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4 AMERICANPHOTOMAG.COM JULY/AUGUST 2014
JULY/AUGUST 2014
Features
32 Beyond Guts
and Glory
Making a great sports photo requires
patience and persistence. BY ROB TRINGALI
38 The Spirit of Travel
Rising stars in travel photography share
fave spots and secrets. BY TRAVIS MARSHALL
50 The Photo Shop
Behind the scenes with the photo team at
The New York Times Magazine.
BY SCOTT ALEXANDER
38
50
8 EDITORS NOTE
Soth Spot
When the Times calls, Alec Soth grabs his
camera. BY MIRIAM LEUCHTER

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Opposite, from top: Justin Motts travel photo
of a young monk in Myanmar; Ryan McGinleys
underwater study of Olympic swimmers for
The New York Times Magazine. Above, from
top: Shannon Jensens group shot of sandals
from her series The Long Walk; Ryan
Heffernans view of Ojo Caliente Mineral
Springs near Santa Fe, New Mexico.
JULY/AUGUST 2014 AMERICANPHOTOMAG.COM 5
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Departments
Focus
11 ONE TO WATCH
Global Odyssey
Photojournalist Shannon Jensen discovers her
career path on the roads less traveled.
BY MICHELLE BOGRE
16 WORK IN PROGRESS
Backyard Bonanza
A passion for portraiture in the wilderness fuels Ryan
Heffernans commercial success. BY JACK CRAGER
20 BOOKS
Do-Over!
Reenactment art by Irena Werning, the visual legacy
of Chris Hondros, transgender portraits in Cuba, and
a new breed of forty-niners. BY JACK CRAGER
24 ON THE WALL
Like, Awesome
On the look and meaning of cool, the timeless artistry
of Minor White, the immigrant experience, Latin
America, early punk, and more. BY TEMA STAUFFER
28 DIGITAL DOMAIN
Whats Up Docs
Five photo documentaries explore the relationship
between artist and audience. BY JUDY GELMAN MYERS
Gear
61 EDITORS CHOICE
Look Sharp
Style meets substance in Leicas new compact system.
BY MIRIAM LEUCHTER
62 NEW STUFF
The Goods
Serious photographic tools of all shapes and sizes.
64 REVIEW
Modern Classic
With its Df, Nikon delivers 21st-century technology in
a rugged 1970s-style body. BY ROGER HICKS
70 PARTING SHOT
Party of One
Nadia Lee Cohen creates ctional, candy-colored
towns that hold dark secrets. BY JILL C. SHOMER
On the Cover
Kathy Ryan, head of the photo
department at The New York
Times Magazine, in a portrait
shot by Stacey Baker for Ryans
Instagram feed (see page 50).
11
16

This product is from sustainably managed forests and controlled sources.
EDITOR-IN-CHIEF MIRIAM LEUCHTER
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EDITORS NOTE
hen Magnum photographer Alec
Soth got an assignment some 18
months ago from the photo de-
partment of The New York Times Magazine
to cover the new Oil Boom towns of North
Dakota for a week, he was stoked. They
know that I like Middle American subjects
and theyre very on top of whats happened
in my work over the past few years with
this project called The Dispatch, says the
Minneapolis-based shooter.
Ive been traveling all over America
with a writer, essentially self-publishing
our own newspaper. The whole idea is to
be lean and mean and to sell directly to
our customers. With his company, Little
Brown Mushroom, printing 2,000 copies
of each issue of The Dispatch, all but one
edition has sold out. (We covered the
project on AmericanPhotoMag.com last
year.) This interesting, peculiar experi-
ment will come to fruition in 2015 with
a book and exhibition.
Matching the styles and skills of parti-
cular photographers with apt subjects has
always been part of the alchemy of photo
editing. But the team of wizards at The
New York Times Magazine, led for 27 years
by Kathy Ryan, turns gold into platinum.
In The Photo Shop on page 50, we delve
into their collaborative process and demon-
strate why theyve made their inuence felt
throughout the world of photography.
And from a photographers perspective,
theyre a dream team. For Soths North
Dakota assignment, they said, Go make
pictures in this area, but not of particular
people. I think there was just one guy I had
to photograph, he recalls. The Times is
one of the rare places where I can work in
this waythe way I want toand still have
my pictures seen by a bajillion people.
Soth
Spot
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MIRIAM LEUCHTER, EDITOR-IN-CHIEF
Alec Soths portrait
of Jeremy (Tex)
Loughran in Williston,
ND, made during a
weeklong assignment
covering this Oil Boom
town for The New
York Times Magazine
and published in the
Jan. 31, 2013, issue.
W

For a complete set of contest rules,
prizes or to enter, please visit:
PopPhoto.com/readerscontest2014
The Readers Contest, sponsored by Popular
Photography magazine, a publication of Bonnier
Corporation, is open only to individuals who
are sixteen (16) years or older at time of entry,
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The 21
st
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Submissions
Credits (clockwise from top): Marcus Round, Henry Liu,
David Bosworth, Brian Frank, Linda Chick, Lilly Rosenthal

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or Shannon Jensen, work is a continual
process of searching and striving. I only
want to be a photographer if I can pro-
duce substantive work that makes a small contri-
butionnot just make a photo thats ve percent
better than the one made by the person standing
next to me, explains Jensen, a self-taught photo-
journalist who is doing just that.
At age 29, Jensens worldwide documentation of
such issues as poverty and displacement has shone
a light on the human conditionas well as on her
own talents. A featured photographer for Report-
age by Getty Images, she has earned honors from
Pictures of the Year International 2013, Amnesty
International, the National Press Photographers
Association, and Open Society as part of its presti-
gious 2014 Moving Walls exhibition.
None of this seemed likely when Jensen was an
economics major on her way to law school at the
University of Pennsylvania. She caught the photog-
raphy bug during a summer postgraduate research
fellowship on economic development in East Africa.
She was tapped to photograph the work of an NGO,
and the resulting images gained her acceptance into
the 2009 Eddie Adams Workshop. I dont think I
would be a photographer now if I hadnt gotten into
that workshop, Jensen says, because it was valida-
tion that I could become a photojournalist.
F
Shannon Jensen discovers her career path on the roads less traveled BY MICHELLE BOGRE
Global Odyssey
ONE TO WATCH
Above: In an image from
Shannon Jensens series
Southwood, Cheyenne
swims in her familys
outdoor pool next to the
small trailer she resides
in with her parents and
four siblings outside of
Charlottesville, VA.
THE PEOPLE BEHIND THE PICS WORK IN PROGRESS 16 BOOKS 20 ON THE WALL 24 DIGITAL DOMAIN 28

ONE TO WATCH
Above: A portrait from Jensens series Southwood shows Charlotte with her mother,
Peggy, who will help her care for her child. Below: In the series Crossing the Border,
Gasim Muhammed rides a UN bus to his new home in Yusuf Batil refugee camp.
She returned to East Africa in 2010, working
in Kenya, Tanzania, and South Sudan. Small news
assignments further conrmed her career choice. I
was nally feeling like a legitimate photojournalist,
she says, when my father was diagnosed with brain
cancer, so I returned to the States to help him.
Back home near Washington, D.C., Jensen faced
the same decision: law school or photojournalism?
While deciding, she signed up for a Look3 Festival of
the Photograph workshop led by Magnum shooter
Christopher Anderson. With his encouragement,
her workshop projecton the transition of a Char-
lottesville, Virginia, neighborhood, Southwood, from
mobile homes to a mixed-income housing develop-
mentbecame a long-term series on six families.
Ive done a lot of low-income housing research
at Penn, and the statistics show that most mixed-
income developments arent successful, she says.
My guess is that very few of these families will
end up in the new homes, and I wanted to docu-
ment that. She does it with an empathetic eye,
producing nuanced images that invite viewers into
the scenes rather than slanting the narrative POV;
she avoids wide-angle lenses and post-production

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Top: Jensens Crossing
the Border series depicts
Halima Atyp and her family,
who have been walking for
20 days from their home
village of Jam in Blue Nile
State, toward refuge in
South Sudan. Bottom: From
A Long Walk, the sandals
of Saddam Omar, 25, who
walked for eight days from
Pi (left), and Makka Bala,
a woman in her thirties
from Buk, who walked more
than two weeks to reach
the border after months of
displacement in Blue Nile.

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CLOSE-UP
Shannon Jensen
shannon-jensen.com
reportagebygettyimages.com
Lives In London, but is currently on
self-assignment in Seoul
Studied At University of Pennsylva-
nias Wharton School (Economics)
Clients Include Die Zeit, Entrepre-
neur, GEO France, The Guardian,
Le Monde, National Geographic
Society, The New York Times,
Saturday Telegraph Magazine,
Stern, Vanity Fair Italy
Honors Include Open Society
Moving Walls Exhibition 2014 (The
Long Walk); Award of Excellence,
Pictures of the Year Interna-
tional (POYi) 2013; Amnesty
International; National Press
Photographers Association;
Days Japan; Look3 Festival of the
Photograph screening
tricks, and even her color palette is subdued.
In 2012 Jensen returned to South Sudan
because she felt the refugee story theremore
than 70,000 crammed into a camp in the Blue
Nile Statewas not being told. She arrived just as
30,000 South Sudanese were crossing the bor-
der. It was almost biblical, she says. Endless
streams of people coming through the woods.
She produced documentary photos and sent
them to editors, thinking she had a great story.
Few were interested. She kept shooting. Watch-
ing the refugees stumble into camp, Jensen real-
ized their footwear told the story: However worn-
out, taped, or ragtag, the shoes were kept by the
refugees as precious objects. She shot hundreds of
pairs of shoes, most accompanied by captions with
only the owners names, ages, and number of miles
walked. These images function as ction does, she
says, helping to create the human connection.
Not resting long on the wide acclaim this series
received, Jensen headed to South Korea. I didnt
want to be the Africa photographer, she says.
Now shes learning Korean and guring out how to
tell the story of a country transitioning from a poor,
agrarian, post-conict economy into one of unprec-
edented rapid growthbut also suffering high rates
of suicide, elder poverty, and consumer debt. This
is proving to be a difcult country to photograph in
because people are so private, she says. But I am
trusting that I will nd something unique here. AP
ONE TO WATCH

