year (apartments)

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Univ versiity of San Die ego —

HOUSING

sandiego.edu

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COST: $7,840-$11,124/year

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(residence halls)

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$8,870-$12,618/year (apartments)

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TUITION $45,540/year (in and out of state)

COST: $2,576-$4,578/year

San Dieg go City Co olle ege —

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sdcity.edu

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$14,640/60 units (out of state)

THIS SPREAD: A lifestyle image shot in San Diego by photographer Andrew Reilly (opposite page); UCSD’s Visual Arts Facility (top); the USD campus (middle); a student hangs his prints for a color photography critque at USD (bottom). 59

3+272 k 52% $1'5(:

TUITION $2,760/60 units (in state);

3+272 &2857(6< 2) 86'

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TIPS & TECH: What Does It Cost?

THIS PAGE: San Diego has plenty of opportunities for beautiful scenery and an active outdoor lifestyle.

To Live... bedroom condos start at around $400,000, and

As of March, the aver-

For purchasing a home, Eliot Rachman, a

age rent for San Diego County had hit $1,618

UHDOWRU DW &HQWXU\ $ZDUG UHFRPPHQGV

a month, according to The San Diego Union-

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Tribune 9DFDQFLHV DUH DOVR DW D Č´YH \HDU ORZ

WR ZLWK D JUHDW TXDOLW\ RI OLIH DQG FRQYHQLHQW

THE BOTTOM LINE:

access to outdoor activities, he says.

TO RENT: From $1,000

7KHUH DUH GHDOV WR EH IRXQG KRZHYHU =LOORZ turns up pages of available one-bedroom

Instead of apartments, small condos are

apartments starting at $1,000 in San Diego

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&RXQW\ ΖQ WKH SRSXODU GRZQWRZQ 1RUWK 3DUN

at around $300,000 in Oceanside or $400,000

neighborhood, one-bedrooms start at $1,200.

LQ &DUOVEDG ΖQ 'RZQWRZQ 6DQ 'LHJR WZR

it’s at least $600,000 for a single-family home.

TO BUY: From $300,000

TRAN NSP PORTATION N: San Diego

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$120 a month driving in San Diego and farther out

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estimates he spends $240 to $400 in gas per month.

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LV RQO\ PLOHV DZD\ EXW HYHQ ZLWKLQ WKH FLW\ WKH

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spends $80 to $100 per month on gas because he

public transport very viable.

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THE BOTTOM LINE:

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$190/month

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15 miles per gallon,� he explains.

estimates his monthly gas costs are about $200 for

FOO OD:

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for its Mexican cuisine, but the overall food scene

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stores. She rarely eats out, spending around $20 to

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GRZQ PHDO FRVWV KLP FORVHU WR WR

D PRQWK RQ GULQNV EXW VD\V D W\SLFDO SXE PHDO runs $12 to $20 and a mid-range meal is closer to

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$ W\SLFDO PHDO RXW IRU WKUHH SHRSOH ZLWKRXW

runs $50 to $55. For groceries, he spends $300 to

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Sprouts (a less expensive Whole Foods) and Costco.

spend about $400 per month on groceries, all from

THE BOTTOM LINE:

AmazonFresh, and $400 a month on dining out.

GROCERIES: $135 per person/month

5HLOO\ LV VLQJOH DQG GLQHV RXW RIWHQ +H GRHVQȇW IHHO the restaurant scene is as diverse as other cities, but

UTIL LITIE ES:

ZLWKRXW DOFRKRO

Close spends around $400 a month on groceries

DINING OUT: $25-$60 per person/meal

but says that’s about four times the average.

The climate doesn’t get any

Reilly also lives in Oceanside and pays around

better than San Diego’s. AC and heat are rarely

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Close also spends around $100 monthly on gas DQG HOHFWULFLW\ ZLWK ZDWHU UXQQLQJ DQRWKHU

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and $115 for electricity) and he spends a small for-

THE BOTTOM LINE:

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$170/month

Oceanside, he has no need for central AC.

