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
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