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hen Ryan Heffernan rst laid eyes on the
mountains of northern New Mexico, he
came home to a place hed never been
before (cue John Denvers Rocky Mountain High).
I rolled into Santa Fe two days after graduation,
and I was working at the workshops the following
day, he recalls of his 2005 stint in a work-study
program at the Santa Fe Photographic Workshops
after he earned his bachelors degree at Bates Col-
lege in Lewiston, Maine. It was my grad school:
24-seven photography for eight weeks of that
summer. And I started falling in love with all these
best-kept-secret spots around the state.
Soon after, Heffernan took up part-time resi-
dence in Santa Fe. And what began as a personal
photo projectshooting campers, y shermen,
kayakers, indigenous locals, and other nature lovers
in the areas undeveloped highlandshas morphed
into ongoing commercial work for clients including
Outside, Mens Journal, New Mexico Tourism, and
the areas premier ski resort, Taos Ski Valley.
After working at the workshops I assisted awhile,
maybe eight months or so, Heffernan says, and
then I started to get enough assignment work to
keep me busy and pay the bills. He credits his as-
sisting stintsfor photo veterans including Simon
Puschmann and Arthur Meyersonwith rounding
out his education. I got to be a rst assistant to a lot
of different guys, which allowed me to jump around
and have a trial by re: learning really quickly, get-
ting a diverse background, and working my way up.
It was a process hed begun as a kid, when he
tagged along on shoots and assisted his father, Terry
Heffernan, and his cousin, Dan Goldberg, both
successful studio photographers. Theyre great
mentors, and photography was always a big part of
my life, he says. Being surrounded by Penn and
Weston prints had an osmosis effect. But I had to
come to the craft on my own terms. He quickly
gravitated toward environmental portraiture. I
linked up with Amy Toensing, a great National
Geographic shooter, and she really opened my eyes
to the non-studio world of photography, he says.
Heffernans assignment work has taken him to
locales ranging from Guatemala to Kenya, from
Paris to Shiraz, Iran. He also operates part-time
out of the San Francisco Bay area, where his
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Ryan Heffernans passion for portraiture in the wilderness
fuels his commercial success BY JACK CRAGER
Backyard
Bonanza
Clockwise from top: A shot of chante-
relles from Heffernans personal work
foraging in New Mexico; a future
cowboy portrait for Adobe Photoshop
Lightroom 5 near Lamy, NM; a life-
style image for Ojo Caliente Spa.
WORK IN PROGRESS
CLOSE-UP
Ryan Heffernan
ryanheffernan.com
Lives In Santa Fe, NM, and
San Francisco, CA
Studied At Bates College, Lewiston, ME
Clients Include Adobe Systems, GQ,
Martha Stewart Living, The Martin
Agency, Mens Journal, National Geo-
graphic, New Mexico Tourism, The New
York Times, Outside, Pentagram,
Runners World, Taos Ski Valley
In the Bag Two Canon EOS 5D Mark III
bodies; Canon EF 24-70mm f/2.8L II USM
and EF 70-200mm f/2.8L IS II USM lenses;
F-Stop Tilopa BC Pack; Canon EX II
Speed lite ash; Gary Fong Lightsphere;
PocketWizard Flex TT Transceiver and
Mini TT1 Radio Slave Transmitter
New Direction Im doing more and
more motion work: Ill direct a DP to
roll a clip on site while Im also shooting
stills, Heffernan says. You can set up
one photo shoot and effectively walk
away with both assets.

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From top: Kenyan marathoner Caroline Rotich trains near Chimayo, NM; a white horse
on the range; an Acoma Pueblo elder in a portrait for a New Mexico True tourism shoot.
parents live and he enjoys free lodging, and where
one of his primary clients, Adobe Systems, is
based. But he considers Santa Fe home.
I keep coming back, he notes. New Mexico
has a lot of what Colorado has, but without all the
peopleor the price tag. You can be on a trout
stream alone, which is increasingly a rarity.
Heffernan specializes in what he calls quint-
essential lifestyle imagery with a sense of place.
His early New Mexico portrait subjects included
world-class Kenyan marathoners training at
altitude on mountain trails. A mutual friend,
a serious runner, hooked me up with all these
guys, Heffernan says. I was lucky to know
locals who showed me great locations off the bat,
and Ive amassed a pretty great list of favorite
places throughout the state.
Around 2007, after tirelessly shopping his
portfolio around, Heffernan started landing
assignments for publications including Outside,
National Geographic, GQ, and The New York
Times. Not long after, what he calls a hodge-
podge of personal work caught the attention of
the creative directors of a new campaign, New
Mexico True, for the New Mexico Tourism
Department. It was kind of serendipitous, he
says, how the work that I was already shoot-
ing started to make sense for the direction they
were trying to take their campaign in.
His tourism work, along with assignments for
the website blistergearreview.com, led Heffernan
to another key client, Taos Ski Valley, which is
poised to grow its operations under the new
ownership of environmentalist Louis Bacon.
Ive got a great working relationship with the
ski valley, Heffernan says, and Taos is often a
backdrop for the tourism stuffso I hope to be
shooting there for a few different clients.
In fact, thats his basic M.O. You dont really
need 50 people to hire you; you need ve people
who hire you all the time, Heffernan says. I just
try to leverage what I know best. I can go any-
where anyone wants to send mebut I seem to
get the best stuff shooting in my backyard. AP
WORK IN PROGRESS

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Irena Werning shows the quirky funand sobering realityof going
back to moments in time BY JACK CRAGER
Do-Over!
BACK TO THE FUTURE
By Irena Werning teNeues $50
This body of work by Argentinian artist Werning
is probably better known than she is: A few years
ago it went viral online and lit up e-mail boxes
around the world. Juxtaposing people in old photo-
graphs with their more recent reenactments, the
series has a goofy kind of one-note charmakin
to I-look-like-my-dog contest picturesbut for
Werning, its an ongoing sociological study. This
160-page volume includes works both familiar
and previously unseen, shot in the photographers
native Buenos Aires as well as London, New York,
Paris, Mumbai, Jerusalem, and points in between.
In each case, the artistic spur is the original
artifact. I know Im a nosy photographer,
Werning writes in her introduction. As soon
Top: Leanne, New York,
1982 and 2011. Cover:
Pancho, Buenos Aires,
Argentina, 1983 and 2010.
BOOKS

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as I step into someone elses house, I start snifng
for those old photos.
Along with the vicissitudes of aging (lets just
say some faces weather the years more smoothly
than others), the collected work shows an incred-
ible attention to detail, from the recreated props
and locations to the meticulous photo research.
Werning explains that her process involves
studying the lighting, the angle, the type of
camera and lens [the artifact image] was shot
with, etc. Most crucial, though, is the enthusi-
asm of her subjects. Once I get the light right,
I ask them to do that thing they were doing in
the original photo, Werning notes. I am always
amazed that they do it. Ditto here.

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TESTAMENT
By Chris Hondros
powerHouse $45
Before his death
in 2011 in Libya at
age 41, Hondros
was one of the most daring and prolic
war photojournalists in the Getty Images
stable. Yet what permeates this collec-
tion of his work is its humanity. Hondros
depicts glimpses of heroism amid chaos
and hope among ruinsdramatic remind-
ers that people are people, whatever their
plight. His gift for storytelling matches
his deft eye. Great photography requires
steadiness of hand and heart, he writes.
Very often the window to take an impor-
tant picture is only open for a fraction of a
second. Time and time again, he nds it.
TRANSCUBA
By Mariette Pathy Allen
Daylight $45
The transgender
subjects in Allens
portrait series blend bravery and beauty:
They deantly express their feminin-
ity in the macho society of Cuba, where,
until recently, their very existence was
outlawed, and many show remarkable
pulchritude and panache. In candid im-
ages and interviews, Allens subjects also
reveal domestic contentment with their
partners and families, livelihoods far
removed from the traditional sex trade,
and an openness that indicates chang-
ing times in the Ral Castro era. Going
beyond Cuba, writes Allen, I want the
rest of the world to end transphobia and
homophobia, to stop violence and dis-
crimination based on gender identity and
expression and sexual orientation.
THE NEW FORTY-NINERS
By Sarina Finkelstein Kehrer Verlag $50
More than 160 years after the Gold Rush of 1849, Finkelstein discovers a new
breed of gold prospectors in the hills of Californianot unlike the old one.
Rugged, determined, scraggly, and stoic, they camp in the woods and scour the
streams in search of elusive gold specimens. Its that rst
big nugget that creates the addiction, says a prospector
named Chris. Its all about the digging, the work, the
search, says Martin (pictured at far left). Finkelsteins
four-year study reveals the miners gorgeous surround-
ings, their tribal gathering sites, and their survivalism:
people on the edge, she writes, plunging into the wilds
to make their own way like the Niners of the past.
From top: Hondross shot of UN
workers helping a pregnant woman
in post-earthquake Haiti; Allens
Charito at home with one-week-
old piglet; Finkelsteins Martin,
Angeles National Forest, 2012.

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Whos really cool in American culture? A portrait show probes the matter BY TEMA STAUFFER
Like, Awesome
Above: Robert Mapple-
thorpes 1978 portrait
of Deborah Harry, lead
singer and cofounder of
the band Blondie.
AMERICAN COOL
National Portrait Gallery, Washington, DC, through Sept. 7
npg.si.edu
Jazz saxophonist Lester Young coined the word cool
in the early 1940s to describe maintaining a state of
calm amid social and economic pressures and racial
oppression. It came to represent an attitude of sto-
icism and nonconformity that manifested in music,
lm, literature, and art. This photo survey of musi-
cians, actors, artists, writers, and rebels explores the
roots and dening characteristics of what it means
to be cool in American culture, tracing the cameras
role in shaping the legacies of these iconic gures.
Among the honorees: James Dean, Billie Holiday,
Jimi Hendrix, Madonna, Audrey Hepburn, Miles
Davis, Steve McQueen, and Jean-Michel Basquiat.
ON THE WALL

