August 12th, 2015

Why All The Articles in PDN’s New Issue Are About Women Photographers

© PDN/Photo by Lauren Dukoff

© PDN/Photo by Lauren Dukoff

The articles in the September issue of PDN, now available to subscribers and in the iTunes store, offer our standard mix of technical advice, interviews, and insights into the photography business. The one difference is that all the photography we are featuring, from our news pages to End Frame, is by women photographers. Why are we interviewing and showcasing only women photographers in this issue? Because we can.

It didn’t take much extra effort to find women photographers who could provide valuable insights and inspiration on every topic we wanted to cover: lighting, video post-production, pursuing and publishing a long-term project, marketing, meeting the demands of fashion and portrait clients, and many other issues relating to establishing a name in today’s photography business. Women photographers have to contend with lingering stereotypes about what women can or can’t excel at. By filling every section of this issue of PDN with images and insights by women photographers, we hope to emphasize the breadth of talent, expertise and experience of women photographers working in every genre and style.

This issue, whose theme section focuses on portraiture and fashion photography, seemed like an opportune time to make such a statement. Zanele Muholi’s beautiful, searing exhibition “Isibonelo/Evidence,” which opened in May at the Brooklyn Museum, exemplifies a powerful (and empowering) use of portraiture in social activism. In the spring, Aperture announced it would be publishing a compilation of celebrated photojournalist Mary Ellen Mark’s advice on portraiture. When we arranged to publish an excerpt, we didn’t know that Mark was ailing, or that the book would be published posthumously. It seems fitting, however, that PDN‘s first all-women issue includes words and images by a photographer who blazed so many trails.

Another timely story is our feature on the proliferation of groups formed by and for women photographers. We’ve noted before that, in today’s fractured marketplace, photographers have benefited from forming peer networks, both online and in person, to exchange advice, support, and job referrals.  A few of these groups, we’ve noticed, look like all-boys’ clubs. Women have responded by creating their own networks and gatherings. Some, like Women Photojournalists of Washington, have been around for years, but new ones seem to be forming every day.

Why now? Organizers of these groups point out that while there are more women working in photography than ever, men still get the majority of solo gallery shows, editorial assignments, and other opportunities that lead to greater recognition. In an interview in the current issue, photojournalist Maggie Steber notes that the market is hard for every photographer now—not only women. Competition can be particularly intense for the few token slots set aside for more diverse voices and talents. Expanding the opportunities for success requires new ideas and cooperative effort. “Instead of going back to the same shrinking pie, we should be thinking differently,” says Jennifer McClure, who recently formed the Women’s Photo Alliance in New York City. “We should be thinking, ‘How do we make more pies?'”

–Holly Stuart Hughes, editor

January 11th, 2012

Does Being a Woman Make it Harder to Be a Photographer?

On balance, not so much.

That was the consensus of the women photojournalists who participated in the panel discussion “Groundbreaking Women in Photography,” organized by the International Center of Photography in New York on January 10. The first in a series of annual “Spotlight” events ICP will hold to raise funds for its programs, the panel was made up of photographers Mary Ellen Mark, Gillian Laub, Samantha Appleton, Stephanie Sinclair and The New York Times Magazine director of photography, Kathy Ryan. NBC anchor Ann Curry moderated the discussion.

Photo © ICP. Left to right: Mary Ellen Mark, Stephanie Sinclair, moderator Ann Curry.

Gillian Laub, who has photographed intimate portraits of young people on both sides of the Israeli/Palestinian divide, noted that being a woman has often helped her gain access to people’s homes. “I’m not an intimidating person,” she noted. When she enters strangers’ homes, “People feel comfortable with me” in a way that they may not if she were a man.  Being a woman can be an “asset, depending on the kind of work you want to do,” said Stephanie Sinclair, who has photographed in Afghanistan, Iraq and Lebanon and covered gender issues such as female circumcision and the problems faced by child brides. Luckily, Sinclair said, “I like to do intimate work.”

Samantha Appleton, who covered the war in Iraq, said that early in her career covering conflict, “I worked hard not to be classified as a woman photographer. I fought to be one of the boys.” Over time she’s let go of that battle. “There are a thousand things in your personality that affect how you tell a story. Being a woman is a part of it.” Ryan concurred. While noting that in certain countries or political situations, sending a woman photographer can be risky, Ryan said that when she has to choose the right photographer for an assignment, she first considers their vision and eye, then she considers their personality and what it might add to the assignment.  “Some women are forceful, some are quiet,” she noted.

January 5th, 2012

Photographer Eve Arnold Dies, Age 99

© Eve Arnold/Magnum Photos. Photo: Eve Arnold with Marilyn Monroe during filming of The Misfits.

Magnum photographer Eve Arnold, recognized for her stories about the ordinary lives of the poor and downtrodden all over the world as well as for her unvarnished portraiture of Marilyn Monroe and other celebrities, has died in London. She was 99.

Arnold took up photography in the late 1940s, and first studied under Harper’s Bazaar art director Alexei Brodovitch at the New School for Social Research. From the start, she defied boundaries, documenting a fashion show in Harlem–then a segregated ghetto–for a school assignment an assignment. That led to a long to a long-term documentary project about the Black Power movement. She attracted the notice of Henri Cartier-Bresson, and in 1957, she became the first female photographer to join Magnum Photos in the US (Inge Morath had previously joined Magnum’s Paris office).

To read the full obituary, including reflections on her work by Arnold herself and comments by Magnum member Susan Meiselas, see our news story on PDNOnline. (more…)