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60

3+2726 k $1'5(: 5(Ζ//<

HOU USING G:

TOOLS FOR CREATION

Become an EDU Advantage Member Free Membership Includes: – Special Educational Discounts – Online Resources – Single Universal Application – Student Hotline See website for details

866.276.1435 | 420 Ninth Avenue, New York, NY 10001

More info @ www.BandH.com/EDU © 2016 B & H Foto & Electronics Corp. NYC DCA Electronics Store Lic.#0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906

TIPS & TECH: What Does It Cost?

THIS PAGE: An aerial view of San Diego.

To Work... STUD DIO:

Brown and Andrew both rent

costs $350 for a half-day rental and $600 for a full

THE BOTTOM LINE:

their own personal space. Andrew’s 1,040-square-

day. Photo District Studios, close to the beach, has

TO RENT PER SHOOT: From $250/day

foot studio costs $1,179 per month, plus $100 for

two studios: a 30 x 55-foot space that costs $315

TO RENT PER MONTH: Varies

utilities and $50 for Internet access. “Most of the

per day and a 20 x 30-foot space that costs $250

photographers I know use an industrial space—like

per day. 30th Street Garage, by Balboa Park, is a

DQ RÉ? FH RU ZDUHKRXVHČƒOLNH PLQH EHFDXVH WKDWȇV

3,200-square-foot facility with ample natural light,

where the bang for the buck is,� he says.

with 18-foot ceilings and a wood, concrete and

To rent per shoot, there are a few options in the

exposed-brick interior. A half-day rate can range

city. Riverdale Studios, located in Mission Valley,

from $450-$1,000 here, depending on the project,

includes a 21 x 16-foot two-sided cyc wall and

while a full-day ranges from $850 to $2,000.

EQUIIPME ENT:

Brown ventures out

day or $120 per week. For Nikon bodies, the D800 at

kit with large monolights and two heads costs $100

to Orange County and Los Angeles for their pro

Nelson Photo costs $150 per day or $450 a week; at

daily or $300 weekly.

shops. Within San Diego’s city limits, the go-to rental

George’s Camera the D810 costs runs $115 daily or

houses are Nelson Photo and George’s Camera. At

$290 for the week.

THE BOTTOM LINE:

the former, the most popular lens rental is the AF-S

1HOVRQ 3KRWR GRHVQȇW RÎ? HU OLJKWLQJ UHQWDOV EXW

NIKKOR70-200mmf/2.8GEDVRII,whichcosts$40per

George’s Camera does. There, a Profoto B1 location

TO RENT: $255/day; $710/week (camera body, lens and lighting kit)

Cup of FRÎ? HH $2

Gallon of gas: $3

Pint of beer: $6

Monthly gym membership: $30

Movie ticket: $12

Downtown parking: $10-$15/day; $0.50- $1/ hour

NEXT Product News

PHOTO Š P2 PHOTOGRAPHY; ILLUSTRATION Š MAURICIO VARGAS

What It Costs for:

EMERGING www.emergingphotographer.com

P H OTO G R A P H E R

We want your work! Ten series will be showcased in print in Emerging Photographer magazine, distributed to the most important creatives in photography, and promoted online to PDN’s network of more than 350,000 followers. EACH PHOTOGRAPHER WILL RECEIVE A $100 GIFT CARD TO B&H

Submission Fee $20 per photo essay (3-10 images)

— Deadline —

OCTOBER 17, 2016

winter

2016

Travel & Landscape / Fine-Art ∕ Documentar y ∕ Portrait & Fashion PHOTO © RENAUD LAFRENIÈRE

TIPS & TECH

by GREG SCOBLETE

64

Product News

Nikon COOLPIX P900 To appreciate the feat of engineering that went into

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the P900, you have to start with the lens. The camera

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also boost the zoom range to 166x using Nikon’s

