The Photo Review is a critical journal of international scope and readership. Publishing since 1976, The Photo Review covers photography events throughout the country and serves as a central resource for the Mid-Atlantic region. With incisive reviews, exciting portfolios, lively interviews, the latest in books and exhibitions, The Photo Review biannual journal has earned a reputation as one of the best serious photography publications being produced today. Our writers — including A.D. Coleman, Stephen Perloff, Shelley Rice, Peter Hay Halpert, Barbara L. Michaels, Jean Dykstra, and Mark Power — have weighed in on subjects as varied as the posthumous publication of work by Diane Arbus, women in photography, the growth of digital media, the historical movement from Pictorialism into Modernism, etc., etc. In his ongoing series, “The Censorship Diaries,” Editor Stephen Perloff was in the forefront in covering the controversy over funding for the NEA and censorship of the arts.
The Photo Review has earned a reputation for lucid and incisive writing aimed at an intelligent and informed audience, but free of the cant and jargon that infects much contemporary writing about art. Thus, both arts publications and the popular press have looked to us for interpretations of what’s happening on the photography scene. Articles have been reprinted in such publications as Afterimage, To, Photography in New York, American Photo, and others.
Editor Stephen Perloff, a respected writer, educator and photographer, has been interviewed for The New York Times, The Toronto Globe & Mail, The Wall Street Journal, the Philadelphia Inquirer, Photo District News, and the New York Observer. He has received two critic’s fellowships from the Pennsylvania Council on the Arts and the Colin Ford Award for Curatorship from the Royal Photographic Society.
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Wasteland. Photo: Tony Ward, Copyright 2024. Available at Auction on October 26, 2024.
TW: Do photographers continue to drop off print portfolios these days to potential clients, or is that way of getting assignments a thing of the past?
KB:I think there is no one way of showing work. I think that these days most photographers do prepared digital presentations on an Ipad or laptop.. I personally really like having a really nicely printed analog book and promo pieces.. one of the reasons I like this technique is specifically because most people aren’t doing it that way. I do also have a digital presentation that can augment the analog stuff. But, at the end of the day, each photographer chooses his or her own way really.
TW: Can a NYC photographer make it without an agent or does word of mouth continue to be an effective business strategy?
KB: I’d say that there isn’t one way for doing these things. I have done both and also a hybrid of both. When I didn’t have an agent, I would hire agents to negotiate my fee onceI got a client that was calling and inquiring about a big job. I don’t like to negotiate about my work and then be on set with the same people I was just negotiating with. I like to be the good cop. Also, I think it really helps to have someone on your side that is current on all the legalities and usage ratios and concepts. I take pictures.. I want someone on my team that deals well with all of that other stuff, That being said, I know photographers and other artists that are wildly successful without agents. i’ve just preferred to do it the other way.
TW: What is the responsibility of a photographers agent?
KB: Well, Ideally and most importantly they deal with all the technicalities.. usage, percentages, being the bad cop in negotiations. I want my agents to know more people than i do. I want thoier scope of the politics of the industry to be wider than mine.. or at least different. I want them at the parties im not at. i want them to be working while i sleep ha. Contracts are so complex these days that i NEED them and the team at teh agency to be able to make sense of all the legalese. Agents are meant to make the photographers job easier.. The photographer’s job is to be a photographer.. not a lawyer or any such thing. Photographers are problem solvers and I think it’s logical to delegate the responsibilies that we may not be the best at.I deally the agent is another set or sets of eyes on the photographers work. Sometimes agents see trends in the industry that we as photographers don’t. There are many photographers who have work that begins
TW: Do you own the copyright to your images? Or do you or your agent sign work for hire agreements?
KB: Depends on the usage for the job. In most cases yes, I own the copywrite.. but part of usage negotiations are exactly that. Most of the time it is not an outright buyout in perpetuity.. Clients usually dont do that because it’s costly. Most of the time they negotiate an exclusive arrangement that overs a set amount of time (2 year exclusives seem to be popular). Fun example: I shot a campaign for MGM Grand right before the pandemic hit. there was a two year exclusive on those images.. Meaning, the brand could do whatever they wanted with those images within that time frame. the images were of lots of beautiful people having a good time in the enclosed space of the casino. the pandemic hit and all those kinds of images could not be used.. They just weren’t a realistic portrayal of what the world was like during lock down. Once the pandemic subsided, MGM wanted to used them.. but by this point the 2 year exclusive had expired and they had to pay me my fee AGAIN to use the images! free money is the best kind!
TW: How often do you ask your subjects for model releases and in what context?
KB: Most of my subjects tend to be celebrities or people who we casted specifically for the job. The releases in those cases are handled by the line producer at the agency or magazine. If I’m shooting ” real” people, I generally ask them to sign a release depending on what’s going on on the shoot.
