DPP Home Past Issues November-December 2003
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November/December 2003




Profiles

  • Douglas Dubler - Inspiration, Execution, Observation

    Douglas Dubler is the kind of pro who likes to have complete control over his work. He operates in an environment of tight schedules and highly demanding results.

    If there's a single tenet to Douglas Dubler's approach to photography, it's this: If the image doesn't stop viewers in their tracks, the rest of the show doesn't matter. Dubler's reputation for innovative imagery, high-quality work and absolute attention to detail make him very much in demand, and has taken him to the mountaintop in the commercial photography world.

  • Jody Dole - Everything Old Is New Again

    Jody Dole strikes a creative balance between using any tool and technique—old and new—to help him get the shot

    When most commercial photographers discuss their transition from film to digital, they usually explain how they resisted at first. Then, over the course of a few years, they begin experimenting with the equipment and finally realize all it had to offer. The story usually ends with how they're now shooting almost everything digitally, but they occasionally use film when they're feeling nostalgic.

  • Michel Tcherevkoff - The Image Maker

    Michel Tcherevkoff's process of creation takes his imagination in new directions as he embraces digital technology

    The Image MakerI moved from Paris to New York in 1971. Right from the beginning I was different—my accent, my name, which no one could pronounce. In France, I had found myself in law school, miserable. I longed for a life in a more artistic, creative field. It's said that many photographers become photographers because they cannot draw. I had always been an image-oriented person, but my dreams of art school had been tempered by my feelings that I wasn't good enough at drawing and painting. Out of that frustration, my attraction to the camera was born.

  • Patrick Whelan, Joe Raedle, Justin Sullivan & Spencer Platt - War Photography: From The Field To The Cover

    Photojournalists equipped with digital SLRs, laptop computers and satellite modems took pictures that were available to their editors within hours or even minutes

    The combination of professional-level digital cameras that can withstand the rigors of hard-core photojournalism along with the ability to transmit large image files has quickly transformed the work of the combat photographer and the assignment editor.

 

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