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Nikon D7200 6KDUS ȴ QHO\ GHWDLOHG LPDJHV DUH DVVXUHG ZLWK WKH ' thanks to a 24.2-megapixel APS-C-sized CMOS sensor ZLWK QR RSWLFDO ORZ SDVV ȴ OWHU 7KLV FDPHUD FDQ DOVR switch between bright sunlight and low light with a native ISO range of 100-25,600 (expandable to ISO 102,400 in black-and-white mode) and low-light focusing down to -3 EV. If speed is your need, the EXPEED 4 image processor powers the D7200 at 6 fps for up to 18 consecutive RAW (14-bit) images, 27 12-bit RAW shots or up to 100 JPEG images at a clip. If you opt for the 1.3x crop mode and use a smaller area of the camera’s sensor, you can enjoy a slight bump in speed to 7 fps. Subjects are kept tack sharp with Nikon’s 51-point Advanced Multi-CAM 3500 II DX autofocus system. The AF points cover a wide portion of the sensor and, if you’re in 1.3x crop mode, almost the HQWLUH IUDPH 7KH ' LV 1LNRQȇV ȴ UVW '6/5 ZLWK ERWK Wi-Fi and NFC so you can quickly pair compatible mobile devices, preview your scene on your phone and remotely trigger the camera’s shutter. The camera also sports several new Picture Controls, including Flat and Clarity settings, which can now be applied in real time when FRPSRVLQJ DQ LPDJH XVLQJ OLYH YLHZ )RU ȴ OPPDNHUV

send an uncompressed HD signal to an external recorder via HDMI. The D7200 is compatible with a wide array of NIKKOR lenses, included AF NIKKOR G, E and D, DX, AI-P and more.

Nikon Macro and Portrait 2 Lens Kit Great photography is often the marriage of gear and WHFKQLTXH ΖQ WKH 0DFUR DQG 3RUWUDLW /HQV NLW \RXȇOO Č´ QG both. In addition to two Nikon-penned guides to macro and portrait photography, a free online instructional course from Craftsy features professional photographer Layne Kennedy covering the basics of both disciplines in DQ LQWHUDFWLYH IRUPDW 2Q WKH JHDU IURQW \RXȇOO Č´ QG WKH AF-S DX Micro NIKKOR 85mm f/3.5G ED VR lens, which not only features a focal length that’s prized for portraits, but a 1:1 reproduction ratio, making it perfect for macro work DV ZHOO 7KH OHQV DOVR RÎ? HUV 9LEUDWLRQ 5HGXFWLRQ JRRG IRU up to 3 stops of image stabilization. Also included in the kit is the AF-S DX NIKKOR 35mm f/1.8G—a fast prime lens WKDW RÎ? HUV D VKDOORZ GHSWK RI Č´ HOG IRU FUHDWLQJ WKH JHQWO\ blurred background that makes portrait subjects pop.

65

PDNEDU.COM ———

video at 30/25/24p (and in 1.3x crop mode, 60p) and can

Fall 2016

the D7200 has a built-in stereo mic and captures Full HD

Tamrac Hoodoo Like a mullet, the Hoodoo 18 is business up top and party at the bottom. In the bag’s padded upper compartment, you can house a DSLR camera and up to two lenses. The main compartment in the bottom has room for your SHUVRQDO LWHPV ERRNV DQG D LQFK ODSWRS LQ D dedicated sleeve. If you spring for the Hoodoo \RXȇOO ȴ QG D PRUH PRGXODU VROXWLRQ /LNH WKH 18, the 20 is divided into two sections. The top has space for personal items while the bottom contains a removable camera pouch with room for a camera body and three to four lenses. You can pop the pouch out of the bag and use it as a standalone shoulder bag with the included strap, freeing up space to use the entire HooDoo 20 as a traditional backpack.

