Over the years, college students or recent graduates that I have hired include Carl Davaz (now associate editor of the Eugene Register-Guard), Jim Richardson (now a regular National Geographic photographer), Dave Peterson (winner of two Pulitzer Prizes later at the Des Moines Register), Damian Strohmeyer (now a Sports Illustrated lead photographer),  Jim Ryun (winner of world records in the mile, half mile, 1500, and 800 meters — and an Olympian), Susan Ford (then the daughter of President Gerald Ford who was accompanied by six Secret Service agents) and Chris Johns (now editor-in-chief of the National Geographic magazine).

Most went on to fulltime positions on the staff I directed at the time. Three of our current Denver staff began as interns — Steve Nowland, Chris Steppig, and Matt Sewick — all key employees of our group now. Just a little hint at what kind of aspiring individuals that come to take an internship.

His photography has won numerous awards and has appeared in traveling exhibits throughout the world. He has taught photojournalism at Yale University, the Missouri Photojournalism Workshop, Barnstorm: The Eddie Adams Workshop, Rich Clarkson’s Photography at the Summit, and Sportsshooter Workshop.

When his family lived in Richmond, Virginia at the end of WWII, a man with a pony came to the Eppridge household one day and offered his photographic services.

Bill Eppridge, who was about 10 at the time, got out his Brownie Starflash 620 camera and posed with it. “I started thinking, ‘this guy doesn’t have a bad job.

He gets to travel, meets some interesting people and he’s even got a pony.’” As a young boy, he waited for the mailman to deliver Life magazine every week, and always enjoyed the photographs by David Douglas Duncan, Robert Capa, and Henri Cartier-Bresson. “I was fascinated by this work and I felt that it affected the people who looked at these pictures.”

He was also moved by Joe Rosenthal’s image of the flag being raised at Iwo Jima. “Over the years, I thought there was some power with this medium. If you can do a couple of good things for people in your life, then you’ve lived a good life,” he remarks.

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To read more about Eppridge, continue the article at PhotoWorkshop.com.

Photo copyright 1964 TIME. All rights reserved.

With remote cameras positioned at major glaciers over the world supplied by Nikon, his project was the subject of a documentary film, “Chasing Ice,” selected and shown at the Sundance Film Festival.  Lisa Kennedy’s story in The Denver Post portrayed the moment thus.

Monday night when the house lights cam up in the Library Theater in Park City, the capacity crowd stood and clapped for director Jeff Orlowski.  A few minutes later they stood and applauded more vigorously for the dogged protagonist of the movie, James Balog, an ace nature photographer who founded Extreme Ice Survey.

When Orlowski began filming, he thought he was making a portrait of a driven artist with a camera.  ”Photographer” was the doc’s first title.  In its latest and most compelling incarnation, the film provides a portrait of a man obcessed.  Because “Chasing Ice” is exactly what Balog had been doing.

For seven years, he and his team have traced and documented the startling retreat of glaciers in Iceland, Greenland and Alaska.  The  movie is as stunning as it is chilling if offering visual evidence of global warming.

Harvey and Johns have both attended the Summit Workshop as faculty in past years. Rich Clarkson, in fact, hired Johns to his first internship as a photo assistant that led to his illustrious career. Below is a brief bio of Chris. Also, you can read the interview at burn.

Chris Johns was named editor in chief of National Geographic magazine in January 2005. He is the ninth editor of the magazine since its founding in 1888. His extensive redesign of the magazine and focus on excellence in photojournalism and reporting have revitalized the magazine into a timely, relevant read for people looking for deeper insight into environmental and energy issues, world cultures, science and the natural world.

Johns’ editorial efforts have been recognized with 13 National Magazine Awards from the American Society of Magazine Editors in the past five years, most recently for Magazine of the Year and Single-Topic Issue in 2011.

Born in Medford, Ore., Johns began his career in photojournalism when he joined the Topeka Capital-Journal as a staff photographer in 1975; in 1979 he was named National Newspaper Photographer of the Year. In 1983, after three years on the Seattle Times as picture editor and special projects photographer, he embarked on a freelance career and worked for Life, Time and National Geographic magazines.