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ON THE WALL
Also Showing
New Pictures 9: Rinko Kawauchi
Minneapolis Institute of Arts, MN, through Aug. 10 artsmia.org
Kawauchis rst solo museum exhibition in the United
States features 42 photographs selected from her series
Illuminance. One of Japans most prominent contemporary
photographers, Kawauchi transforms ordinary moments
into whimsical, vibrant, and lush visual poetry.
Phantoms in the Dirt
Museum of Contemporary Photography, Chicago, IL, July 25 Oct. 5
mocp.org
Curated by Karsten Lund, this group exhibition brings
together 10 contemporary artistsincluding Richard
Mosse, Arthur Ou, and Greg Stimacwhose enigmatic
photographic and sculptural works explore elements of
the earth and unseen forces that affect our surroundings.
Lewis Hine
George Eastman House, Rochester, NY, through Sept. 7
eastmanhouse.org
This retrospective, featuring more than 150 photos made
from 1905 to 1937 by documentary photographer and
reformer Lewis Hine, ends its international tour at East-
man House. The exhibition and accompanying monograph
include iconic images as well as work exhibited for the rst
time along with publications and posters of the period.
Hard Art, DC 1979
Duke Center for Documentary Studies, Durham, NC, June 2 Oct. 11
documentarystudies.duke.edu
An exhibition and book of the same title present Pulitzer
Prizewinning photojournalist Lucian Perkins documenta-
tion of the early punk rock music scene in Washington, D.C.
Perkins gritty, ash-lit, black-and-white photographs
capture performances by Bad Brains and other seminal
bands of the era and shots of their frenzied fans.
Image Search: Photography
from the Collection
Prez Art Museum, Miami, FL, through July 27 pamm.org
The inaugural photo show at Miamis new contemporary
art museum draws from its own collection and features
more than 100 works by artists such as Diane Arbus, Henri
Cartier-Bresson, Cindy Sherman, and Joel-Peter Witkin.
INVISIBLE
MIGRATIONS
Alice Austen House, Staten Island, NY,
through Aug. 31 aliceausten.org
At a time when immigration
is a hot-button political topic,
this is a showcase of work by
11 contemporary documentary
photographers alongside Alice
Austens historic images of
U.S. immigrants at the turn of
the 19th century. The collected
work considers themes of dislocation, danger, and the quest for freedom and
prosperityfrom Seba Kurtiss survey of Hispanic immigrants to Jim Gold-
bergs collaborations with refugees from war-torn and impoverished nations.
URBERS MUTANTES:
LATIN AMERICAN
PHOTOGRAPHY
International Center of Photography,
New York, NY, through Sept. 7 icp.org
This survey of photography
from 1944 through 2013
focuses on the street culture
and sociopolitical climate of
Latin American urban areas.
Divided into sections reect-
ing different aspects of public
space such as poverty and pro-
test, the exhibition documents
decades of turbulence and
change. First shown in Bogot,
Colombia, the collection re-
ects the depth and richness
of the regions art and docu-
mentary photography.
MINOR WHITE:
MANIFESTATIONS
OF THE SPIRIT
The Getty Center, Los Angeles, CA,
July 8 Oct. 19 getty.edu
The rst major exhibition of
Whites work since 1989, this
overview salutes one of the
most inuential (yet often
overlooked) American photog-
raphers of the 20th century.
White sought spirituality and
simplicity in nature and every-
day objects: doorways, peeling
paint, and other commonplace
scenes elevated by his master-
ful use of light and exposure.
The show is accompanied by
Paul Martineaus lavish book
of the same title (Getty, $40).
F
F
F
Clockwise from top left: Minor Whites Essence of Boat, Lanesville, MA, 1967;
an untitled image by Rinko Kawauchi; Alberto Kordas El Quixote of the Lamppost,
Cuba, 1959; a photo by Gabriele Stabile of a refugee at a camp in Burundi. C
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Five recent photography documentaries reveal the ups and downs in the relationship
between artist and audience BY JUDY GELMAN MYERS
DIGITAL DOMAIN
Whats Up Docs
Left: A street photograph
shot by Vivian Maier in
Chicago in 1961.
FINDING VIVIAN MAIER
Now hailed by many as one of
the great street photographers
of the 20th century, Maier
made her living as a nanny.
While combing the streets of
Chicago, New York, and other
cities with her young charges
in tow, she made more than
100,000 images, often stashing
away the undeveloped lm and
negatives in suitcases. After
her death in 2009, John Maloof
unwittingly acquired a trove
of Maiers negatives at auc-
tion. Overwhelmed by what he
found, he has subsequently set
out to uncover Maiers story
and publicize her work; this
brilliantly told chronicle is part
of that process. Maloof nar-
rates and codirects (along with
Charlie Siskel) the docwhich
is by turns poignant, humorous,
and a bit disturbing as acquain-
tances recall Maiers odd life
and experts evaluate her skills.
The lm explores both sides of
the debate over whether Maier
meant for her work to remain
unseen. Visit vivianmaier.com
for theater listings.
EYE ON
THE SIXTIES
Director Chris
Szwedo made
this lmic
tri bute to Life
magazine lens-
man Roland
Scherman, blending iconic
images (JFK, the March on
Washington, Bob Dylan) with
the 70-year-olds recent work
(much of it featured in a forth-
coming book). Szwedo shows us
a changing world through the
gutsy eyes of a dedicated artist.
DVD: szwedo.com
EVERYBODY
STREET
With breezy
footage of
the best
New York street photographers
at work and witty interviews
in which they expound on their
shooting philosophies, this is an
enlightening look at men and
women who continue to teach us
about life in the big city and
beyond. It features interviews
and images from Bruce David-
son, Elliott Erwitt, Mary Ellen
Mark, Jill Freedman, and others.
DVD: everybodystreet.com
GEORGE TICE
In order to
keep George
Tice out of
trouble, his
high school
principal
suggested
he join the local camera club.
Today Tice is revered as a
master printer and ne-art
photographer. This lm reveals
Tice at work in his darkroom,
teaching at workshops, and
using a view camera to capture
the eternal in everyday life.
DVD: georgeticelm.com
IN NO GREAT
HURRY
Though Saul
Leiter made
images of
rare delicacy
over ve
decades,
he worked in relative obscu-
rity until Steidl published his
monograph Early Color in 2006.
In No Great Hurry: 13 Lessons in
Life with Saul Leiter is director
Tomas Leachs homage to a man
who was content to search for
beauty without seeking fame.
DVD: innogreathurry.com V
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REGISTER ONLINE AT
WWW.MENTORSERIES.COM
For more information, call toll-free 888-676-6468.
From the modern streets of Dublin to the craggy coastline of County Clare,
the landscapes of Ireland are well preserved in history, art and literature.
The traditional pubs, old stone fences and rich pastoral countryside offer
only a glimpse, however, of the centuries-old customs, ancient structures
and extraordinary wonders that are hidden here. Join the Mentor Series
and Nikon professional photographers Reed Hoffmann and Bill Durrence
as we photograph the limitless beauty of Ireland. In Dublin City, tour
Merrion Square and the Georgian architecture that exemplifies early 18th
century Dublin, walk the quiet grounds of Trinity College; and photograph
the magnificent gardens of Malahide Castle, one of the oldest castles in
Ireland. With opportunities to photograph alongside your mentors we
will explore the relics of medieval life in the city of Galway, view ancient
castle ruins, traditional sheep farms and endless beaches along the Ring
of Kerry, and spend an afternoon taking in the stunning views from the
rugged Cliffs of Moher, all as we travel down the western coast of Ireland.
History, tradition and a good laughthese are all parts of a true Irish
experience, and there is so much beauty to behold along the way. This
in-depth Mentor Series photo workshop in Ireland is not to be missed.
Visit Montauk this fall with the Mentor Series and discover one of New
Yorks most picturesque oceanfront destinations. Capture Long Islands
natural beauty and unique attractions with instruction from Nikon
professional photographers David Tejada and Reed Hoffmann. Join us
at Ditch Plains Beach, Long Islands most notorious surng locale, to
photograph seasoned surfers in action alongside breathtaking cliffs and
crashing waves. Switch gears and follow nearby trails along the coast to
witness local mountain bikers navigating their way through rugged terrain.
Before departing for the evening, we will visit the Montauk Lighthouse.
Perched atop a rocky ledge on the easternmost point of Long Island,
the lighthouse is available for shooting from two aesthetically appealing
vantage points. We will continue inland to a local winery to experience
wine making and tasting while overlooking a landscape of rolling hills
and vines. Surround yourself with stunning scenery and rustic dcor as
you satisfy your own taste buds with refreshing wines. Just in time for
sunset, the Mentor Series will visit the Montauk Yacht Club to photograph
sailboats as the evening light settles upon the surrounding waters. Build
expertise and expand your photography skills while using Montauks
natural beauty as your backdrop.
With additional support from:

D
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LONG ISLAND, NY
SEPTEMBER 5-7, 2014
IRELAND
AUGUST 8-15, 2014

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Follow us on

FOR THE PAST 17 YEARS, the Mentor Series has taken photo enthusiasts to
destinations across the country and around the world. With top Nikon professional
photographers accompanying participants every day and teaching them how and
what to shoot, theres nothing like a Mentor Series trek. You and your photography
will never be the same!
Prepare yourself for a trek unlike any other as you travel to Puerto Rico
with Nikon professional photographers Michael Schwarz and Reed
Hoffmann for a multimedia experience. On this trip you will not only
expand your knowledge of still photography, but also discover how to
use your camera to record sound and capture HD video using Nikons
latest HD-SLR equipment. Learning to combine still and video techniques
will prepare you to narrate a richer, fuller story. Walk the narrow streets
of Old San Juan and experience the influences of European, African
and island cultures that are on display. Photograph the cobblestone
streets, colonial-era architecture and colorful edifices of this historic
neighborhood. Spend the afternoon capturing video of traditional
dancers in costumes that express the cultures of Puerto Ricothe
colorful long skirts and white blouses worn by women of the indigenous
Jibaro tradition, and the white suit and Panama hat worn by men of the
African-influenced Bomba tradition. In Old San Juan, photograph the
locals, from cigar rollers to surfers on the bay, followed by an evening
sunset shoot alongside your mentors learning the time-lapse technique
to convey movement in your video. From the rich island history to the
exquisite natural wonders, you will not want to miss this opportunity.
Join the Mentor Series and Nikon Ambassador Dave Black and Nikon
professional photographers Paul Peregrine and David Tejada for an
introduction to the Nikon Speedlight system and historic Charleston.
Visit the pre-Revolutionary War era buildings, 18th century homes and
landmark churches of the antebellum South in Charlestons downtown
district. Browse the Old City Market where vendors peddle their
wares, and peek at private gardens tucked serenely behind iron gates.
Situated in the historic heart of Charleston, Gateway Walk provides
a quiet reprieve from the busy main streets, and a lovely setting for
our Nikon Speedlight lighting workshop. We will be joined by models
dressed as traditional Southern belles for a photo shoot set amidst the
moss-draped oaks, time-weathered gravestones and secluded gardens
of this hidden path. The USS Yorktown was the tenth aircraft carrier
to serve in the United States Navy, and earned eleven battle stars for
service in World War II. We will photograph models dressed in aviation
attire on the deck of this impressive naval ship. A historic city with
irresistible charm, you will not want to miss this lighting-intensive
workshop in beautiful Charleston, South Carolina.
Come on a Mentor Series trek and try out some
of the latest equipment that Nikon offers
including their high-performance HD-SLRs,
NIKKOR lenses, the Nikon 1 System and a variety
of COOLPIX compact digital cameras.
Special thanks
to our premier
sponsor:
COOLPIX A D610 D800

PUERTO RICO VIDEO
SEPTEMBER 11-14, 2014
CHARLESTON SPEEDLIGHT
SEPTEMBER 19-21, 2014

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The patience and perspective behind great sports photography
BY ROB TRINGALI as told to MEG RYAN HEERY

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On the Job
B EYOND
Guts
Glory and

A kayaker competes in the
Olympic Team trials for
Whitewater Slalom at the
U.S. National Whitewater
Center in Charlotte, NC,
April 25, 2008.

