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Over Coffee: Jorge Garcia, Founder of the NYC Street Photography Collective

NYC Street Photography By Jorge Garcia

As part of our ongoing series, we met Over Coffee with street photographer Jorge Garcia at Variety Coffee in Williamsburg to discuss Garry Winogrand, New York City, and building a photography non-profit.

Jorge Garcia, founder of the NYC Street Photography Collective, admits that he’s not a natural street photographer. “Anxiety is a big issue. I get stressed out a lot. Street probably isn’t ideal,” he says. “The guys who make better pictures are the ones who are getting spit on or yelled at.” Instead, he prefers to follow Garry Winogrand’s example. A contemporary of Diane Arbus, Winogrand’s style is loose and spontaneous — observational rather than confrontational. Garcia tries to “capture photos as they happen. Trying to not worry about composition or rule of thirds, but just going out.”

Garcia started experimenting with photography when he lived in Tampa, Florida. He bought a Pentax KX to document his honeymoon, despite knowing very little about photography. “It was cheap, and the reviews were good,” he says. From there, his fascination intensified, and his collection quickly ballooned to “7 or 8 Pentax cameras.” Then, Garcia turned his spare bedroom into a darkroom, and set about photographing just about anything he could get his hands on.

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Yet he was hesitant to try street photography at first. Tampa “is a very boring, middle class town,” he says. “It didn’t have anything special about it. A lot of people, myself included, thought that you had to fly off to like India to get good street photos. Or come to New York.” So, that’s what he did. After Garcia and his wife moved to New York, he started looking through the street photography hashtag on Instagram for inspiration. “[It’s] desaturated colors, crushed blacks, people walking with umbrellas near a warehouse.” As a result, he copied “a lot of not meaningful street photography.”

However, six months into taking pictures alone in New York, Garcia decided to branch out. “It [came from] the idea that you’re the sum of the people you surround yourself with,” he says. “You’re out by yourself, and all you have are your thoughts and your camera. It’s pretty lonely. It’s nice to have a group that understands that.” Inspired by the Photo League, a cooperative of photographers in New York from 1936 to 1951, Garcia put out a call for other photographers to join him in 2015. “I decided on a date and a coffee shop, and threw it on Reddit, Facebook groups, and on Instagram.” Two people attended his first meeting, and then three after that. “Then,” he says, “it snowballed.”

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Today, the NYC Street Photography Collective is a non-profit 501(c)3 where members share their pictures, critique, and offer insights. Rather than try to impress each other, Garcia says he encourages members to share “those photos you’re not sure of.” They still meet in a shop, but now semi-permanently at Soho Photo Gallery with a bit more open space. The collective has a board of directors. (“It’s myself, Mathias Wasik, and Sebastian Siadecki.”) They also put out a bi-annual zine. “We sometimes have themes, but more often than not, it’s an assortment of photos sequenced together. We started doing it as a way to fund shows.”

In the future, Garcia hopes to form a gallery to exhibit street photography. “Kind of like MoMA back in the day. John Szarkowski curated a show called New Documents exhibiting work from relatively unknown photographers Garry Winogrand, Diane Arbus, and Lee Friedlander.” Eventually, they plan to create educational programs and workshops for high school students to help them become visually literate. “With social media, there’s just so much noise,” says Garcia. “I think it’s a good idea to teach beyond making a photo, and teach how to look at a photo.”

Visit the NYCSC website at www.nyc-spc.com. To donate, click here.

All images copyright Jorge Garcia.

Over Coffee: Lucia Rollow, Founder of the Bushwick Community Darkroom

Lucia Rollow is a film photographer and founder of the Bushwick Community Darkroom, an oasis for analog enthusiasts and professionals in an increasingly digital world. “I don’t like sitting in front of a computer all the time. For me, that’s not what photography is,” she says. “The process of being in the darkroom and making a tangible thing from nothing, I think that’s why the darkroom has been relatively successful.”

Now a Bushwick staple with memberships, classes and workshops, and darkroom rental, the Darkroom started as “a single occupancy black and white thing” in a closet in Rollow’s basement. After graduating from the School of Visual Arts in 2009, she struggled for a year and a half to find space to work. “It was really, really terrible,” she says. After setting up downstairs from her apartment, it occurred to Rollow that others could use the darkroom as well. After all, hadn’t she just graduated with a slew of like-minded photographers? “Then the name came into play because it’s not just about creating an isolated space for me to work. It’s also about creating an environment for other photographers to work.”