Johns’ books include “Valley of Life: Africa’s Great Rift” (1991), “Hawaii’s Hidden Treasures” (1993) and “Wild at Heart: Man and Beast in Southern Africa” (2002). He wrote the foreword for “In Focus: National Geographic Greatest Portraits” (2004) and the introduction to the National Geographic book “100 Days in Photographs: Pivotal Events That Changed the World” (October 2007).

Chris was awarded an honorary doctorate from Indiana University in 2010. He studied photography at the University of Minnesota and holds a bachelor’s degree in technical journalism with a minor in agriculture from Oregon State University.

He lives on a farm in Virginia’s Blue Ridge mountains with his wife, Elizabeth, and their three children.

 

Anderson attended the Summit Workshop back in the mid-1990′s and from there made connections to launch his photography career. He also returned as a faculty member in the mid-2000s.

In a statement released to the British Journal of Photography, New York said the 41-year-old Brooklyn-based shooter would tackle a “broad array of subjects in a full range of styles, from photojournalism to portraiture to conceptual work.” Anderson will now work exclusively for New York, at least where print magazines are concerned. The odd thing, here, is that the era of the staff photographer was supposed to have ended when National Geographic gradually moved away from the practice. A Photo Editor interviewed him, take a look here.

For three of the photographers who were killed covering the civil war in Libya this year, the uprising to oust Muammar Gaddafi was far from their first experience in combat. Anton Hammerl, a South African who lived in London, documented violence in South African townships before the 1994 election. After years far from the sound of the guns, Hammerl traveled to Libya and went missing in Brega on April 5, along with two other journalists. Only when the other two were released by Gaddafi forces did Hammerl’s family learn that he had been killed.

The news would come more quickly for the families of Tim Hetherington and Chris Hondros. On April 20, a mortar round crashed in the middle of a group of photographers covering the fighting in the city of Misrata. Hetherington and Hondros both died of their wounds. Hondros had covered Liberia and Iraq, among other conflicts, including the 2003 photo of a Liberian militia commander jumping elatedly in the air after firing a rocket-propelled grenade at rebels holding a key bridge in Monrovia. Hetherington’s image making would take him to Sierra Leone and Liberia, chronicling conflicts no one wanted to talk about. He gained fame for Restrepo, a brilliant, agonizing documentary film he made with journalist Sebastian Junger that told the story of a company of American paratroopers during a year of nearly constant combat in Afghanistan. Only months after being nominated for an Oscar for the film, Hetherington was back where the bullets were flying and the mortars were landing, giving his life to tell stories few want to see, but none can afford to ignore.

Jerome Liebling was a true product of the greatest generation, who grew up in New York during the Great Depression. He fought in North Africa and Europe during World War II as a paratrooper in the 82nd Airborne. In spite of the carnage of war he witnessed, or perhaps because of it, Liebling trained his lens on the poor, the hungry and the forgotten. He wanted to “figure out where the pain was,” he once said, “to show things that people wouldn’t see unless I was showing them.” Yale historian Alan Trachtenburg wrote that Liebling was a “civic photographer,” but he was also a gifted teacher, serving first as a professor of photography at the University of Minnesota, then founding the film, photography and video program at Hampshire College in 1969.

The plight of the poor not only drove Milton Rogovin to document their struggles, it also led him into politics. While working as an optometrist in New York during the Great Depression, Rogovin began taking classes at the New York Worker’s School and discovered the photography of Jacob Riis and Lewis Hine. His black and white images call to mind Walker Evans and Gordon Parks; his subjects were often people he met on the street, and he often had to convince them he wasn’t a cop or working for the FBI. “All my life I’ve focused on the poor,” he said in 2003. “The rich ones have their own photographers.” The poor he documented have their own place in history–most of Rogovin’s archive is collected in the Library of Congress.

It takes a second, looking at the cover of the famous “butcher” album to realize the moppy-haired youths are John, Paul, George and Ringo–the Beatles, who Robert Whitaker shot for the cover of the album Yesterday and Today. Maybe it’s the lab coats, or the raw meat; more likely it’s the dismembered dolls. Though the Fab Four’s handlers later replaced the image with a bland, hastily shot portrait, the cover survived as one of the most original–and strangest–music photographs in history.