Corel AfterShot Pro 3 Corel AfterShot Pro 3 is an inexpensive RAW LPDJH SURFHVVRU WKDW RÎ? HUV D KRVW RI QRQ GHVWUXFWLYH HGLWLQJ DQG LPDJH RUJDQL]LQJ WRROV on par with its pricier competitors. The recently updated program delivers a huge speed boost— LWȇV DEOH WR SURFHVV DQG H[SRUW 5$: Č´ OHV WR -3(*V about four times faster than Adobe Lightroom. $IWHU6KRW FDQ RUJDQL]H \RXU Č´ OHV XVLQJ \RXU GHVNWRS Č´ OH V\VWHP RU ZLWK DQ LPDJH FDWDORJ (similar to Lightroom). You can tag and keyword LPDJHV DQG ZKHQ XVLQJ WKH FDWDORJ Č´ OWHU E\ metadata attributes like ISO and shutter speed. 7KH VRIWZDUH KDV D EXLOW LQ PDUNHWSODFH ZKHUH \RX FDQ VKRS IRU SOXJLQV DQG LPDJH HÎ? HFWV DQG LW VXSSRUWV OHQV SURČ´ OHV IRU TXLFNO\ FRUUHFWLQJ RSWLFDO GLVWRUWLRQV ΖI D OHQV SURČ´ OH IRU \RXU PDNH and model doesn’t exist, you can build your own and share it with the AfterShot user community. 8QLTXHO\ $IWHU6KRW GRHVQȇW UHTXLUH D PDMRU update every time a new camera is introduced. ΖQVWHDG QHZ FDPHUD SURČ´ OHV DUH ORDGHG LQWR D tab in the program so you can download them as needed.

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IRU FDPHUDV EHWZHHQ DQG SRXQGV WKH Beholder has a 3-axis motorized stabilizer to keep \RXU FDPHUD IUHH IURP PRWLRQ LQGXFHG MLWWHU 7KH EUXVKOHVV PRWRUV FDQ UROO DW XS WR GHJUHHV

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TIPS & TECH: PDNedu Asks

When you ta ake an assignmentt in a new w place—bee it for outtdoor aphy, docu umenttary photogra work orr a travel story— —you’ll me resea arch need to do som ahea ad of time.. Here,, seven pro photogra apherss share theeir prep tiips.

“There’s nothing more precious than time when you’re shooting in a location you’ve never worked in. Preparation prior to arrival can dictate the success of the images you’re there to make. Google Maps and Google Images have made a lot of this prep convenient, but nothing gets you into unique places faster than a local person or more into the nuance than an expert on the topic you’re shooting. Social media is a killer resource for this. Depending on the scope of the shoot I work a lot with local adventurers, biologists and scientists. Once on location I love apps like PhotoPills, which gives you a virtual look at the trajectory of the sun and moon, provides a planner for photographing the Milky Way, and includes accurate times for the blue hour and golden hour. It’s an incredible program for planning your outdoor shoot.â€? Keith Ladzinski | ladzinski.com PHOTO Š KEITH LADZINSKI

compiled by JACQUI PALUMBO

Alexandra Hootnick | alexandrahootnick.com PHOTO Š MICHELLE GABEL

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“Part of my research involves how I’m getting there, which includes how to get my equipment on the airplane without checkLQJ LW Ζ ERRN RQ ČľLJKWV ZLWK RYHUKHDG VSDFH WR Č´W P\ IXOO\ ORDGHG 7KLQN 7DQN ΖQWHUQDWLRQDO UROOHU EDJ DQG Ζ DOVR UHFRPPHQG Čľ\ing the same airlines frequently to obtain Elite status so you can board early. To prep for the shoot, I learn as much as I can about the story, the people and the place. I sometimes use Google Earth to get a sense of what the place looks like and understand which direction the sun is facing. I like to go into a story with some advance knowledge and a plan but am also open to chance and serendipity. For international shoots I contact other photographers who have worked in that country to JHW D UHFRPPHQGDWLRQ IRU D ORFDO Č´[HU RU VRPHRQH ZKR NQRZV the area.â€? NIK O

