Paula Lerner Dies
Paula Lerner, a leading advocate for the rights
of editorial photographers and an Emmy award-
winning photojournalist, died of cancer at her home
outside of Boston on March 6. She was 52. http://
Utah Weighs Bill to Criminalize Photos
of Farm Operations
The Utah legislature is considering a law to
criminalize photography of farm operations without
permission of the farm owners, but critics say it
could be unconstitutional because many farm
operations are on public lands. http://bit.ly/x TLMPO
Lillian Bassman Dies
whose high contrast
fashion images from
the Forties through
the Sixties enjoyed a
popular resurgence 15
years ago, died in New
York City on February
13. She was 94. http://
© Li LLiAN BASSMAN
From Lillian Bassman: Lingerie,
a book recently published by
Justin Maxon Wins
The San Francisco-based photographer won the
2012 grant to complete a project exploring “the
frightening reality of how many murders go
unsolved every year in America.” Kathryn Cook won
a Judges Special Recognition Award for a project
about the 1915 Armenian genocide, while Katie
Orlinsky won the student award for her project on
Mexico’s drug war. http://bit.ly/xAayUS
Photog Sues Quincy Jones for Infringement
Photographer Michael D. Jones filed suit in Los
Angeles alleging that, after he refused to sign away
the copyright to his 1995 image of Quincy Jones for
$6,500, the legendary music producer provided it
anyway to a headphone manufacturer for use in
ads and promotions. http://bit.ly/zm4VmA
Samuel Aranda Wins 2012 World Press
Photo of the Year
The Spanish photographer won the 55th annual
contest for an image of a veiled woman comforting
an injured relative during demonstrations in
Yemen, the World Press Organization announced on
February 10 in Amsterdam. http://bit.ly/z6dmMi
© ALEJANDRO Ch ASKi ELBERg
Chaskielberg used a large-format camera to portray the effects of famine. Many pastoralist families who have lost
their livestock during the drought have migrated to and settled in areas by Lake Turkana.
have projects and then together we talked about
what would make the strongest story in order to
decide what subjects to photograph.
PDN: Were there any notable logistical challenges
PDN: How much time did you have for the
in reaching or working with the subjects?
AC: In general the subjects reacted well when we
explained how the process works, and the big-
gest difficulty was traveling in the desert at night.
Oxfam has a responsible and strict security policy,
and it doesn’t permit its vehicles to move around
in the dark. They made an exception in order to
enable [me] to do this work. Another difficulty oc-
curred when several women we wanted to pho-
tograph felt uncomfortable being out of their
houses at night, so we had to return the follow-
ing day to photograph them and then when they
got to know us better, we returned to photograph
them again at night.
AC: One week.
PDN: Did a lack of moonlight create any problems,
and if so, how did you handle that?
AC: I had only 15 minutes of good moonlight dur-
ing the whole week, and it was something I didn’t
anticipate. The images I had in mind weren’t go-
ing to happen and I had to work primarily with
PDN: What other lights do you typically use to
supplement the moonlight when you create each
tableau? Do assistants stand and hold them?
AC: I used a hand-held strobe and also a set of dif-
ferent flashlights. I managed all the lights, walking
around the scenes while I was photographing and
PDN: I gather you shoot film rather than digitally. Is
that for esthetic reasons, technical reasons or both?
AC: Photography satisfies me only when I
use film, and when I print in a wet darkroom.
Although at times I use digital capture to see
what the result of a night shot will be, and I also
use digital capture in case I can’t photograph
with film for technical reasons or because of
PDN: What type of camera do you use?
AC: A Sinar Norma 4 x 5.
PDN: What type of film do you use?
AC: Positive film: [Fujichrome] Provia 100F and
PDN: How long are the exposures, typically?
AC: Eight minutes.
PDN: You mentioned in another interview that
you are planning a road trip throughout Latin
America for a new project that uses photography
in a more experimental way. Can you elaborate at
all about that?
AC: Right now I’m “in the kitchen” for my next proj-
ect. I’m trying different color processes in prepara-
tion for a series of Latin American subjects.