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While Rollow knew that a community space wasn’t exactly possible in her basement, the seed of the idea grew. Rollow wanted a place for photographers “to share and bounce ideas off each other. There’s something about that input in the middle of that process — not just a critique at the end, […] that feedback seemed really valuable to me when I was in school.” So, she rented it out for $10 an hour.

Over time, that single occupancy space funded a move to a loft at Flushing and Knickerbocker, where they stayed for a year before moving to a slightly larger space across the hall. All the while, the community grew by word of mouth and through the Darkroom website. A few donations came in, including a large equipment contribution from Print Space in Manhattan (after they went digital). Eventually, Rollow could afford to move her community to their current home on Troutman.

She looked for a whole year before she found the right space. “I’m so glad not to have locked myself into a 1000 square foot space because I almost did on the second floor of Johnson and Porter, super tucked away,” she says. The Troutman location, at 2500 square feet, is a “half empty warehouse” that Rollow and her team renovated over the last two years.

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As for her own work, Rollow says that she has less time to devote to it now because she works full time for the Darkroom. But she cites her mother, who opted for a carbon neutral lifestyle and renounced certain digital staples, as influence. After purchasing an abandoned (now renovated, off-the-grid) house in Cambridge, Massachusetts, her mom’s “whole thing for the last 30 years [has been] environmentalism.” Rollow, for her part, is also inspired by the natural world. She works with tenuous, pictorialist landscapes. “We don’t know how much longer [it’s] going to last,” she says.“It’s really beautiful right now. I’m trying to capture that and preserve it.”

To create the right mood, Rollow uses a process called gum printing, which is slow, methodical, and deeply tactile. “You have to do multiple layers of emulsion, and in between each layer you expose it, you develop it, you let it dry, you paint on a new layer.” In a way, it’s the ultimate analog, shot on Rollow’s Hasselblad (purchased years ago “for like $800 on eBay”).

These days, she’s still eager to expand the Bushwick Community Darkroom, which has grown to accommodate more and more film devotees. “Now it’s evolving,” Rollow says. “In the back half of the space, there were a bunch of private artist studios two years ago. And now there’s one.”

To learn more about the Bushwick Community Darkroom, visit them at 10 Troutman Street or www.bushwickcommunitydarkroom.com. Photographs by Lucia Rollow.

Winners of A NIGHT WITH SONY on a Brooklyn Rooftop Photography Contest

A big thank you to everyone who came out for Focus Camera Presents: A NIGHT WITH SONY on a Brooklyn Rooftop. As part of the event, we hosted a photography contest. Contestants were limited to photographs taken that night with Sony gear in the enclosed space of the loft, and we were absolutely blow away by the creativity of everyone who entered.

At the end of the night, winners were chosen by portrait photographer Dani Diamond, and Sony Alpha Collective members Dave Krugman and Marco DeGennaro. We’re excited to share with you our winners!

Third Place: Andy Lao

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“It was my first time going to an event like that,” says photographer Andy Lao, who won third place (and an ONA bag) for his portrait with the Sony A7RIII and 55m f/1.8 lens.  “It was a really big event with a lot of people, and there is a lot of noise,” he says. “Everyone was trying to work with these models, trying to get the best shot.” So, Lao decided to pull back and watch. “I went along with it and waited for the right moment. I asked if I could just take a minute or two to get close up shots of [the model] hanging over this rail,” facing the Manhattan skyline. For Lao, his winning shot was really about showcasing the model, “who she is, where she is – how I can tell her story.”

For Lao, it was an additional honor to be chosen by Dani Diamond, whose Instagram he discovered at the start of 2018.  “He inspired me to pick up the camera and shoot portraits. So, I’ve been doing that for 3 months. It was such a rewarding moment to receive third place from the photographer who inspired me.”

Second Place: Enrico Paul

“Other than experimenting with different Sony Cameras and lenses, I enjoyed networking with other photographers,” says second place winner Enrico Paul, whose portrait captures a close up of a fierce woman meeting and rejecting the gaze under intense, reddish lighting. “It’s supposed to be intimate and inviting; but with a hint of fear because she isn’t smiling,” he says. “She is staring back, judging us. She sees us just like we see her. The reddish yellowish glow was to magnify that intensity. The last thing that this image is supposed to convey is a breach of privacy. It’s almost like she’s looking through blinds.”

As the new owner of an a6000, Paul is excited to try out his first Sony camera. “After using the Sony Cameras, they are opening my collection and horizon for the brand. I am going to use the a6000 to capture more beautiful moments.”