From left: Tringalis shot
of the White Turf horse
racing event, held on the
frozen surface of Lake St.
Moritz, Switzerland, Feb.
10, 2008. Right: Yoenis
Cspedes of the Oakland
As looks on during a
game against the New
York Yankees at Yankee
Stadium, May 4, 2013.
On the Job
aking sports photographs is a historical
act. Its like slowly creating a time ma-
chine. When Im shooting, I think about
which images will stand the test of time, and hope-
fully, if the world is still around hundreds of years
from now, someone can look back and get an idea
of what sports looked like. The Babe Ruths and
Joe DiMaggios of the 1930s and 50s are the Derek
Jeters and Mariano Riveras of today.
So Im always looking out for those historic
moments. You never know when theyre going to
happen, what will end up being important. I got a
great shot of Broncos quarterback Peyton Man-
ning with his dad, Archie, one of the great QBs,
sharing a laugh in the locker room this year. I was
in the dugout with Mariano Rivera last year when
he retired. Hes sitting there kind of reecting on
his career, his last moment in a uniform. These are
rare moments that very few people get to see up
close. I realize that theres historical value to that.
I probably like photographing baseball more
than anything, because you spend time with these
people. Theyre more than gladiators on the eld.
They sign autographs before the games; you see
them in spring training. Its a long season, so you
get close. Pictures come from that.
Baseball is also good in that every stadium is dif-
ferent. At a game in 2012, Oakland As left elder
Yoenis Cspedes was just coming up the stairs of
Yankee Stadium and putting on his sunglasses, and
the light was perfect from this spot adjacent to
the visitors dugout (opposite). Its later in the day,
when the light kind of swings around the stadium
M
and you get this arey look. This was his second
season after signing a big contract with the As.
He had defected from Cuba and was getting a lot
of attention as a great all-around player. He won
the 2013 Home Run Derby, so you never know,
he could end up being the next Babe Ruth. This
photo kind of captures the sense of him stepping
into his Major League career.
Ive been lucky enough to shoot two baseball
perfect games. One was May 1998: Im at Yankee
Stadium, its a typical day. Next thing you know,
David Wells is looking really good. He might pitch
a perfect game. So I start going through in my
head: What do I want to do? I hid my credential
to get into the stands, which photographers were
forbidden to do at the time, and made this picture
with the scoreboard and the zeros behind him. It
was this simple day that all of a sudden turned
into Ive got to producenow.
When I rst started 25 years ago, sports pho-
tography was really all about following the chaos.
Thats kind of the perception of a sports photog-
rapher: big lenses, sit back and wait for something
to happen. Thats what, to me, a sports photogra-
pher was supposed to do, so thats what I did.
About 10 years ago I started to really look at
what I had over the rst 15 years of shooting.
I realized the images I liked most had wider
perspective, a point of view that took in more
than just the obvious action. I started to make
pictures that had a little more scenery, more
ambience, or somehow caught what was going on.
Its still about nding important moments, but

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New York City native
Rob Tringali has spent
more than 20 years
traveling the world and
shooting sports events for
clients including Sports
Illustrated, ESPN the
Magazine, Golf Magazine,
Mens Journal, Major
League Baseball, HBO, and
New York Red Bull Soccer.
He lives and works in New
York (robtringali.com).


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Above: David Nalbandian
serves during a match
at the 2010 U.S. Open at
the USTA Billie Jean
King National Tennis
Center in Queens, NY,
Aug. 31, 2010. Opposite,
top: Jonny Steele of the
New York Red Bulls
in action against the
Philadelphia Union at
Red Bulls Arena, March
30, 2013.
those moments arent always game-winning shots.
I want to get a deeper look. I want to tell the story,
but I need to tell it in my own way.
The World Cup is different. Ill always rank the
2006 World Cup as the number-one experience of
my career. The day of the nal I walked through
the bowels of this ancient stadiumtalk about the
hair on your arms standing up. A billion people are
going to be watching this on TV and Im on the eld.
Again, this is history. Im thinking about Hitler,
all that went on there during the 1936 Summer
Olympics. And its France and Italy on the pitch. All
these Italian fans, these French fans, all singing and
dancing. It was just an incredible day to be part of.
Horse races, on the other hand, are very much
a crapshoot. You just never know whats going to
happen in those two minutes. When Street Sense
won the Kentucky Derby (May 5, 2007), with jockey
Calvin Borel, I was positioned in turn four. As soon
as they pass me, I sprint to the nish line. Ive got
my big lens and Im running. Its a good quarter mile,
through dirt. They turn back to the Winners Circle
and Borel takes a sponge and sprays it over the horse.
It made a beautiful imagedenitely one of those
moments when it was worth the near heart attack.
As far as celebrations go, the most iconic of them
in sports has got to be the championship shot. In
the locker room, or on the sidelines, with the cham-
pagne ying. The art to a good champagne shot
(or Gatorade shot, in the photo opposite) is actually
getting yourself right in there. You get wet and you
get hit, your eyes are irritated and its not fun, but
it does make good pictures. Sometimes players will
see a camera and challenge me: Hey, can you get
a shot of this? Sometimes Im lucky enough to
get a picture of the champagne coming right at me.
Usually Im just hoping to get a decent shot before
my camera gets shorted out. But its really a cool
thing to be part of. When I was a kid, Id watch
this stuff on TV, and now Im in the middle of it.
I do pinch myself at times. The idea of making
that good picture always beats out the potential for
harm to myself or my gear.
Making an excellent sports photograph requires
a resourcefulness thats almost its own art. I know
the security people, what theyll let me do; I know
the angles of the various stadiums; I know which
PR guys I can ask for favors; I remember all the
little details of certain players. Theres a lot more
than the snapping of the shutter.

Above: Washington Nationals
celebrate after defeating
the Milwaukee Brewers,
Sept. 22, 2012.
A few years ago I was in Miami for a tennis
tournament. It was a hot day, and the Argentinean
David Nalbandian was just sweatingI was like,
Man, this guy sweats a lot! I made a couple of good
pictures, but they didnt have the impact I wanted.
But you remember people, their tendencies,
things that might come into a future use. Fast
forward to the 2010 U.S. Open, and I see Nalbandian
playing late in the day, on Court 11, which is great
backlit just before sunset. Its one of those heat-wave
days, like 95 degrees. And it registers: All right,
heres a chance to make that picture.
He plays the rst couple of games, and then he
starts serving from this particular side of the court.
Hes sweating up a stormwaters just dripping
off him. Its right on the edge of when the sun
would totally take over the court. I got a nice shot
(opposite). I know the sexy thing is the chaos of the
sports world, but I like to hit on those off moments,
those things that stand that test of time. With a lot
of historic images, when you really examine them,
you appreciate how the photographer worked. If Im
still looking at a photo 50 years later, well, theres
a reason for that. I hope that in another 50 years,
someone else will be looking at mine. AP

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Travel
The
o
Spirit
Travel photography is a curious niche, one
that dees denitionor at least encompasses
a dizzying array of styles. We sat down with
ve of the genres rising stars to nd out about
their favorite shoots, how they got started,
and what travel photography means to them.
Their images and experiences range as far
and wide as the planet itselffrom riding a
bike out the back door in search of new
perspectives to delving into exotic climes; from
seeking out brilliant colors and avors through
regional cuisines to exploring the effects of
exploitation and political strife in remote
cultures. Whatever res your lens, theres a
whole world out there. BY TRAVIS MARSHALL

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JAKE STANGEL
MONTANA
Jake Stangel dabbles in myriad photographic realmsranging
from architecture to sports, documentary to commercialbut
hes increasingly gaining attention for travel work that has deep
roots in his own personal journeys. His passion for shooting grand
landscapes and back-road vignettes in the American West started
with a cross-country bike ride that he took while on summer
break from college at New York University. He subsequently made
that trek twice more, with images from all three rides contribut-
ing to his photo series Transamerica. I love throwing myself into
environments I have no prior relationship with, feeding off the en-
ergy of the place, Stangel says. I just go with the ow and shoot
whatever Im getting vibes from at the time.
Stangel shoots almost entirely with medium- or large-format
lm cameras; a Mamiya 7 is his nearly constant companion. Film
makes the assignments feel personal, he says. It lets me slow
down, focus, and develop a rapport with my subjects. And the
images have a light quality that you just cant get with digital.
When Travel + Leisures deputy photo editor assigned Stangel
to shoot the Chico Resort, in a secluded corner of Montana
known as Paradise Valley, he knew the job t his particular
approach. Im not an accommodations photographer, Stangel
explains. I prefer travel stories with narrative, and the magazine
really let me follow my nose on this one.
He describes the destination as an ethereal escape, where
Yellowstones boiling river meets cooler waters to create
steaming-hot baths surrounded by rugged, snow-covered
mountains. Its very much a blue-collar spot, and I tried to
just be a y on the wall, he recalls. I took a three-hour soak
alongside a trucker and his wife before nally oating over to
my cameras to take photographs of them enveloped by steam.
Below: Stangels view of Montanas Paradise Valley, nestled between
Bozeman and Wyomings Yellowstone National Park. Opposite: A shot
of a visitor in one of the energized pools at Chico Resort in Pray.


42 AMERICANPHOTOMAG.COM
In Borneo, the largest island in Asia
and third largest island in the world, a
trio of local women prepare a meal.
A still life of a ginger ower from
Motts editorial coverage of Borneo.

