How a single photograph saved a river: Rock Island Bend, Tasmania

How much impact can a single image really have? Can it, for example, save an entire landscape? Last weekend, I went to Tasmania! Oh man, that place is so cool. Talk about beautiful—whew! Ryan and I stayed in the guest-hut of a family that lives in a valley near Cygnet, south of Hobart. It was very tiny, made of sticks …

Nathan DaltonHow a single photograph saved a river: Rock Island Bend, Tasmania

Art and progress

Oh man! I just read this great New York Times article about the new chairman of the National Endowment for the Arts, Rocco Landesman, who goes to congress this week to defend his budget. I loved it because Mr. Landesman his colleagues talk about the connection between art, building community and economic development. Those things ARE connected, and it’s always …

Nathan DaltonArt and progress

Distribution–who’s responsible?

Is distribution the responsibility of the photographer? Traditionally, the answer to that has been “no,” but with media changing, the role of the photographer is changing too.

Nathan DaltonDistribution–who’s responsible?

The key? Intimacy.

An interview with Kathleen Hennessy, Director of Photography at the San Francisco Chronicle. She talks about editing, storytelling, and what it means to create social change through the news. And we look at two fantastic photo essays she’s edited.

Nathan DaltonThe key? Intimacy.

PhotoPhilanthropy in the field: observations from Haiti

This week, PhotoPhilanthropy founder Nancy Farese is in Haiti, documenting the work of NGO’s as they provide disaster relief. She sent us this bulletin: I am here shooting on behalf of the IRC (International Rescue Committee).  Their primary expertise in emergency response is water and sanitation, though they are quickly laying the groundwork for partnering with Haitian agencies to provide …

Nathan DaltonPhotoPhilanthropy in the field: observations from Haiti

Radical bland: unfolding the New Topographics

My first encounter with the New Topographics did not go well. I was 20, and in college, and stumbled into the Robert Adams show at the Yale University Museum of Art in 2002 when I was there to attend a lecture. I wandered up and down the walls of what seemed like endless, terrifyingly boring black and white images of …

Nathan DaltonRadical bland: unfolding the New Topographics

Image as oppressor

What if you had never seen a picture of yourself before? What if you had only seen pictures of yourself that someone you barely knew had taken? As someone who has photographed and been photographed all her life, it is difficult to imagine. But, in that situation, what kind of power does a photograph (and therefore, a photographer) have?

Nathan DaltonImage as oppressor

Incarcerated: from Guantánamo to Cape Town to San Quentin, what do we see when we look behind bars?

When we vilify people, there are negative repercussions. Making terrorists look like “terrorists” does not help us understand their motives or perspective. It does not help us find peace. It fuels war. We are fueling our own wars, not just with money or weapons or soldiers, but with images that do not promote understanding or compassion. A week or two …

Nathan DaltonIncarcerated: from Guantánamo to Cape Town to San Quentin, what do we see when we look behind bars?

Josh Schachter, Tucson’s superhero of community-based art

“To me, great images that are going to create change have a sense of emotion and question our most basic assumptions about the world.” This is Josh Schachter talking; a community-based artist living in Tucson, Arizona. Community-based photography, which gained international attention thanks to Zana Briski and the 2004 Academy-Award-winning documentary film Born into Brothels, is when artists lead a …

Nathan DaltonJosh Schachter, Tucson’s superhero of community-based art