First Place: Steve Milberg

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For Steve Milberg, capturing the winning photograph was about ingenuity and improvisation with the Sony A7RIII and 24-105mm lens. Instead of using one of the models, Milberg’s friend Sue Magnano (who he credits with helping him win) found another photographer, Julian Olarte, in the elevator. “He was not one of the models, obviously,” says Milberg. “I asked him if he’d be interested in having his portrait taken, and he agreed. Basically, we took him out. We borrowed an ice light.” Then, when the photographer who lent them the light asked for it back, Milberg “noticed a light in the back that had very good lighting” and used that instead. “It was like a collaborative effort,” he says of the other photographers. “Just a really nice group of people.”

As an enthusiast and IT professional during the day, Milberg hopes that his new Sony A7RIII will help him shift into a more professional mode. “I enjoy taking low light photos and landscapes and nightscape photos, and the low noise of the sensor is going to be a game changer.”

We loved seeing everyone at Focus Camera Presents: A NIGHT WITH SONY on a Brooklyn Rooftop. There was so much talent, but ultimately, we could only pick three winners. Congratulations to Andy Lao, Enrico Paul, and Steve Milberg on their beautiful shots! We wish them the best of luck with their new gear.

Overview: Microsoft Surface Pro with LTE Advanced

Announced last October but now available to the general public, the new Microsoft Surface Pro with LTE Advanced is a work-anywhere device for creatives and business professionals who know that inspiration can hit at any time.

Light, versatile (switches between laptop and tablet easily), and mobile with lightning-fast LTE connectivity, the  Microsoft Surface Pro with LTE Advanced features 13.5 hours of video playback, 50% longer battery life, and the fastest startup of any Surface Pro.

Versatility

As a best-in-class laptop, the Surface Pro supports pen and 10-point multi-touch. Meanwhile, the Surface Pro LTE Advanced also transforms easily from laptop to a powerful tablet. Just close the kickstand!

LTE Connectivity

There’s some question as to whether you really need LTE connectivity, and we are here to say yes. Don’t hunt for sketchy public Wi-Fi! Especially if you live in a city, the difference between slower networks and LTE is super noticeable. With the Surface Pro LTE Advanced, seven custom antennas keep you connected. Ideas come at you fast, but LTE connectivity matches your creative speed.1-Cobalt-Surface-Pro-LTE-Front-Angle-Left-Hero-with-Pen_2000x2000 (1)

Mobility

The 50% longer battery life and faster startup means the Microsoft Surface Pro with LTE Advanced is a great work-anywhere device. With 13.5 hours of video playback, you can power through final projects with ease.  Plus, the new fanless cooling system makes it even quieter – so you can work without disrupting anyone.

Quick and versatile, the Microsoft Surface Pro with LTE Advanced delivers. Put your security and speed concerns to rest with seamless LTE connectivity. Work where you like thanks to fanless cooling, longer battery life and extended video playback.

How to Shoot Low Light Photography without Flash

Low light photography isn’t always easy. Managing that exposure triangle is tricky! But if you want shoot anywhere with less than ideal light conditions, it’s something you need to learn. We recommend starting with a fairly solid mirrorless or DSLR (no point and shoots, please!) and then follow our tips below.

Grab a Tripod

You need something to stabilize your camera, whether it’s a tripod, monopod, or even a clamp. If it’s windy outside, we recommend adding a bean bag to weigh down your tripod. You need devices in place to steady camera shake.

Compromise with Shutter Speed

Shutter speed is tricky here. On the one hand, slow shutter speed translates to blurry images. However, slower shutter speeds also let more light in. The tripod should reduce camera shake, letting you operate at slower shutter speeds without blurry images.daniel-olah-166544-unsplash

Crank Up the ISO

Increased sensor sensitivity lets you capture light faster. Newer cameras operate with less noise at higher ISO. So, crank it up! In fact, images up to 6400 ISO are often still good.

Open the Aperture

Open your aperture wide – as wide as possible, usually. If you want to capture more of the background in focus, then you need to compromise with a narrower f/stop. Use a faster lens, too, as they usually feature larger apertures. A fast lens with an aperture like f/1.4 lets you quicken your shutter speed dramatically to freeze motion.aquachara-457121-unsplash

Shoot in RAW

It’s no secret that shooting in RAW gives you more adaptability in post-production, while JPEG offers only limited options. If you over or underexpose during a low light shoot, RAW gives you the freedom to fix some of those errors.

