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Chris Weeks is a freelance editorial photographer who shoots for the major domestic and international weeklies and monthlies. He uses his commercial work to support his ongoing street photography around the world. Chris personally prefers location over studio shoots, and his candid images reflect his eye for the more unusual shot - something he brings to all his work, including photographing celebrity events. 

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Watch Chris's videos.

Gnarls Barkley © Chris Weeks  

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Though Leland had only a moment to capture them, the photographs suspend these women in time so that we may examine our own thoughts about how they might live their lives, and about how people perceive themselves. As viewers we also have the opportunity to delve into what the photographer sees in ways we otherwise wouldn't be able to had the photographer not captured the image - examine the evidence of the 'work' done on these women, and to see the reflections of the rest of us. 

"When I'm on the street shooting this kind of work I feel what I imagine a hunter must feel like. There is a sense of stalking prey. The first thing I do is a find a street that is bathed in sunlight. I then find myself an inconspicuous spot on the street, often up against a building or a light pole, scoping out the people walking towards me from at least a half a block away. When I see a subject of interest I move out into the swirl of people on the sidewalk and start to track the person walking towards me in continuous auto-focus mode with an 80-200 zoom lens zooming in as the subject approaches and then zooming out as the person becomes very close to me. I can usually lose myself in the crowded street so that the person I'm shooting has no idea of what I'm doing until they are within 6 - 10 feet, and often not even then. Because I'm shooting so tight I'm only able to get off about 3 shots at the most before the person is by me. Not very controlled, but that's what makes it challenging and exciting." - Leland Bobbé



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Unexpected Landscapes of New York City.

"I've always just loved to explore the city, especially the shorelines of New York City and the outer boroughs. The project started in late fall of 2003 out at the Rockaways, when I was wandering around in Riis Park. I came across a collection of sand piles and berms that had been created in order to prevent beach erosion. There was a mysterious and ethereal quality to the landscape--the antithesis of traditional urban New York landscapes. The combination of those elements resonated with me, and I decided to explore unexpected landscapes within the confines of New York City.

Presented here are the shifting sands that take form and then disappear into the surf at Riis Park in Queens; floodwaters at Orchard Beach's parking lot in the Bronx; oil stains and standing water mix on an abandoned runway in Brooklyn; canine and human footprints vanish on a berm on Staten Island's South Beach - images that are testament to the transient and mysterious borders of New York City." - Bruce Katz

The prints have to be seen in person so I'll update this entry when Bruce has a show.


Floyd Bennett Field, Brooklyn #1 © Bruce Katz

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Stephen Mallon is a commercial and fine art photographer. Lately, he has become interested in "the secret worlds of salvage", photographing the recycling industry; for example, rubber processing plants, methane reclamation, incinerators, and the U.S.S. New York which is crafted from steel salvaged from the World Trade Center site.

In 2006, Steve met Jayne Rockmill at an ASMP NY portfolio review. Jayne liked the industrial landscape photographs that Steve had been making for both commercial and personal work and suggested he publish a book, but Steve felt he wanted a better body of work if he were to do so. He got to thinking about the recycling industry, found a scrap company in New Jersey and got access for a couple of days to scout and shoot.

An art buyer suggested he include people in his industrial landscapes if the work were to have a broader appeal to advertisers, and it was during such a shoot in New Jersey that Steve spotted a large parked barge. Weeks Marine, the company contracted by the Metropolitan Transit Authority of New York, became a fan and client. After harvesting their parts, empty subway cars are lifted away to make room for new ones, and Weeks Marine uses ocean-going cranes to take them to other states where they're dumped off-shore to create reefs for the fishing and tourist industries as part of the National Artificial Reef Plan.

These images represent Steve's second solo show at Front Room Gallery. The exhibition entitled "Next Stop - Atlantic" opens September 10th 2010. Limited editions are available at
20x30, 30x45, and 40x60 with 5 prints in each.

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Buy the book.

Subway cars © Stephen Mallon

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The majority of Karsh's portraits are in portrait format, but I wanted to find some landscapes to take advantage of the full screen magazine. Here you see Jean-Paul Riopelle, Max Ernst, Ravi Shankar, Helen Keller and Polly Thompson, Marc Chagall, Pablo Picasso, Bertrand Russell, and Frank Lloyd Wright. Each is photographed in Karsh's signature style in a recognizable environment, except for Lord Russell, who is beautifully framed in silhouette lighting his pipe with a match.

There is plenty more to enjoy on
Karsh's official website. Don't miss the videos, in particular the recreation of the world famous Churchill "Roaring Lion" photograph.

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Frank Lloyd Wright, 1954 © Yousuf Karsh

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Passionate about music from a young age, Michael Putland's career in the music industry began as he thought it was about to end - closing down his studio because he simply couldn't afford it, the last call to come in was an assignment to photograph Mick Jagger. 30 years later he had accumulated a vast archive of most everyone who cut a record or played a gig. He shot for all the music mags we grew up reading in England, and when I moved to New York I realized those rags, and his work, were just as popular there among music fans in the 70s and 80s as they were back home. Michael himself moved to the States in the late 70s and spent a few years having what sounds like a pretty cool but very busy life, before moving back to the UK and opening a sister photo agency to the one which he'd left running back in NY.

Michael and I were business partners in the photo agency, Retna, for several wonderful years, until 2006 when the stock photo industry became something we were less passionate about (more servers, less personal contact). His focus on the agency and desire to encourage and promote younger talent didn't stop him from shooting, and I remember a session with a very young Brad Pitt among the ongoing music subjects. These days Michael still shoots, and spends time scanning the archive and coming up with great ideas like this, his new series of triptychs.

You can watch Michael talk about some of his best known images in a video interview with ZOOZOOM and read more about where his photographs have been used on his Wikipedia page. You are also welcome to contact me about buying a print.

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Michael Jackson, 1972 © Michael Putland

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