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The Spirit of Travel

Emily Mott spends a fair share of her time shoot-
ing chic hotels and exclusive cultural tours, but her
favorite travel assignments reect her penchant for
adventures on the fringe, where the ring of mobile
phones and the buzz of trafc give way to star-lled
skies and wide-open wilderness.
I love a quest for a certain tree or beach or
spicethe adventure is in the seeking, says Mott,
whose primary residence is in the English country-
side of West Sussex. It is on these journeys that I
usually nd the most striking images.
Mott got her rst taste of the wild while study-
ing at Art Center College of Design in Pasadena,
California. She recalls an assisting job that took her
to Arnhem Land, in Australias Northern Territory.
We lived on the beach for a month with the
[aboriginal] Burarrwanga family, documenting all
aspects of their livesfrom hunting, shing, and
gathering to ceremonies and storytelling, Mott
says. It was a huge eye-opener for me. I learned a
lot about observation, documentation, and survival.
These lessons now inform her transcontinen-
tal work. During one choice journey in Borneo, on
assignment for Cond Nast Traveler and Telegraph
magazines, Mott and writer Jonny Beardsall set
out to highlight environmental issues and promote
ecotourism as a sustainable practice.
We spent an amazing day trekking through
the spectacular virgin rainforest. The trees were
massivemonkeys chased each other in the high
canopies, wild scarlet rhododendrons blazed
amongst the greenery. It was a magical place,
Mott recalls. But I will never forget the shock
of emerging from the forest, on the second day,
into a [man-made] clearing that stretched out for
miles. It was the most depressing, silent landscape
of felled trees and mud as far as the eye could see,
where the only wildlife was a dead snake in the
road and a few butteries.
Mott prefers to focus her lens on the unspoiled
beauty. Im compelled by the wild places of the
world because I fear they are disappearing fast,
she says. I enjoy shooting positive stories about
conservation to increase awareness of what is hap-
pening to our wildlife and landscape.
EMILY MOTT
BORNEO
Above: Motts photo of
a stream in the virgin
rainforest area of Borneo.

For Christopher Testani, the road to success in
travel photography has included many discursive
byways and years of paying dues. I worked as an
assistant in nearly every genre of photography
out there, says Testani, who is based in San
Francisco. Eventually I realized each carries with
it a particular lifestyle that you end up living as
the photographer. And I found that what I most
enjoyed was seeing things Id never seen before
living slices of life Id never lived and meeting people
Id never have a chance to meet otherwise.
Testanis career breakthrough came in 2011,
when Bon Apptit commissioned him for an assign-
ment in Cartagena, Colombia, that combined his
dual affections for food and travel. I have a real
passion for cooking, and Ive always felt that one of
the best ways to experience a place and culture is
through its food, he says. The focus of the Colom-
bia project was denitely culinary, but I also had a
lot of freedom to explore the city and shoot what-
ever I was drawn to.
Today Testani continues this double-track visual
journey, shooting at the intersection of food and
travel for magazines like Afar, Travel + Leisure, Bon
Apptit, and Departures. My travel assignments are
generally focused on the culinary worldparticular
dishes or local specialties, restaurants, chefs, and
markets. It just feels like a natural t.
On the last night of his appointed journey in
Cartagena, Testanis assistant, a local, took him
out for food and drinks with friends, a simple yet
serendipitous experience that brought the whole
project together. To get a glimpse into those
areassome of which you really wouldnt dare go
unless you were with locals, especially carrying a
camera aroundwas the best part of the job, he
says. It made me feel like, for a moment, I had a
genuine understanding of the place.
CHRISTOPHER TESTANI
COLOMBIA
From left: Testanis shot
of an old doorway at Hotel
Santa Clara, Cartagena,
Colombia; a scene on the
beach in Cartagena; a
serving of lobster at Islas
de Rosarios.


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Opposite and above:
Samples images from
the Andalusia region in
southern Spain, in and
around the village of
Zahara de la Sierra.
JESSICA SAMPLE
SPAIN
As a daughter of owners of a stock footage
company, Jessica Sample grew up traveling the
world with a camera. My parents would take
me and my sister to far-ung places like Africa,
Indonesia, Tibet, and Bhutan, she recalls. I
would shoot roll after roll of 35-millimeter lm
and I loved the process of going to a new place and
capturing the experience through my photos.
Still, Sample says she felt a bit nervous on her
rst professional travel assignmentto Parma,
Italy, during her tenure as deputy photo editor
of Travel + Leisure. Arriving and scouting the
town, I started to think about things like where I
wanted to shoot based on light, and which places
would be my night shots and my establishing
shot, she recalls. It taught me to always be
ready to catch those unexpected moments that
really give you an authentic feel of a place.
Today Samples diverse work has appeared in
dozens of publications, including GQ, National
Geographic Traveler, Sunset, and Coastal Living.
Sample eschews committing to any particular
niche. I think its hard to have a single specialty
within travel photography, she says. One of the
things I love most about shooting travel stories is
they force you to work in many different kinds of
photographyportraits, landscapes, food, lifestyle,
interiorswhich always keeps things interesting.
On a recent assignment in the Andalusia region
of Spain, Sample felt sure that the small town
of Zahara de la Sierra would make an inspiring
location. Driving up to it was like coming across a
town out of a fairy tale, with a castle-like fortress
rising over everything. I knew I wanted to maxi-
mize my time there with late afternoon and early
morning light, she says. I felt as if I had come
across a secret town, and its exciting to capture
and experience these undiscovered places, know-
ing theyll soon become discovered because of the
photographs I take.

Motts scenes in Myanmar
(clockwise from above):
A novice monk on his
way to collect offerings;
Burmese monks on a beach
near Bagan; Buddhist
nuns collect offerings at
Nyuaung Oo market near
the temples of Bagan.
American photographer Justin Mott rst visited
Southeast Asia to attend a photography workshop
in Cambodia. He spent the following year splitting
his time between shooting a personal project about
Agent Orange victims there and studying at San
Francisco State University. Then a travel assign-
ment for the French magazine LExpress sent him to
explore the emerging middle class of Ho Chi Minh
City. Soon after, Mott (no relation to Emily Mott)
decided to settle in Hanoi, where he could nurture
a burgeoning relationship with The New York Times
as a documentary and assignment photographer for
its foreign and business desks. I started my career
working for the Times instead of nishing school, he
explains. I was afraid of losing my in with the news-
paper, so I stayed here and never looked back.
Motts nine-plus years of experience living and
working in the region gives him a singular insight
into the characters and cultures that surround
himas well as access to areas seldom visited
by Westerners, as evidenced by his 2011 Times
project behind the walls of military-ruled Myan-
mar (formerly known as Burma). The story was
about Myanmar opening its doors to tourism after
recent political unrest, Mott recalls. This was at a
time when it was difcult to enter the country as a
journalist, so I had to go in pretending I was part of
a tour group. I was a little paranoid about looking
like a photographer, so I only brought one scarf.
Mott says that during this foray Myanmar truly
felt like a place unknown to the outside world.
People were so welcoming, and beautiful light and
colors were everywhere, he says. Its rare you get
to capture a place before the tourists arrive! It was
my favorite travel assignment ever. By the end of
the trip I had shed my paranoiaI bought two gor-
geous Burmese lotus-weave scarves and wore them
proudly through immigration. AP
JUSTIN MOTT
MYANMAR

49

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The
Shop
Photo
The creative chemistry of Kathy Ryan and the
photo team of The New York Times Magazine
BY SCOTT ALEXANDER

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Ryan McGinleys
underwater shot of Olympic
swimmer Jenny Thompson
in 2004, from The New
York Times Magazine.

The Photo Shop

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Opposite: Nadav Kanders
portrait of Secretary of
StateDesignate Hillary
Clinton for The New
York Times Magazines
Special Inauguration Issue,
Obamas People, in 2009.
This page, left: Images
of the NYTMs photo
team from Kathy Ryans
Instagram feed (clockwise
from top left): Stacey
Baker, Joanna Milter,
Clinton Cargill, and Amy
Kellner. Below: Ryan,
photographed by Baker.
n a clear spring Friday at 10 a.m., I arrive
at The New York Times headquarters
and proceed to the sixth oor. Im here to
meet Kathy Ryan, director of photography at The
New York Times Magazine. Ryan is a coiled spring,
all kinetic energy, her wiry frame topped by a shock of
unruly hair. This is my fourth attempt at an in-person
meeting. Naturally, it fails. Ryan must run to an emer-
gency conference with Gail Bichler, the magazines art
director. But Ryan urges me to join her at the staffs
weekly photo meeting in 45 minutes.
At precisely 10:45, approximately 20 people from
the magazines photo and design teams le from the
Times sun-drenched open-plan ofce into a dark
room where a laptop and monitor perch on a table.
Lets do it, says Deputy Editor Joel Lovell. All sound
in the room ceases. The meeting has begun.
The New York Times Magazines photo depart-
ment may be the worlds most nely calibrated
machine for facilitating art. Over the decades, it
has commissioned and published some of the most
cherished and inuential imagery in the history
of editorial photography. Spanning myriad genres
and topics, the NYTM serves up a weekly visual
smorgasbord whose generous proportions and
quality of reproduction often make it seem more
like a museum than a magazine.
For 27 years, the heart and soul of the photo
operation has been Kathy Ryan. To her staff she is
an invaluable mentor, sounding board, taskmaster,
and intellect. To her counterparts at other maga-
zines, many of whom she trained, she is a constant
reminder to do better. She puts her blood into
everything she does, says Judith Puckett-Rinella,
who worked under Ryan for more than seven
years and now runs limited-edition art and fashion
distributor Whisper Editions.
Of course, the success of a photo team within a
magazine that puts out 52 weekly issues of original
photography per year draws on more than one
person. Shes a true collaborator, Puckett-Rinella
says of Ryan. She builds people up and gives them
condence in what they do. Current NYTM photo
editor Stacey Baker agrees. Shes incredibly in-
spiring, Baker says. She pushes people to believe
that anything is possible.
ot wasting any time, Baker launches into a
presentation of fresh work she has just gotten
in from Alec Soth. The photos are of a lockdown drill
at a public school in Minnesota designed to prepare
students in the event of a school shooting. Evidence of
the times we live in, the series is slated to run as the
magazines Look feature.
The photo department has already made some
selections, including a shot from above of more than
a dozen girls huddled together in a locker room. It
quietly evokes the claustrophobic and anxious realities
todays parents and teens live with. They were in gym
class, so this is where they went, Baker explains.
These are great pictures. Any chance we have con-
tact info for these kids? Lovell asks. Baker says they
can probably work that out. This symbiosis between
photo and editorial emerges again and again through-
out the meeting.
Looking at the nished magazine, its easy to
underestimate how much work goes on behind the
scenes for every image the NYTM photo depart-
ment produces. Its up to the individual photo
editors to tend to the details of their designated
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projects. For the lockdown drill story, for example,
Baker called Minnesota school districts for several
weeks before nding a superintendent willing to
let Soth sit in. It takes a certain type of person to
persevere after the rst 100 phone calls dont pan
out, believing number 101 might yield a yes.
Judging from the background of those in her de-
partment, though, Ryan seems to understand that
such qualities dont necessarily come from direct job
experience. Her current team comprises a former
lm-industry script developer (Joanna Milter) and
an exadministrative assistant (Clinton Cargill);
Baker was a lawyer, and the fourth, Amy Kellner,
was a managing editor at Vice magazine.
Former employee Jody Quon worked in fash-
ion PR before joining Ryans team. After Quons
six-month freelance stint for the NYTMs fashion
editor, Ryan offered her a job. Quon laughs as she
recalls trying to talk her out of it. I told her I
didnt think it was the right t, that I knew noth-
ing about what her department did. I told her I
didnt know anything about photography and I had
no relationships. She said, Dont worry. Youre very
organized and you know how to get things done. I
ended up working for her for 11 yearssome of the
most extraordinary years of my career. Quon is
now photo director at New York magazine.
Choosing photo editors comes down to two
aspects: the creative and the practical, Ryan
explains. They have to understand great pictures,
and they need to be able to organize a lot of infor-
mation very quickly. I didnt set out to nd people
who werent photo editors, but if theyre not photo
editors I dont consider it a hindrance.
Says Cargill, Kathy has a track record of not
being afraid to hire someone who doesnt have the
direct set of experience that correlates to whatever
you think the job is. Shes very much about people
who arent afraid of the impossible.
Ryans soft spot for the road-less-traveled set
may stem from the path she took to her current
post. Despite a lack of formal photographic train-
ing (she was an art and art history double major at
Rutgers Douglass College), she landed a job as pho-
to researcher at Sygma. My initial intention had
been to be a painter, she says. But I quickly real-
ized I wanted to work with pictures in the world.
Her main job at the agency consisted of licensing
and delivering Sygma photos to news outlets across
the country, including The New York Times.
As a result, she spoke to Peter Howe, then the
Right: A shot of the
Ceagesp market, a massive
retail and wholesaling
operation in So Paulo,
from the NYTMs 2013
photo essay Brazil
Through the Lens of
Massimo Vitali.
The Photo Shop