Shooting in low light is about learning where to wiggle. You may need to push the exposure triangle to accommodate a low f/stop, high ISO, and as slow a shutter speed as you can manage without blur. Maybe not all at once! But learning where you can push one side of the triangle a little more will take your pictures from dark to workable.

How to Get the Best Parade Photography

Whether it’s St. Patrick’s Day in New York or Mardi Gras in New Orleans, there are a few guidelines to consider when photographing a parade. Apart from knowing the route, ditching the tripod, and joining (yes, joining!) the parade as a volunteer, check out our parade photography other tips below!

Show up Early

Wake up early and get a good spot! While it’s great to photograph crowds, you came to the parade to photograph – well, the parade.

Know the Route

Check the route beforehand. This is especially helpful if you’re familiar with the city. Otherwise, do some scouting a few days before. If you know that tall buildings will likely shade large portions of the route, plan accordingly. Or, pick a spot that you know has better light. If all else fails, follow the professional photographers.

Ditch the Tripod

We rarely say this, but leave your tripod at home! Instead, travel light with minimal gear — just a strap if you can. Unless you’ve picked the perfect spot, move around! Use your feet to capture the diversity (and angles) of the day. If you absolutely need to stabilize your image, we recommend a monopod.

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Join the Parade

If possible, join the parade! This is sometimes easier said than done, but parades (especially smaller ones) encourage people to join in. Take shots from the inside. If you don’t think you can’t join on the day of, then plan ahead and consider volunteering to help out. Just remember to ask if you can bring your camera!

Use a Telephoto

Telephotos are heavy, but worth the slog. A workhorse 70-200mm will suffice. There’s so much to capture in a parade, that a telephoto is necessary to grab shots at different distances.sutirta-budiman-563943-unsplash

Freeze the Action

Your ideal shutter speed is somewhere between 1/250 and 1/500s to capture clear shots of the parade in motion. Turn on autofocus, too!

Get Your Subject’s Attention

Candid shots are great, but try flagging down some members of the parade. Let them know you’re taking their picture, and they’re likely to give you a bit more to work with in terms of enthusiasm. It’s a parade, after all! Mix your candid shots with a few of these portraits for some added dimension.Parade photography tells a story. Joining the parade as a volunteer, official photographer, or even as a parade crasher brings you closer to the action. Use a telephoto lens to grab the dynamic shifts of the parade, and then grab your subject’s attention for a few fun portraits. Leave your tripod home for a bit more range on foot, and freeze the action by putting your shutter speed somewhere between 1/250 and 1/500s. Otherwise, enjoy the day!

What You Need to Know About College Basketball Photography

You might not make it to the floor of March Madness this year, but that doesn’t mean you can’t shoot college ball! Honing your photography skills at regular college games is a great way to practice (not to mention, make connections) for Sweet Sixteen, Elite Eight, and Final Four. Between gaining official access, learning to navigate other photographers, and picking the right lens, here are our top tips for better college basketball photography.

Get to the Floor

If you can swing official access, it’s worth it to shoot from the floor. Start with smaller games and smaller colleges. The smaller the school, the more likely they are to grant official access to photographers without connections. (They want free exposure.) If you get in early, you’re likely to get access to bigger games later in the season. If you don’t know where to ask permission, seek out the sports information officer, or SID.james-motter-499417-unsplash

Make Space for Other Photographers

Especially if you’re on the floor, it’s important to respect your fellow photographers. Some of this is kindness, but part of it is practicality. The other photographers might work as photojournalists for news outlets, and you don’t want to upset potential coworkers or even possible employers. Take care to give them space, and don’t disrupt their shots!

Shoot in High Speed Burst

Like most professional sports photography, there’s an aspect of spray and pray at play here, and an entry level DSLR won’t cut it. Turn on high speed burst mode. You want to use a camera with solid AF tracking to keep subjects sharp even as they fly between hoops. While many of your pictures end up looking the same, you’re less likely to miss a crucial shot. Plus, since burst mode captures so many pictures, we recommend shooting in JPEG instead of RAW. While you lose some versatility in post-production, you gain a lot more space to store all those shots.

Use a Workhorse Lens

You won’t need a super telephoto zoom like in baseball or football, but a 70-200mm workhorse lens is a good fit for basketball photography. It lets you zoom in and out of the action as it develops in real time. However, if you have a secondary body, 50mm lens is a fairly versatile prime to move around with, though we don’t recommend it for a primary shooter. max-winkler-380937-unsplash

Choose Manual Settings

Yep, switch to manual. Since the players move fast, we recommend shooting at 1/500th of a second and ramping up the ISO to compensate for light. Nothing crazy. Like 3200 to 6400. Gyms look bright, you’re still working indoors. If you’re shooting with a solid low light camera, shots at those higher ISOs are still usable. Open up the aperture, too. If you’re shooting with a 70-200mm f/2.8, open it all the way.