TW: How much can a photographer expect to earn for a billboard ad on Times Square?
KB: Well, its not really calculated in that way. fees are usually a product of usage ( where the ad will run and for how long ) If the ad is running in Times Square, its likely that it is running elsewhere and the usage has some detail in it that says the ad can be used outdoors etc. So, it kind of runs the gamut.. the first as I shot that ran in Times Square I think I was paid just a few thousand dollars.. I got a 70k day rate for another.
TW: Has AI had an impact on your workflow regarding commissioned assignments?
KB: Not in a major way. I do use the Adobe Ai in photoshop on occasion.. “Generative fill” certainly saves time in retouching. I feel that AI is a buzz word that encompases a bunch of stuff.. most of which isn’t “artificial intelligence” and most of which has been with us in some form for a long while.
TW: For celebrities, do you prefer to shoot in studio or location?
KB: Both. Either. All of the above depends on the story that needs to be told.
TW: Who is or was the most influential photographer that inspires your creative ambitions?
KB: Too many to mention really. inspiration is everywhere if you seek it out. I LOVE William Eggleston, Avedon, Guy Bourdin is probably my favorite photographer of all time. I love Kwaku Alston, Terry Richardson, David LaChappelle, Tony Ward, Matthew Salacuse, Brooke Nipar, Guy Aroch and many many others.
TW: If you were to pick one assignment that you’ve had thus far, which one would you say was your favorite and why?
KB: I really think that when I shot the 2017 trade campaign for Viacom that was a really big statement for me. It’s one of the biggest shoots I’ve ever done and one of the most fun. For two weeks I shot in ads NYC and LA for ALL the Viacom properties. Viacom ( now Paramount ) was MTV, VH1, BET, Cartoon Network, Country Music channel etc. the assignment was to shoot one celeb from each property each in complete and subversive situations.. This involved multiple set builds and hundreds of extras.. Lots of moving parts, VERY challenging. This shoot felt like something that I was training for for all of my career. ALL, the skills that i had acquired ended up being used on that shoot. and I love the way the work came out.
TW: You are an excellent karaoke performer. How did you get into it and what do you like most about stage performance?
KB:I’ve learned many life lessons from Karaoke: the concept of selling an idea, getting people on your side, convincing people to be excited about what you’re excited about and finally, being able to just let go! That’s Karaoke. there are many ideas that Karaoke taught me that are VERY applicable to my professional photography. including how to run a set with dozens of people on it. Being a photographer can sometimes be like being on stage!
I got into Karaoke through a friend of mine named Chris Goldteeth, who ran a party here in the city on the Lower East side called Karaoke Killed the Cat. It was an amazing party and we even went on a world tour in 2007!
TW: If you were to make a comparison to your photography business and your chess game, what is your next move?
KB: Chess has long been seen as a game that is a measure of intellect and intelligence. This is NOT true. Many chess players are idiots. Chess is more about pattern recognition and prioritization.
Chess teaches us to be creative in our solutions and being able to think and put yourself in your opponents shoes.. In that way, chess teaches a form of empathy. Chess also teaches patience.
In chess, one should never make a move without a reason. Good chess is very efficient that way. Energy and time should not be wasted on extra actions. When it comes to my career, I think many of these principles apply. I think I’ve played a good game so far. I think the overall strategy is: identifying patterns and trends, applying knowledge you have learned from past games and being aware of how they fit into the games of today and being able to adjust actions to fit current circumstances. Chess theory grows and evolves over time. Yhe more we learn , the more novel concepts are introduced into the game. We must be flexible and tolerant of new ideas.. This applies to chess, life and photography.
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To access Behind The Scenes videos of the Kareem Black feature, check out our new YouTube channel here:
I’ll never forget when I first met Kareem Black in 1997. He was a student at SVA School of Visual Arts in New York. While finishing up his photography training at SVA he made an appointment to visit me at my studio in Philadelphia to ask my advice on becoming a professional photographer. He often reminds me that I was the first real photographer that he met. During one of his visits, I asked him to model for a picture for an upcoming book, called Tableaux Vivant’s. The picture is one of my favorites from the book, of which Kareem received a copy during his visit.
The Figure. Photo: Tony Ward, Copyright 2024.
Our meeting had an impact because when he left SVA and started a career as a pro, he took off! Kareem and I have stayed in touch remarkably 25 years later, and this month of May 2024 I’ve decided to reach out and celebrate his success by inviting back to his home town for a feature shoot. Kareem was thrilled. So was I and the results of the cover shoot speaks for itself.