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NYTMs picture editor, every week. Howe saw some-
thing in her, and when a deputy photo editor posi-
tion opened at the magazine, he urged her to apply.
It was Ryans second job in the photo industry.
Her third came two and a half years later, when
Howe decamped for Life and Ryan became the
NYTMs head of photography. More than a quarter-
century later, she has yet to move on. Some might
nd this kind of career conned or lacking in
ambition. It is anything but.
ext on the agenda is a series of photos by Paolo
Pellegrin depicting the burial of identied
victims of the 1995 Srebrenica massacre, in which
more than 7,000 Bosnian Muslims were murdered and
dumped in mass graves. Many victims are identied
and formally buried each year. To get the images,
Pellegrin journeyed to Bosnia three times over the
course of two years, once on his own dime.
This story has an unusually long shelf life, Ryan
says. Were going to show a tight edit of the work youve
seen and then the new work he just shot last week.
The room is completely silent as the screen shows the
anguished, staring faces of hijab-wearing women; the
N
only sound is Bakers spare narration. This one is a
ceremony for victims in Visoko, Bosnia, she says.
One surreal and exquisite photo looks like a series
of human bodies that have been turned to sand, their
features sheared away by time. Ryan explains that
these bodies were exceptionally well preserved due to
the high clay content of the soil in the mass grave. In
some cases they still have skin and esh intact, she
notes. Forensic pathologists can use that to help in
DNA testing to match them to survivors.
God, these are incredible, Lovell whispers as photo
after photo ticks by. Paolo at his best, Ryan says.
Lets put this on the lineup for 10 pages, Lovell adds.
Thank you, thats great, Ryan says.
Since Ryans tenure began in 1987, the NYTM has
consistently broken new artists and found new ways
to use established ones. Its pages have given wide
creative license to rising art stars such as Ryan
McGinley and Taryn Simon early in their careers.
The whole point of a magazine is to be surpris-
ing and lively and cutting-edge, and the way to do
that is by using new photographers, Ryan says. If
someone has a spark and we publish them and they
go on to build an impressive career, thats even bet-
ter. Meanwhile, in both portraiture and photojour-
nalism, the NYTM regularly draws on the talents of
masters like Nadav Kander, Dan Winters, Massimo
Vitali, Nan Goldin, and Alec Soth.
In 1993 Ryan gained a powerful ally when Adam
Moss was named the magazines editorial director
(he is now editor-in-chief of New York magazine).
Moss brought to the title a modern magazine ap-
proach that included a more graphical style and a
signicantly greater emphasis on photography.
In 1997 Moss, Ryan, and Creative Director
Janet Froelich hatched the NYTMs rst Special
Photography Issue, a watershed moment for the
magazines and Ryans sensibilities coming into
their own. Ryan and her team assembled a broad
bevy of photo talent, including Jack Pierson, Abe-
lardo Morell, Philip-Lorca diCorcia, Larry Towell,
Thomas Demand, Lars Tunbjrk, Chuck Close, and
Annie Leibovitz. Their subject: Times Square.
Its hard to imagine a more resonant topic for
that moment. Times Square takes its name, after
all, from the paper itself. The fabled intersection
was on the brink of signicant change, with the
grimy world of pimps, hustlers, and porn palaces
giving way to a clean, well-lit consumerist play-
ground. Leibovitz, known for her celeb portraits,
was assigned to shoot women living in single-room
occupancy hotels in the square. Pierson produced a
dreamy, painterly, rained-out cover shot.
The New York Times Magazine Photographs, the
acclaimed retrospective book that came out in
2011, calls the Times Square issue a pivotal mo-
ment in the Magazines evolution, in which the
boundary between art and journalism was elided.
Above: Chuck Closes
portrait of actor Willem
Dafoe, part of The New
York Times Magazines
Special Photography Issue
on Times Square, 1997.
The Photo Shop
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Indeed, the success of the project seemed to
embolden Ryan and her team. In the years that
followed, the photo department became known for
aggressive cross-assigningtasking photographers
well known in one genre with photographing in an-
other; for instance, hiring landscape photographer
Simon Norfolk to shoot refugee camps in Chad
and Pakistan or cinematic pictorialist Gregory
Crewdson to make a haunting portrait of Gwyneth
Paltrow. Kathy is constantly thinking and chang-
ing the way we see pictures, Baker says.
my, lets go to Patricia Lockwood now, says
Ryan. Tell us about that.
After the brutal Bosnia photos, its a relief to be
looking at a calm, happy woman in and around her
tasteful home on a picture-perfect Kansas day.
This is the poet slash comedian who lives in
Lawrence, Kansas, Kellner explains. Mark
Peckmezian shot this on lm. Shes pretty cool looking.
I love these, Ryan says. This is his rst time
shooting for us, right? Amy thought to use him and hes
really wonderful.
Thats her writing area, Kellner mentions as a
cozy nook appears on screen. We tried to get second-
ary stuff, but she doesnt have any handwritten jour-
nals; its all on her laptop. She didnt have any family
photos because her dad is a priest.
What kind of priest is that? Lovell asks. The
kind that doesnt show up on lm? The room erupts
with laughter.
I phrased it wrong, Kellner says. Her dad gures
into the story because he was a priest but hes also
funny, but she didnt have any photos of him.
I liked the rst version of that story better, some-
one quips, drawing another big laugh. This seems like
the broad, supportive laughter of a group of people
happy to no longer be looking at war dead. Peckme-
zians vibrant pictures look like theyll light up any page
they land on.
We are trying to hit a home run every time out,
Ryan says. We dont always hit it, but we try. Even
if something doesnt pan out, its much better to
risk it all aiming for something special. Theres no
excuse for not being as ambitious as you can.
Cargill echoes this last sentiment. Every story
here is a chance to be incredible, he says. The
pressure to do something great was scary to me
when I started, but thats all part of the process.
Its always scary.
And no one bats 1.000. Several staff members
groan at the mention of an ill-starred shoot they
tried a few years back with the New York Mets.
We had 750 Mets fans in the stadium, Ryan says.
We wanted to do a classic photo with everyone
holding up signs to form an image that said Viva
Los Mets. But the reality is that Mets fans are not
the people to do it. When you see those pictures
that work, they use military guys or people in
North Korea. You need them to be in a frame of
mind to take orders.
Instead the staff wrestled fruitlessly with an
unruly crowd, 100-degree weather, and overhead
airplane noise. We had to scrap it, Ryan says. It
just didnt work on a colossal level. Still, this failed
shoot has become enshrined in department lore as
not a mark of shame but a badge of honor, proof
that what they do every day is as likely to fail as it
is to succeed. Or as Cargill puts it, You failed, but
you dreamed big, and theres no fault in that.
ts Cargills turn to present. For three days
Sebastin Liste has been in Rio de Janeiro
shooting baile funk parties in the favelas for a piece
in the magazines World Cup issue. The screen shows
a dancehall stuffed with young people dancing and
performers onstage.
Its a big crazy dance party, Cargill explains, but
also theres drugs and they kill people. He followed a
A
Below: Erik Madigan
Hecks outtake shot of Peter
Gelb, general manager of
New Yorks Metropolitan
Opera, with sopranos
Anna Netrebko (left) and
Deborah Voigt, for a 2013
cover story on Gelb.
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The Photo Shop