A list of celebrities photographed by Jonathan Exley would alone take up an entire blog post: President and Secretary Clinton, Jerry Seinfeld, Marlon Brando, John Stamos (I’ll stop there). Yet Exley counted among his favorite subjects the brilliant, often kooky Michael Jackson. “Working with Michael was like working with a partner,” Exley said of photographing the King of Pop. His portrait of Jackson clad in a black scarf with the wind blowing his hair across his face, which was the cover of Rolling Stone’s tribute issue after Jackson’s death, captured the inner torment of Jackson’s final days like no other image or story possibly could.

After a career that spanned four decades during which he photographed Presidents from Truman to Nixon, James Atherton bristled at the term “photojournalist.” Instead, he wanted to be known as a “news photographer,” a somewhat anachronistic term that reminds us that photojournalists are, first and foremost, photographers.

Great photography is often a serendipitous event–the right photographer, shooting the right subject at the right time. Those elements came together for Barry Feinstein‘s 1966 image of Bob Dylan inside a car, as fans pressed their faces against the window to get a closer glimpse of the iconic musician.

When the 1973 Pulitzer committee awarded prizes for photography, the Feature Photography prize went to Brian Lanker, who died in March at 63. Lanker’s winning submission was a piece titled “Moment of Life’ for the Topeka Capital-Journal, which showed an exhausted, but elated mother as her just-born daughter was placed on her stomach. He would go on to make several arresting images of both everyday people and celebrities, including a beautiful picture of basketball player Wilt Chamberlain pretending to be asleep in his home in Bel Air.

LeRoy Grannis, once called by the New York Times “the godfather of surf photography” came late to the profession. At age 42, Grannis, who had surfed since his teens, took up photography on the advice of his doctor who said he needed a hobby to relax. Grannis became the lead photographer for Surfing Illustrated and in 1962 he co-founded International Surfing, which is now known as Surfing magazine. Grannis, who died in in February at 93, caught his last wave in 2001.

Long before he founded the photo agency Sipa, Goksin Sipahioglu was an accomplished and renowned photojournalist. A native of Turkey, he was one of the few “western” photographers in Havana during the Cuban Missile Crisis. He covered riots in Paris and while on assignment at the 1972 Munich Olympics, he found himself chronicling the kidnapping of Israeli athletes by Palestinian terrorists. With the notoriety from that assignment, Sipahioglu founded Sipa, which along with Gamma and Sygma dominated international news photography until the digital age.

Guy Crowder seemed to have a knack for being where the action was. He was standing next to Robert Kennedy moments before the senator was assassinated. Crowder covered Martin Luther King, Jr’s funeral and Muhammad Ali’s popularity. Shunned by mainstream periodicals during the 1960s, Crowder took photos for the Los Angeles Sentinel, Wave newspapers and Jet and Ebony magazines.

Theodore Lux Feininger
Feininger was a renaissance man. As a student at the Bauhaus, a school for the arts in Weimar-era Germany, Feininger collaborated in experimental theater, played in the jazz band and was a painter. But it was as a photographer that he may have had his most lasting impact. Feininger captured images of the Bauhaus and the avant-garde Germany between the two World Wars that stands as a unique record of a time and group that have largely been forgotten by history.

As a child, Leo Friedman wanted to be an actor, so it was only natural that he was drawn to the theater. Over the course of his career as a photographer, Friedman photographed more than 800 Broadway shows for magazines and newspapers and often as the official photographer for the shows’ producers. He shot some of the most famous shows in Broadway history but one of his most famous photographs was a staged publicity shot of Carol Lawrence and Larry Kert running down the street smiling and holding hands for the original run of West Side Story.

Beginning in 1980, Lou Capozzola was a prolific photographer for Sports Illustrated. He shot the last time Wayne Gretsky skated on the ice in an NHL uniform in 1999, a behind the back, no-look pass from Shaquille O’Neal to J.J. Hickson in 2010 and thousands of hockey games. Capozzola, who died in August at 61, shot the Stanley Cup playoffs for his final assignment, where the Boston Bruins ended a 39-year championship drought. His photo of goalie Tim Thomas hoisting the cup became the cover of SI’s commemorative issue.

