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Photographer Profiles

View digital photo portfolios for some of the best professionals out there.  Our photographer profiles showcase a vast array of styles and provide inspirational insight from the person behind the lens.

Monday, June 11, 2007

Douglas Kirkland - For Art & Glamour

Douglas Kirkland has been at the top of fashion photography for more than four decades. In that time, he has always embraced new ideas and technologies.

Douglas Kirkland - For Art & Glamour

Douglas Kirkland is one of the true masters of his medium. He has been through more than one revolution in photography, and while those who couldn't or wouldn't adapt to the changing times were left behind, Kirkland always embraced what the world of photography offered up. That spirit of continuous renewal of vision and outlook has kept Kirkland at the pinnacle of his art.

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Monday, June 11, 2007

Doug Menuez - Journalist's Eye

Photographer Doug Menuez's years of photojournalism experience lend a fresh realism to his commercial and fine-art work

Doug Menuez - Journalist's Eye

Doug Menuez doesn't want to be pigeonholed—and it shows. The award-winning photographer has covered advertising and fashion campaigns for major brands such as Amazon.com, Champion, Microsoft and Reebok, and is a serious fine-art photographer, as well. Yet he has strong roots in photojournalism, having shot the milestone stories of the 1980s, such as the AIDS crisis, the famine in Ethiopia and the drug wars for hard-hitting publications, including The Washington Post, Time, Life and Fortune.

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Friday, June 8, 2007

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

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

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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Friday, June 8, 2007

Michel Tcherevkoff - The Image Maker

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

Michel Tcherevkoff - The Image Maker

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.

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Friday, June 8, 2007

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

Jody Dole - Everything Old Is New Again

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.

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Friday, June 8, 2007

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.

Douglas Dubler - Inspiration, Execution, Observation

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.

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Friday, June 8, 2007

Peter Read Miller - At The Speed Of Light

Longtime Sports Illustrated photographer Peter Read Miller is one of the best in the world. The magazine recently made the switch from film to all digital, and the reasons just may surprise you.

Peter Read Miller - At The Speed Of Light

Last August, the decision was made to switch the Sports Illustrated photography corps to digital cameras. Many of the photographers had already been doing some digital work, so the issue wasn't completely foreign to them. In fact, it made more of an impact on the editors at the home office than the photographers on the fields. For Peter Read Miller, the switch began in the third quarters of football games.

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Friday, June 8, 2007

Jeff Schewe - Absolute Total Control

Whether it's working up models and intricate rigging or building Photoshop files with seemingly endless numbers of layers, Jeff Schewe is serious about being in control

Jeff Schewe - Absolute Total Control

Jeff Schewe has forgotten more about Photoshop than I will ever know. He has been using it since before version 1, and has been an active consultant for Adobe since version 2.5 and an alpha tester for every version since 4.0. In that time, Schewe has done his best to help Adobe build a program that gives photographers the tools they need to achieve their vision.

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Friday, June 8, 2007

Howard Schatz - Uncommon Vision

Howard Schatz's career sprung from unlikely beginnings. In Rare Creatures, he walked a line between commercial and personal vision, and also between film and digital technology.

Howard Schatz - Uncommon Vision

Suggest to Howard Schatz that the computer is shortchanging photography, and he bristles. In his view, the end result, the beautiful image, justifies any means needed to attain it. “Working in the darkroom is a very respected craft—to alter contrast, to crop, to burn, to dodge, to bleach, to diffuse—to do all the things you can do in the darkroom,” says Schatz. “When you hear ‘computer,' it sounds like you're cheating a little bit, when in fact it's the same thing. You just have so much more control, and the range of what you can get from a negative is so much greater. So I use the computer as a digital darkroom.”

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