Left: Nan Goldins
portrait of artist Kiki
Smith for the feature
story The Intuitionist
in The New York Times
Magazine, 2006.
few different artists who perform at these parties.
The photos roll on: an attractive young woman ap-
plying makeup; a group of dancers backstage; children
mugging for the camera, all jangly limbs and teeth.
These are great, Lovell says. Can he get shots of
the cop presence?
He can try to do that, Cargill explains. Someone
was shot leaving this party, though. He said it would
not be a good idea to be with the performers and also
photograph the cops or talk to them at the same venue.
He said he could go to a different favela and meet the
cops there.
Somebody should interview those kids and get them
to talk about their lives, Lovell suggests.
We can get back to them, Cargill says. Theres
usually a party every weekend.
Ryan says she and her team are in a constant state
of reinvention. Her talented photo editors tend to
move on and run other magazine photo depart-
ments. The Times itself is undergoing changes at the
top, with Dean Baquet replacing Jill Abramson as
executive editor in May, the same month that
Jake Silverstein took the reins as the NYTMs
editor-in-chief following his lauded editorship at
Texas Monthly. (Silverstein reported for work just as
American Photo was headed to press.) Ryan, for one,
is thrilled about her new collaborator. Well be
embarking on a redesign, and Im very excited about
that process of reinvention, she says.
This is a staff trained to take change in stride;
indeed, challenges are just invitations to try harder.
You learn to deal with whatever is thrown at you,
says Kellner, whether its getting someone to Haiti
tomorrow morning or needing to rent a helicopter
in South Korea. You just have to gure it out.
he pictures stop clicking. I think thats it for what
were showing, Ryan says. Thanks, everybody.
Its over. The room, which to this point has sus-
tained a taut, unbroken focus, breaks into a shufe of
notebooks and chairs. I look at my watch. Our journey
from school drills to mass graves to pastoral Kansas to
a wild and crazy dance party has taken almost exactly
15 minutes. It might be the most efcient meeting I
have ever attended.
By the time I realize what is happening, the team is
gone, the room empty and silent. After all, next weeks
photos are not going to make themselves. AP
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eware the staresthe new Leica T draws
admirers at rst sight. When I borrowed
one of these silvery beauties from Leica to
try out for a few hours at the Palm Springs Photo
Festival and around this California desert town,
strangers even asked to take my picture with it.
The T (Type 701) is Leicas rst true inter-
changeable-lens compact digital camera, with a
16.3-megapixel APS-C-sized CMOS sensor and
lenses and accessories to match. Not just autofocus,
nally, but HD video and Wi-Fi (with a smart-
phone app for remote camera control and viewing)
are built infeatures that are de rigeur in other
ILCs but still fairly new to Leica. In an unusual
touch, the T has 16 gigabytes of internal memory
should photographers run out of SD card space.
As conceived by Audi Design, the Ts body is
milled from a single block of aluminum in either
silver or black, then hand-polished into a sleek
object of desire (Leica chronicled the process in a
45-minute real-time promotional video). Minimally
marked dials and buttons provide just enough
physical control. The 3.7-inch xed touchscreen
LCD displays an icon-based control menu system
that I found incredibly easy to learn and customize.
At launch, the T-Systems native optical choices
number precisely two: the 23mm f/2 Summicron-
T ASPH (about a 35mm full-frame equivalent)
B
Style meets substance in Leicas new compact system BY MIRIAM LEUCHTER
and the 1856mm (2784mm equivalent) f/3.55.6
Vario-Elmar-T ASPH, both with autofocus; others
are promised for 2015. But the new M-Adapter T
will let photographers mount any of the numerous
manual-focus lenses in the M-System 35mm range-
nder to this smaller body.
While the new lenses and adapter seem utilitar-
ian, the Ts accessories are far more stylish. Neck
and wrist straps come in a silicone blend that grips
well without digging into skin; they latch onto the
camera body using an innovative, tightly locking
pin system. In yellow, orange, black, or white, the
straps match a T-Snap skin for the front of the
body that fastens to a gray plastic top, back, and
bottom T-Flap. Its a cool way to protect not just
the camera but the hand. (Without it, after a few
hours of carrying the camera, ready to shoot,
my pinky developed a little dent where the sharp
bottom edge of the grip poked into it.)
I was less impressed by the Visoex accessory
electronic viewnder, which I found a little slow
and grainy. But thats the only option other than
the LCD, so nder users will have to make do.
As for the images, without shooting in controlled
conditions with nal rmware, its hard to tell.
Im looking forward to getting a Leica T into the
Popular Photography Test Lab for a true assess-
ment of its performance. AP
Look Sharp
WHAT PHOTOGRAPHERS NEED
THE GOODS 62 REVIEW 64
Above: Shown with its rst
three lenses (the telephoto
at rear isnt out yet), the
new Leica T is one gor-
geous camera.
NOTEWORTHY SPECS
SENSOR 16.3MP (effective)
APS-C-format CMOS
SENSITIVITY ISO 10012,500
AUTOFOCUS TTL contrast-detect
SHUTTER 1/400030 sec
MEMORY 16GB internal; single
SD/SDHC/SDXC card slot
VIEWFINDER Optional EVF
BURSTS 5 fps up to 12 shots at
constant velocity; after that
depends on the memory card
LCD Fixed 3.7-inch TFT LCD
touchscreen with 1.3 million-dot
resolution
DIMENSIONS 5.3 x 2.7 x 1.3 in.
(134 x 69 x 33 mm)
WEIGHT 13.5 oz (384 g) with
battery
BUY IT $1,850 body only; plus
$1,750 for 1856mm f/3.55.6
Vario-Elmar-T ASPH, $1,950 for
23mm f/2 Summicron-T ASPH
lens; en.leica-camera.com

THE GOODS
The latest loot for work and play
BY THE EDITORS OF AMERICAN PHOTO
THIS S IS FOR SENSITIVE
Sony a7s Nikon may have recently upped the ante for senstivity
with the ISO 409,600 capability of its D4s, but Sony, which
often supplies Nikon with imaging sensors, wont be outdone.
Introduced at the NAB trade show, the new a7s takes the
compact form factor of the a7r and a7 and lls it with a 12.2MP
full-frame sensor that also reaches ISO 409,600. Videographers
will lust for the a7ss 4K uncompressed HDMI output for saving
to an external recorder. Video recorded to an SD card tops out
at 1920x1080p60, but it uses Sonys XAVC S format at a high bit
rate of 50Mbps. BUY IT $2,500, body only; sony.net
SPORTS SHOOTER
Nikon 400mm f/2.8E FL ED VR AF-S Nikkor At 8.4 pounds, this updated pro-grade
telephoto shaves more than 20 percent of the weight off its predecessor.
Nikon is also using this fast glass for sports and wildlife shooters to debut its
new Fluorine coating (not to be confused with Fluorite, which is sometimes
used to make lens elements). The coating makes the front element resistant
to dirt, ngerprints, and even watera particular plus because the massive
front element is too big for a protective lter. BUY IT $12,000; imaging.nikon.com
SWEET 16 (TO 35)
Canon 16-35mm f/4L EF IS USM This new lens occupies
the middle ground in Canons L-series wide-angle
zooms. Its maximum aperture is slower than that
of the much pricier 16-35mm f/2.8L II, and it offers
image stabilization, unlike the aging 17-40mm f/4L.
While IS may seem odd on such wide-angle glass, the
claimed four additional stops of shake-free shooting
could make handheld landscapes and smoother
video a reality. BUY IT $1,200; usa.canon.com
TIP-TOP TRIPOD TOPPER
Manfrotto X Pro 3-Way Head Sturdy handles are absolutely essential on
a good three-way pan/tilt head, but they tend to get caught on just
about everything. To remedy this, Manfrotto made the handles on its
new head retract with a simple sliding motion. The MHXPro-3W holds
up to 17.6 pounds of gear, sports three integrated bubble levels, and
lets users adjust each handles friction, so its at home on a cinema
shoot or in the stillness of a landscape. BUY IT $140; manfrotto.com

FAR FROM NORMAL
Sigma 50mm f/1.4 DG HSM A Priced at nearly $1,000, Sigmas latest
entry in its Art lens line is decidedly more expensive than most
glass with the same normal focal length and bright maximum
aperture. But in terms of optical performance and build quality, it
performs well above its pay grade, often drawing comparisons to
the massiveand ultra-priceyZeiss Outus 55mm f/1.4. This full-
framer comes in mounts for Canon, Nikon, Sigma, and Sony DSLRs.
BUY IT $950; sigmaphoto.com
ROUND THE FRAME
Lensbaby Circular Fisheye Made for the smaller APS-C sensor size, this
ultrawide 5.8mm f/3.5 from Lensbaby brings the fun of capturing
a circular image to Canon and Nikon shooters who lack full-frame
DSLRs. Inside, its loaded with reective surfaces to promote, not
suppress, are. Purely manual in both focus and exposure, this little
lens focuses down to 0.25 inch. BUY IT $300; lensbaby.com
CMOS LIVES LARGE
Pentax 645Z Tired of trying to choose
between buying a luxury sedan or
a medium-format digital camera
body? Ricoh has the answer with this
sub-$9,000 Pentax body. Plus, the
645Z boasts a 51.4MP CMOS sensor
that reaches ISO 204,800; a 27-point
autofocus system; and a tilting 3.2-
inch, 1,037,000-dot LCD screen. It
also records 1920x1080i60 HD video
and accepts Pentaxs FLU SD card to
add Wi-Fi connectivity. BUY IT $8,500,
body only; us.ricoh-imaging.com
INTERACTIVE PHOTOGRAPHY
Lytro Illum Lytro, which debuted its light eld camera in late 2011, has come
out with a second model. Unlike the $400 original, sort of a squared-off
spyglass, the new Illum looks and works more like a traditional camera. Its
approach to computational photography, though, is anything but. Over its
1-inch sensor sits a micro-array of 40 lenses that fracture the light; the
camera reassembles it into an image whose focal plane, depth of eld, and
perspective can be changed after the fact. BUY IT $1,500; lytro.com

he Nikon Df is as close as you can get to
a simple, old-fashioned lm SLR with a
full-frame digital sensor: something for
which many have long clamored. It looks and feels
like a proper camera, rather than a half-melted
plastic ashtray. Its body, built on a light-alloy
chassis, has the right weight and the right shape,
with the right control layout and proper shutter
and ISO dials with engraved and lled numbers.
Better still, the Df takes proper manual focus
lenses all the way back to 1959.
Dive into the menus, though, and its another
camera entirely: a modern autofocus DSLR with
just about everything you might expect except
video and built-in ash.
When I got it, I waded through the ridiculously
thick and ill-organized user manual, customizing
the functions I thought I would nd useful and
REVIEW
Modern Classic
T
21st-century imaging in a 1970s-style body BY ROGER HICKS
Above: Shown here with
its matched 50mm f/1.8G
Nikkor Special Edition
lens, the Nikon Df comes
in either all black or with
silver trim.
making notes on a few others. Then I started to
take pictures. Lots of pictures.
The Df is a camera that makes you want to take
pictures, to look for pictures to take, and you cant
ask for more than that. Ignore all the stuff that
you dont want to be bothered with, or dont want
to be bothered with yet, and just start shooting.
Admittedly, its distinctly bloated next to a clas-
sic vintage lm SLR, and of course it has many
more buttons, dials, switches, and knobs: Dont let
anyone tell you its a digital FE. But stand it next
to a Nikon F with F36 or, worse still, F250 motor
drive, battery pack, intervalometer, and Photomic
nder with Photomic Illuminator, and it looks
positively svelte despite having the equivalents of
all these (and more) built in.
Also, because it follows the Nikon custom of
using single-function buttons rather than menus