Look to Crowds

As with other sports, some of the best shots are in the stands. While you should focus most of your energy on the players, check the fans out, too! Passionate masses make for colorful photographs. While most fans leave to grab food or stretch their legs during half-time, keep your camera ready during time-outs. That’s when you’ll get some of the best shots.jc-gellidon-361849-unsplash

Shooting college basketball photography starts with location, location, location. Get on the floor, and once you get there, play nice with the other photographers. Switch to manual for better light control, and be sure to turn on burst mode (it’s not cheating). We recommending shooting with a workhorse lens like a 70-200mm f/2.8, especially if you only use one camera body.

New Release: Laowa 25mm f/2.8 2.5-5X Ultra-Macro Lens

Venus Optics announced a new Laowa 25mm f/2.8 2.5-5X Ultra-Macro Lens, which is great news for photographers who love to capture tiny details and hidden worlds. You can expect great image sharpness thanks to the “8 elements in 6 groups design with 1pc of low-dispersion element.”

As with all ultra macro lenses, you get more than 1:1 magnification. In this case, it’s 2.5:1 to 5:1, so photographers can access macro subjects with different sizes. Optimized for close focus, it features an “extended working distance” of 40mm at 5x magnification. So be careful when you’re working with small subjects – you don’t want to poke them!Size ComparisonWeighing in at less than 400g, this compact lens is easy to carry from studio to field. The optional rotating tripod collar enables photographers to compose at lots of different angles, which is great for maneuvering through macro scenes.  It’s also still super durable with a metal body, especially for a lens that retails for under $400.

Available with Canon EF, Nikon F, Pentax K & Sony E mounts, the Laowa 25mm f/2.8 2.5-5X Ultra-Macro Lens is ready for preorder.

Over Coffee: Shawn Inglima, Photojournalist Wedding Photographer

As part of our ongoing series, we met Over Coffee with photojournalist, wedding photographer, and product photographer, Shawn Inglima at The Flat’s BKSpeed Coffee to talk documentary, harried brides, and going Nat Geo. 

A photojournalist by training, Shawn Inglima knows what it takes to get the story, whether it’s breaking news or the big day. “Couples like that I’m a photojournalist because I can go all Nat Geo at their wedding. I’ll hide in the bushes to get the framing right,” she says. “There are some wedding photographers who do more editorial, like strobe lights everywhere and dramatic poses. I tell the couples that I’m more of a candid photographer. There’s more emotion to that.”

Inglima became interested in wedding photography after a particularly disastrous encounter with her sister’s own wedding photographer, who arrived an hour late, missed lacing up the wedding dress, and then asked the bride to recreate the scene all over again. Inglima, unimpressed, told her parents to expect the worst. “We got the photos back, and it was foreheads cut off, overexposed. I thought to myself ‘I can easily do this.’

As a new graduate, photojournalism jobs were hard to come by, so Inglima submitted her portfolio to wedding companies instead. Canon 5D Mark III in hand, this lucrative business decision quickly evolved into its own form of artistic expression. “I love documentation,” she says. “I research where the ceremony is going to be, try to think different angles I want to shoot at.”

With a knack for storytelling, and a willingness to go the extra mile, it’s a wonder that more photojournalists don’t find their way into wedding photography. “My degree in journalism has helped me a lot […] because everything is becoming storytelling,” she says. But Inglima is a rarity in her field. “I’ve talked to other photojournalists, and they would do weddings for one day, then come to me and say ‘it’s not for me.’ It’s a lot of patience, a lot of energy. I’m very laid back, but at a wedding I try to get the energy going, to get people to laugh. The couple is relying on you.”

Of course, that’s not always easy. “It took me a long time to learn how to control groomsmen,” she says. Once, when a rowdy groomsman harried a nervous bride, Inglima dropped her enthusiastic demeanor. “He was playing music really loud, and the bride was anxious because no one could hear each other and she didn’t want guests to see her. Just as he was about to put his iPhone into a glass cup to make it louder, I said ‘get out NOW.’” The bride, for her part, was deeply grateful.