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To access more behind the scenes with photographer Kareem Black, check out our YouTube channel: https://youtu.be/0UEYAERF1IM
Photography and Set Design: Tony Ward, Copyright 2024
Creative Direction: KVaughn
Lighting Assistant: Anthony Colagreco
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In recent years, Virtual Reality (VR) technology has made significant strides in revolutionizing the way we approach exercise and fitness. One particularly exciting application of VR in this realm is the development of boxing programs designed to provide users with engaging and effective workouts. As of the latest information available, VR headsets equipped with immersive boxing simulations offer users a dynamic and entertaining way to improve cardiovascular health, enhance agility, and build strength.
The latest VR headsets boast advancements in display resolution, refresh rates, and tracking accuracy, providing users with a highly immersive and realistic experience. With improved ergonomics and comfort features, these headsets ensure that users can engage in extended workout sessions without discomfort or fatigue. Additionally, the integration of motion tracking technology enables precise and responsive gameplay, allowing users to execute punches, blocks, and dodges with fluidity and accuracy.
In terms of boxing programs specifically, developers have introduced a variety of VR experiences tailored to different fitness levels and preferences. Whether users are looking for high-intensity interval training (HIIT) workouts, skill-based drills, or immersive boxing simulations, there is a diverse range of programs available to cater to their needs. These programs often incorporate gamification elements, such as leaderboards, achievements, and progress tracking, to motivate users and enhance their overall experience.
One notable aspect of VR boxing programs is their ability to simulate real-world training scenarios and environments. Users can spar with virtual opponents of varying difficulty levels, practice combinations on punching bags, or engage in shadowboxing routines in immersive virtual arenas. The dynamic nature of these simulations keeps users challenged and engaged, making workouts more enjoyable and effective.
Moreover, VR boxing programs offer a level of accessibility and convenience that traditional gym settings may lack. Users can engage in workouts from the comfort of their own homes, eliminating barriers such as travel time, gym memberships, or equipment availability. This accessibility makes VR boxing programs particularly appealing to individuals with busy schedules or those who prefer exercising in a private environment.
In addition to physical benefits, VR boxing programs also offer mental and emotional rewards. The immersive nature of VR experiences allows users to escape from their surroundings and immerse themselves fully in the workout, reducing stress and increasing mindfulness. Furthermore, the sense of achievement and progression gained from mastering new skills or achieving fitness goals can boost confidence and self-esteem.
Overall, the latest developments in VR headsets and boxing programs for exercise represent an exciting frontier in fitness technology. With their combination of immersive gameplay, dynamic workouts, and accessibility, VR boxing programs have the potential to revolutionize the way we approach fitness and exercise, making workouts more engaging, effective, and enjoyable for users of all ages and fitness levels.
Unveiling Your Professional Brand: The Art of The Portrait
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Text by Tony Ward, Copyright 2024
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In today’s digital age, first impressions are often made through the lens of a camera. A professional portrait serves as a powerful tool to convey your personal brand, establishing credibility and leaving a lasting impact on potential clients or employers. However, achieving that perfect shot requires more than just a quick snapshot – it’s an investment in your professional image. So, what can you expect when you invest in a professional portrait session with Tony Ward Studio?
Firstly, you can anticipate working with a skilled team who understands the nuances of capturing the essence of your personality and profession. Our experts possess a keen eye for lighting, angles, and composition, ensuring that your portrait radiates confidence and authenticity. We will guide you through the process, offering direction on posing, expressions, and wardrobe choices that best complement your desired image.
In addition to the photographer’s expertise, you’ll have access to a professional studio setting. Tony Ward’s newly constructed studio is designed to create carefully curated lighting and backdrops that align with your personal brand. From voluminous cloud backdrops like the one used for influencer Katie Kerl’s portrait, or to more creative environmental settings like the studios recent creation of a set depicting a French garden at night in Paris with the Eiffel Tower in the background, Tony Ward Studio provides a controlled environment to capture your ideal look.
Katie Kerl. Photo: Tony Ward, Copyright 2024
Moreover, a professional portrait session may include a comprehensive styling consultation with our in house creative director, KVaughn. Whether you require assistance with hair and makeup or need guidance on selecting the right attire, our team will ensure that every detail is thoughtfully considered to enhance your overall look and appearance.
Once the session is complete, you can expect a selection of high-quality, retouched images to choose from. A veteran photographer like myself understands the importance of post-production editing, meticulously refining each shot to achieve a polished and powerful result. This attention to detail ensures that your final portrait portrays you at your best, showcasing your confidence and professionalism.
Investing in a professional portrait is an investment in your personal brand, career aspirations and your acquiring a piece of fine art. While the cost may vary depending on your needs, the benefits of a well executed portrait is invaluable. It’s an opportunity to create a lasting first impression, establish credibility, and present yourself as a competent and trustworthy professional in a visually driven world.