wherever possible, you can ignore many of
the controls most of the time. I have yet to
nd much use for i, info, or Fn; I do not care
for auto-bracketing; and since I reassigned
the rear setting dial to set the aperture
on autofocus lenses, I have not used the
front setting dial. There is, however, merci-
fully little danger of accidentally pressing
two buttons at once and suddenly nding
yourself in auto-bracket candlelight action
portrait mode, with no obvious way of going
back to usable camera mode. The controls
are mostly pretty intuitive. You seldom need
that monster instruction book.
Of course, not everyone will like its retro
styling and hapticshaptics being a trendy
new word that embraces both ergonomics
and feel. A few may bemoan the lack of
video and built-in ash; many will be un-
happy with the price. With just 16 megapix-
els (roughly the equivalent of 35mm under
anything other than ideal conditions), it is
comparable in price with the 36MP D800.
So buy a D800! The Df costs what it does
Above: A multitude of dials, buttons,
and wheels gives photographers more
hard controls than they might need.
Below: In the back, we inset a photo
of a shoe store by Roger Hicks.
NOTEWORTHY
SPECS
SENSOR 16.2MP (effective)
CMOS in full-frame format
FILES JPEG, NEF Raw,
Raw + JPEG, TIFF
SENSITIVITY ISO 50204,800
(expanded range) in
1/3-EV steps
AUTOFOCUS TTL phase detec-
tion with 39 focus points
(9 cross-type); single-shot
and continuous with 3D
predictive focus tracking;
1 to 19 EV at ISO 100
SHUTTER 1/4000 to 4 sec
in 1EV steps (to 30 sec in
1/3-EV steps), bulb; shutter
life rated to 150,000 cycles
VIEWFINDER Fixed eye-
level pentaprism with
100 percent accuracy and
0.70X magnication
LCD Fixed 3.2-inch LCD with
921,000-dot resolution
MEMORY CARDS SD, SDHC, SDXC
DIMENSIONS 5.6 x 4.3 x 2.6 in.
(143.5 x 110 x 66.5 mm)
WEIGHT 1.7 lb (765 g) with
battery and memory card
BUY IT $2,750 body only, $3,000
with AFS Nikkor 50mm f/1.8G
Special Edition lens;
nikonusa.com
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because its not mainstream, not a clone
of everything else on the market. Its a
gamble. If it doesnt come off, and the Df is
discontinued, it will rapidly become a cult
camera, probably selling secondhand for
more than its new price.
Now, I needed a new DSLR anyway, and
Id narrowed the choice down to the Df and
the D800, a camera rmly in the melted
plastic ashtray school of design and the
computer nerd camp for haptics. Also, the
les from its 36MP sensor take forever to
process. So I bought a new Df from Grays of
Westminster in London.
Because Ive been using Nikons for close
to 40 years, I dont know exactly how many
lenses Ive got, but they range from 14mm
to 600mm. Several are unusual or special-
purpose: sheye, macro, soft-focus, high-
speed, compact, perspective-correction,
ash-coupled... Thats before you start on
the pinhole, zone plate, bellows, and more.
Because I already had so many lenses, I was
initially annoyed that in the U.K. the Df
is sold only with a Special Edition AF-S
Nikkor 50mm f/1.8G lens. I could have done
without the extra expense. But as soon as
I started to use it, I was glad I had been
forced to buy it. Its surprisingly good and
very unobtrusive.
Unobtrusiveness matters. There seems
to be a rm connection in most peoples
minds between big zooms (and big cam-
eras) and wicked paparazzi. The Df, with
its small body and small lens, doesnt seem
to worry them. With it, you can carry
on in the tradition of street photography
that goes back to the 1930s. I can pay it no
higher compliment than to say that I am
as happy to use it on the street or on the
London underground as I am to use my
Leica rangender cameras.
Low-light candid photography is made
all the easier by the Dfs excellent high
ISO performance, a consequence of the
relatively low pixel count on a full-frame
sensor. Even at ISO 12,800 its surprisingly
good, and if youre desperate and use H1
(25,600) to H4 (204,800) you can get toler-
able monochrome, though H4 color quality
is dismal, with gruesome purple blacks.
Even so, it gives the hitherto improbable
option of handheld pinhole photography.
After a couple of lucky accidents I put an
old Tewe nder on top so I could see where
the camera was pointing.
REVIEW
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(
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From top: Railing shadow, Millenium Bridge,
London (135mm f/2.3 Vivitar Series 1 lens);
Frances ling her nails (50/1.8); sheep,
Clydeside (135/2.3 Vivitar Series 1).

Back to actual lenses, though. The
auto focus is fast and good, being based
on the AF system in Nikons D610. For
manual-only lenses theres a typical elec-
tronic rangender, two arrows with a blob
between them that lights up when the
image is in focus. It worked ne with all
the lenses Ive tried, but not the pinhole.
Yes, Id prefer interchangeable focusing
screens, but the xed screen on the Df is
pretty good and I like the switchable grid.
Because I knew Id have the new 50mm, I
took just two lenses to the U.K. with me:
a 14mm f/3.5 Sigma from the 1980s and
a 135mm f/2.3 Vivitar Series 1 from the
1970s.
The 14mm vignetted appallingly at
full aperture but was astonishingly good
at f/16. As I normally use it on a tripod,
needing to stop down is not a big prob-
lem; and besides, I can always turn up
the ISO. The 135mm is extremely sharp
and focuses ridiculously close but needed
a deeper lens shade: Back home its sister
200mm f/3, with a sliding hood about 50
percent deeper, worked ne. The Df even
takes my only pre-AI lens, a 45mm f/2.8
GN-Nikkor, thanks to the folding AI tab,
though there is so much rigmarole in me-
tering with pre-AI lenses that a separate
handheld meter is easier. Remember that
AI arrived in 1977, so not many of us will
be using many pre-AI lenses. Alas, there is
no connection for traditional Nikon rabbit
ears meter coupling.
It is fashionable to say that modern
lenses are vastly better than old ones. Even
if this is true (and I dont think it always is),
there are two powerful counterarguments.
First, the lenses you own (or can afford) are
necessarily best. You cant use lenses you
dont have. Second, there is always a degree
of magic in photography: You never really
know what a lens is like until you try it.
Some of your old lenses on the Df may re-
veal magic you couldnt get any other way.
To return to the camera, its semi-
pro, which means it wont withstand the
same abuse as a pro Nikon, but unlike a
consumer camera, it wont wear out in
anything resembling reasonable use. Much
like a Nikkor mat, really. Battery life is
excellent. Its remarkably quiet, especially
in Q mode, where the shutter isnt cocked
until you take your nger off the release.
Other options are single-shot, two continu-
ous modes (up to 5.5 frames per second),
self-timer, and mirror-up.
Theres a glass pentaprism covering 100
percent of the eld of view, not a murky
and cropped mirror job, though the magni-
cation is only 0.7X; the diopter control is
excellent. You can shoot NEF (Nikons Raw
format), TIFF, and three levels of JPEG
(basic, normal, and ne). I mostly shoot
NEF + basic JPEG. The NEF les are very
good, allowing excellent exposure com-
pensation in particular. Theres a proper
taper-thread socket for cable releases and a
proper PC ash nipple with a proper screw-
in Nikon cover.
On the down side, the nonlocking meter-
ing mode switch (center-weighted, multi-
point, spot) is too easy to move accidentally
and, as with most digital cameras, I occa-
sionally prodded buttons by accident when I
picked it up. Once or twice, too, I accidentally
moved the AF point. The cover for the bat-
tery and SD card slot looks imsy, but youd
need to be unlucky or careless to break it.
Its twist-lock is a charming homage to the
removable backs of earlier Nikons. There is
only one card slot, so you cant shoot to two
REVIEW
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Above: Man with telephone, London
(autofocus, 50mm f/1.8G kit lens).
cards simultaneously; but then, how often did
we ever shoot two lms simultaneously?
My version of Adobe Photoshop Light-
room was too old to read Nikons NEF les
(the current version, 5, has been updated for
the Df), so I installed Nikons proprietary,
limited, counterintuitive, and slow ViewNX2
on my imaging computer to process them.
Despite these shortcomings, the best way
to sum up the Df is probably to compare it
with the Pentax SV that my father bought
me in the 1960s. I was fascinated then;
Im fascinated now. The Df is vastly more
versatile, but like the SV, it is easy to use as
a basic camera and it well repays an explora-
tion of its outer limits. At rst, I was worried
that maybe I should have bought the D800
instead. But the more I use the Df, the more
I am convinced that I made the right choice.
Or maybe theres another way to sum
it up. This is a camera with a mind of its
own. At rst I had trouble with a too-
sensitive shutter release that kept shoot-
ing a second picture after I thought I
had nished. These accidents were often
surprisingly good. It was almost as if the
camera was trying to teach me. Then,
once it reckoned it had succeeded, it
stopped taking random shots. By then it
had destroyed a few preconceptions and
made my pictures better. AP

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F
or some, the notion of suburbia conjures
tidy homes, green lawns, and aspirations
for peace and quiet and good schools.
For others, such as the photographer Nadia
Lee Cohen, darkness and disillusionment lurk
behind the shiny facades. Strongly inuenced
by lmmakers like David Lynch, John Waters,
Russ Meyers, and Alfred Hitchcock, Cohens
serieswith names like Mr. & Mrs. Teavee and
American Nightmarefeature imaginary small
towns populated by grotesquely glamorous and
tormented residents.
Each series, involving intense storyboarding
and creation of characters, takes several months
to create. Cohen, currently getting her masters
in fashion photography in London, enlists her
friends as models and dramatically changes
their appearance with heavy makeup, wigs, and
costumes (or in some photos, a lack thereof). The
women in her images reect familiar Hollywood
stereotypes, and Cohen attempts to capture
resonant moments in their ctional lives.
In the image shown above, The Party, from
the series Hollow Heights about a town by the
same name, one guest sits alone, isolated amidst
chaos, seemingly full of longing and stranded
from her desired destination. A sense of
loneliness and discontent is palpable.
This was one of the hardest photos I have ever
had to produce, Cohen says. All my friends were
actually drinking and having a party. At times
they got a little difcult to control! AP
The Party, created in
2013 for the series Hollow
Heights. See more at
nadialeecohen.com.
Photographer Nadia Lee Cohen creates ctional, candy-colored towns that hold dark secrets BY JILL C. SHOMER
PARTY OF ONE
PARTING SHOT

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American PHOTO - August 2014 USA

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