We lost great photographers this year. They photographed Presidents and popes, rock stars and rebels. They risked their lives, and some of them gave their lives, so that we can better understand our own, the place we inhabit, and more importantly, the areas of the world we would otherwise never see. —Nate Rawlings

Article retrieved from TIME.

When this happens, that means it’s yet another year for the National Geographic Adventure Photography Workshop.

With 6 days of action-packed learning, students from all backgrounds and skill levels come together for in-the-field shooting, classroom tutorials, presentations, networking, and more.

It’s hard to put it into words, but photographer, Corey Rich, managed to do so.

“That’s really what this workshop is designed to do. It’s setup to accommodate those with the desire to be outside playing and recreating and wanting to document those adventures,” said Rich.

And not only do the attendees come from all over, but so do the faculty.

Since the inception of the Summit Workshop Series, it has been a trademark to have ‘team teaching’ – that is, 5-10 teachers instead of a few.

This helps everyone to learn from varying perspectives in the wide world of photography. Because let’s face it, photography is subjective and it helps to have multiple opinions on how to do to things.

Student David Carlier from Geneva, Switzerland  said, “The great thing is that the ratio between the students and faculty is great so you get so much time with them to ask any questions and have them shadow your every move.”

For the students, the second to last night becomes one of the most rememberable when students and faculty camp together in Grand Teton National Park to enjoy some good-hearted fun around the fire… with the occasional light painting, of course. Then before the sun rises, everyone is already spread out to shoot camping, running, yoga, and more once the golden light hits.

If you still aren’t convinced however, National Geographic photo editor, Sadie Quarrier, taught at the workshop for the first time this year.

“We are all here to have fun and get outside in one of the best locations the world has to offer. It’s just a fun group that everyone gets to know each other by the end,” said Quarrier.

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In the book series Masters of Photography, Photographing Sports, Walter Iooss is quoted as saying, “Those were rough years.

We’d be shooting (referring to himself and Neil Leifer) through the screen behind home plate and the press photographers up in the gallery with those Big Berthas would spot us. They kept screaming for us to get our asses out of there with those little cameras. They would send the ushers down to chase us out.”

In the same book, Leifer talks about buying a ticket behind the great John Zimmerman to observe how he worked and to learn from a master photographer.

He also talks about how he convinced someone to give him a credential to shoot the 1960 World Series—for free. While there, he made a picture that no one else had, and then sold it toSports Illustrated—his first sale to the magazine and the start of a brilliant career.

What both Neil Leifer and Walter Iooss did not do is continue to work for free or for less than they were worth. Most importantly, they both produced work that no one else was producing. They outworked the competition and they each diversified themselves.

Leifer later became a contract photographer for the newsweeklyTime Magazine and shot everything from celebrity portraits to the first space shuttle launch to production stills of movies like The Hunt for Red October. Iooss went on to photograph advertising campaigns, innovative portraits, and several years of the Sports Illustrated Swimsuit Issue. Neither was ever a commodity photographer and they both knew their worth to the people who used their pictures.

Do you know your worth?

Today, there is no denying that earning a sustainable living as a photographer has never been more challenging for people just entering the field. I’ve been following with great interest the multiple message board threads on the Sportsshooter.com website and the analysis of the US Presswire contract by John Harrington, and the discussion raises a number of critical issues for those photographers who would like to have a career in photography that will last—last in the way both Neil Leifer’s and Walter Iooss’s have.

Each of them has enjoyed a photography career that has spanned more than fifty years and they each continue to enjoy royalties from the pictures they made long ago.

What follows are some opinions and observations that I’ve written with the hope that maybe just one photographer benefits from them somehow. If you read them and disagree with any, or all of the observations, that’s absolutely fine. If something I’ve written makes you rethink your career strategy going forward, then I’ve succeeded.

I have no agenda beyond that. I’ve learned a number of lessons from people I greatly admire as well as some tough lessons from my own mistakes. What follows is what I’ve discovered from a career in photography.

The opinions are mine alone.

To read more on this article, visit Joey Terrill’s blog. There’s a lot more good stuff!