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Besides a photojournalism background, Inglima also works as a product photographer for Stuhrling Original. She creates lifestyle images and macro shots of watch details, which comes in handy for wedding photography, too. “The bride wants accessories to be shot. She wants documentation of everything.” From shoes to the dress to jewelry and flowers, the objects of the wedding tell their own story. “I prefer the items on the person,” she says. “The dress always looks better on, unless your hanger is a ghost.”

Ultimately however, whether you’re a photojournalist, studio photographer, or product photographer, transitioning into wedding photography is more than just storytelling, technique, and talent. “You have to be a people pleaser,” says Inglima. “It’s kind of like customer service. You want to make people happy.”

All images copyright Shawn Inglima. 

5 Female Photographers You Need to Know for Women’s History Month

While historically a male dominated field, women have been a part of photography since its inception. Female photographers established early daguerreotype studios, experimented with cyanotypes, and became fine portrait artists throughout the nineteenth century. For Women’s History Month, we’re thrilled to showcase some of our favorite female photographers from across history.

Dorothea Lange

You know Dorothea Lange. Even if you don’t recognize her name, you know her work. Her assignment from the Farm Security Administration during the Great Depression brought us the now iconic 1936 Migrant Mother, a portrait of one migrant laborer and her children. It was one of the twenty-two photographs placed alongside John Steinbeck’s The Harvest Gypsies series in The San Francisco News in 1936.

Migrant Mother by Dorthea Lange

Perhaps lesser known but equally important was Lange’s work with Japanese internment camps. She traveled through California, photographing the incarceration of Japanese families following Pearl Harbor in 1941. While the images were never seen during the war (the army found them too critical), you can see them now in the National Archives.

Diane Arbus

Daughter of the Fifth Avenue Russek’s fortune, it has been suggested that Diane Arbus spent her life outrunning the ease (and confines) of wealth. Known for documenting marginalized groups like giants and circus performers, Arbus almost succeeded — at least in art. Her intimate black and white portraits investigate questions of identity and spectacle, whether probing the differences between twin girls or a Jewish giant dwarfing his own parents.

Identical twins, Roselle, NJ, 1967 by Diane Arbus
Identical twins, Roselle, NJ, 1967 by Diane Arbus

In 2015, a signed copy of one of her most famous photographs, Child with Toy Hand Grenade in Central Park, N.Y.C. 1962, was sold for seven hundred and eighty-five thousand dollars. The MoMA had purchased it in 1964 for seventy-five. (Impressive.)

Annie Leibovitz

Oh, Annie. This famous celebrity photographer has captured everyone from John Lennon and Yoko Ono to Miley Cyrus and the Queen, and while it’s a little passé to say so: she’s the best at what she does. Having worked for Rolling Stone, Vanity Fair, and Vogue, you’ve doubtless seen more than your fair share of famous Leibovitz covers.

Her crisp, well lit style combines elements of documentary with theatrical staging techniques. While she uses lots of different gear, some past favorites include the Nikon D810 and Hasselblad cameras. But don’t think she’s just commercial. The National Portrait Gallery and the Smithsonian American Art Museum have both shown her photographs.

Berenice Abbott

Poet, sculptor, student of theater, Berenice Abbott was a real Renaissance woman in addition to a photographer. Born in Ohio, she lived in New York, Paris, and Berlin, where she formed important connections with artists and the cultural elite, whom she later photographed. Publisher Slyvia Beach once famously quipped that, “To be ‘done’ [photographed] by Man Ray or Berenice Abbott meant you rated as somebody.”

Blossom Restaurant, 103 Bowery, Manhattan by Bernice Abbott
Blossom Restaurant, 103 Bowery, Manhattan by Bernice Abbott

A significant link between the art of photography and other cultural forms in Paris, Abbott also photographed New York City starting in early 1929. She captured the transitioning neighbourhoods and buildings of a now-lost New York, and went on to advocate for documentary style photography.

Cindy Sherman

Painter turned photographer, Sherman says that she “was meticulously copying other art, and then I realized I could just use a camera and put my time into an idea instead.” And boy, did she ever. Sherman used thrift store clothing to create different characters for conceptual self-portraits, which she claims were not autobiographical. A recipient of the McArthur Fellowship, her photographs explore identity and power.

Untitled Film Still #17' by Cindy Sherman
Untitled Film Still #17′ by Cindy Sherman

Whether documentarists like Dorothea Lange or Diane Arbus, portrait photographers like Annie Leibovitz and Berenice Abbott, or surreal fine art photographers like Cindy Sherman, female photographers have made their mark on art and history. We encourage you to learn more about these brilliant women, and women like them!