ȊΖGHDOO\ Ζ OLNH WR ȴQG DQG HVWDEOLVK FRQWDFWV in the area beforehand and research how related stories have been reported and/or photographed in the past. For longer-term documentary projects I’ll write a research summary to contextualize and justify the approach. Along with editorial clips, and depending on the amount of time I have to prepare, I’ve found that academic research, literature, art and music can also be helpful in learning about a location. The story almost always changes on the ground, but developing a prior situational understanding allows me to connect with the people and the place on a deeper level.�

Deanne Fitzmaurice _ GHDQQHȴW]PDXULFH FRP PHOTO Š NATALIE AND CODY GANTZ

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Greg Kahn | gregkahn.com

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PDNEDU.COM ———

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PHOTO Š JARED SOARES

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ČŠ$VVLJQPHQWV RU SURMHFWV LQ QHZ ORFDWLRQV QH cessitate varying approaches to photographLQJ WKHP )RU H[DPSOH LI WKH SODFH LV DQ RÉ? FH for a portrait shoot, I will ask for someone at WKH ORFDWLRQ WR PDNH VRPH SKRWRV RI GLÎ? HU ent rooms to give myself a quick layout. This is especially helpful when a scouting day is not in the budget. )RU SURMHFWV WKDW UHTXLUH WUDYHO WR D UHJLRQ ΖȇYH QHYHU YLVLWHG Ζ will research the area and its history. It can be Google searches, books, news articles—anything I can get my hands on. For me, understanding a community is equally important as seeing how D SODFH ORRNV $V SKRWRJUDSKHUV ZH Č´ QH WXQH RXU YLVLRQ IRU years so that it becomes instinct, but don’t always give equal thought to understanding the regions we tell stories in before we travel.â€?

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“When I research a location there are a few important things to consider. First, I need to know the time of sunrise and sunset, along with the position of the sun. I use an app called Sun Surveyor on location to assist me. The weather forecast is important, too—you want to be warm and dry and also keep your gear safe. Next, are there any interesting landmarks I should put on my shoot list? *RRJOH (DUWK KDV PLOOLRQV RI LPDJHV JHRWDJJHG ZLWK GLÎ? HUHQW locations. Another thing to consider is how much memory you’ll need. I shoot with a 36-megapixel Nikon D810, so I bring plenty of SanDisk CF and SD cards. Remember that you will probably shoot more than you think! Lastly, make sure you create a daily plan to maximize your shooting, focusing on being at the prime locations at the golden hours.â€?

Lucas Gilman | lucasgilman.com PHOTO Š LUCAS GILMAN

71

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“The Internet is magic—times have really changed. Today, it comes down to doing research on Google. As a photographer and Č´ OPPDNHU LW VWDUWV ZLWK YLVXDOO\ ORRNLQJ DW what the Google database provides for each geographic location through Google Images. The next step is doing a deeper dive into search returns, reading about the geographic location and trying to understand and get a feel for what I am going to encounter. The power of the Internet is unbelievable; with a little bit of extra digging it allows you to connect to the place visually, to the nuance of the place through words and to the people I’d like to meet.â€? N

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Corey Rich | coreyrich.com PHOTO Š BLIGH GILLIES/COREY RICH PRODUCTIONS

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OUT OF THE PAST IN LE TH

TO Š DR. JO AN PHO

[1945-2016]

Gary Braasch Photographer, writer and pioneer in documenting climate change. by HILARY REID efore National Geographic’s 2004 issue dedicated to climate change,

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before Al Gore’s 2006 documentary An Inconvenient Truth, there was

awards for his climate change photography, including the North American

Gary Braasch. An award-winning nature photojournalist who called Portland,

Nature Photography Association’s Outstanding Nature Photographer award,

Oregon, home, Braasch photographed the natural world for more than 40

the Sierra Club’s Ansel Adams Award for Conservation Photography and the

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title of Nikon’s “Legend Behind the Lens.�

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change. His work took him to tropical rainforests, glaciers, oil spills and ulti-

In 2007, Braasch published Earth Under Fire: How Global Warming is Chang-

mately to the Great Barrier Reef, where he passed away while snorkeling and

ing the World. Described by Al Gore as “essential reading for every citizen,� the

photographing in March at the age of 70.

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Born in Omaha, Nebraska, Braasch began photographing while serving in

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the Air Force. Largely an autodidact—Braasch received degrees in journalism

Braasch’s commitment to environmental issues extended to his own pro-

at Northwestern University, and only took one photography class before start-

fessional decisions. As friend and collaborator Lynne Cherry wrote in a eulogy

ing his career in 1974—he published work in magazines including Audubon,

published by The New York Times: “He would not consider assignments from

LIFE, National Geographic and The New York Times Magazine.

any company that was causing harm to the Earth.� Braasch and Cherry co-

In the late ‘90s, his focus shifted to the documentation of global warming.

authored the children’s book How We Know What We Know About Our Chang-

Braasch is perhaps best known for his before-and-after glacier series, for which

ing Climate and founded Young Voices for the Planet D Č´ OP VHULHV GHVLJQHG WR

he collected photographs of glaciers from the late 1800s and early 1900s, and

inspire children and young people to take action against global warming. “Gary

then traveled to the same locations to photograph the present state of the gla-

was one of the purest souls I have ever known,� Cherry’s eulogy continues. “His

ciers. The contrast between the early and later photos allowed the photojour-

deep reverence and love of the natural world was unparalleled, and it guided

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The before-and-after glacier sequence can be found on World View of Global

the steamroller of exploitation and destruction of so many things good and

Warming, a website founded by Braasch in 2002 that chronicled his climate

beautiful.� EDU

change work. In 2007, he met Dr. Joan Rothlein, who became his partner in life and in work and collaborated with him on his vision for the project. World View of Global Warming presented his work in a way to catalyze the

PHOTO Š 2012 GARY BRAASCH WORLDVIEWOFGLOBALWARMING.ORG

viewer to action, with highly illustrative photographs accompanied by texts

THIS PAGE: Braasch holds a 1932 photo of Broggi Glacier in the Peruvian Andes against the shrinking ice patch of 1999. In 2014, %UDDVFK UHWXUQHG WR SKRWRJUDSK WKH VDPH VFHQH WR ĚĽ QG WKDW WKH JOD cier had completely disappeared.

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SPE | 2530 Superior Ave E, #403 | Cleveland, OH 44114 | Ph 216-622-2733 | www.spenational.org | Image by Kristina Smith

edu

LEARN HOW TO MARKET YOUR PHOTOGRAPHY AND MULTIMEDIA PROJECTS FROM THREE NIKON PROS!

Nikon Ambassador COREY RICH

YOU’RE INVITED Join us for this free event for students at PhotoPlus Expo 2016. Hosted by Nikon and PDNedu, the panel, moderated by PDN editor Holly Hughes, will feature multimedia-makers Corey Rich, Keith Ladzinski and Carli Davidson. Refreshments will be served, and students will have the opportunity to speak with the panelists. “UNDERSTANDING YOUR BRAND: ADVICE FOR NEW IMAGE-MAKERS”

WHEN?

THURSDAY, OCTOBER 20 2:00–3:30 PM Seating begins at 1:45 PM

WHERE?

PHOTOPLUS EXPO 2016

HOW?

PHOTOPLUS EXPO IS FREE FOR STUDENTS TO ATTEND.

Nikon Professional Photographer CARLI DAVIDSON

*Proof of school enrollment required.

Show Floor Theater Javits Center

SIGN UP FOR THE PANEL IN TWO STEPS: 1) REGISTER at PHOTOPLUSEXPO.COM for an Expo Pass* 2) RSVP at RSVP.PDNEDU.COM

Nikon Professional Photographer KEITH LADZINSKI

One lucky attendee will win a Nikon Macro & Portrait 2 Lens Kit at the event!

www.photoplusexpo.com

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