Who in the hell is Bill Pierce anyway?

I gotta throw in my 2cent's and say a mighty welcome Mr. Pierce. I'm soaking these threads up, and hope to learn alot here from the ol school....notice I didn't say old.😉 🙂

Greg
 
sirius said:
What are some of the best schools to learn photojournalism these days? or does it matter?

My feeling is that you study what is in front of the camera - architecture, comparative religion, sociology, literature, art. The camera itself is pretty simple. So you probably just end up at a good university.




What amazes me is how photojournalists deal with the pace and still can be creative. With the convenience of digital, it seems the expectations have skyrocketed as well.

Yes, it's sort of professional football for people who weigh under 170 pounds.
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pesphoto said:
Isn't it true that some photojournalists are asked to shoot video nowadays?

Absolutely. You will also see a series of stills, an essay, accompanied by location sound and narration. This is all material that sits well not only on TV, but on the Web. This year Emmys were awarded to this material. I think the PDN site has some info on the award winners and links to some of the presentations.
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Bill, is there still a place in this world for simple, b/w, well composed images that don't rely on visual "tricks". Just good composition and good intentions by the photographer? Do you have any influences in particular?
Say Kertesz, Callahan, Friedlander, Brassai, etc?
 
pesphoto said:
Bill, is there still a place in this world for simple, b/w, well composed images that don't rely on visual "tricks". Just good composition and good intentions by the photographer? Do you have any influences in particular?
Say Kertesz, Callahan, Friedlander, Brassai, etc?
Click to expand...

Some days I think we are doomed to see nothing but second (third, fourth, fifth?) hand imitations of some of the exceptional conceptual photographers like David Hockney, Jerry Uelsmann or Francesca Woodman. I don't know what angers me more, the awful photographs or cheapening the arena where some of the real artists of the photo world hang out. Then I see one of Woodman's small prints (well composed images that don't rely on visual "tricks") and feel better.

My own arena, documentary or journalistic photography, has it a little easier. We get judged on the worth of the image we made and the worth of the subject matter. Since we didn't have to create the subject matter the way the conceptual photographers did, we have an easier job. Right now there is an Edward Weston show at the Getty in Los Angeles that would knock your socks off.

As far as my influences... (1) Dr. Tuttle who had a Ciroflex and a Bush Pressman and took pictures of trees and retouched them with charcoal. (2) Wally Stein, the single Pittsburgh AP photographer who outshot the 17 INS (later UPI) photographers. I have never seen anyone work so hard and for such long hours. His wife was incredibly happy when he retired until he became a rodeo clown. (3) Gene Smith and David Vestal, two exceptionally generous photographers whose pictures at first glance may seem extremely dissimilar. Learning from both of them I got a balanced education. (4) Carl Mydans who blessed so many of us around Time-Life. He taught by example, and his lesson was how to be a good person.
 
Bill, your mention of David Vestal reminded me of how much his books and articles enriched my study of the craft of photography -- as your articles did.

BTW, did you ever run into Ralph Hattersley? His 'beginner's columns' got quite a few of us into the craft and gave us the confidence that we could learn photography. Hattersley was not, I think, a notable photographer, but he was an enthusiastic photography teacher.

Gene
 
GeneW said:
BTW, did you ever run into Ralph Hattersley? His 'beginner's columns' got quite a few of us into the craft and gave us the confidence that we could learn photography. Hattersley was not, I think, a notable photographer, but he was an enthusiastic photography teacher.

Gene
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Only a few times. We really didn't know each other. But I know of few of his students and their work. When you unleashed both Pete Turner and Jerry Uelsmann on the world, you're good.

Bill
 
Hey Tom -

The people over at injetmall.com, who make the piezography system , are releasing a 6 or 7 ink black and white system that will print on GLOSSY paper. The inks are carbon based, so they will last for a very long period. initially they are offering a selinium version, but there will also be a warm and cool tone set.

Supposedly the system meets or exceeds the Dmax of a good silver print.

It will run on Epson printers and you can use the new papers that try to emulate the look and feel of traditional fiberpaper.

I have high hopes for this system

HL


Tom A said:
Pierce, I have been trying to convince Epson to make a a 4-5 cartridge dedicated
black/white printer since last photokina (2006). I have a loose promise of seeing (or hopefully getting) a prototype next year in Cologne. Stephen and I ended up at the same lunch table as a couple of the project guys from Epson Japan. I explained what i REALLY wanted and in spite of slight linguistic challenges (explain spot-varnish function to a non English speaker!) we managed to get them interested.
Every one keeps telling me to use the big monsters with 8 cartridges, out of which 6 have color in them. My feeling is that if I want color, I shot Velvia or K-chrome, but when I shoot black/white I want the control and no interference from any stinking color cartridges. A matt black, a glossy black, a 50% grey and a 18% grey and the spot varnish for glossy image surface on matt paper.
I suspect that one of the problems with companies like Epson/HP etc is that most of the development guys have never seen a really good fibre based print. They should all be forced to go to Tucson and see the Gene Smith archive, particularly the Pittsburgh sets of prints. Then they would now what to aim for!
Well, they have another year to come up with this. Of course I also wanted larger bottles for the ink etc. They claimed that there could be problem with settling of the pigment - I told them to put a small ultra sonic platform under the ink-bottles (OK, I think they got it, but it could be that we will have to kick the bottle rack at preset intervals instead!).
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pesphoto said:
wow, you worked with Gene Smith? He's one my all time favorites for sure.
Thanks Bill!
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I think Mr. Pierce owns one of the few original, large prints of the Minamata girl. I believe it was in the New York exhibit and a gift from Mr. Smith.

IMO this is easily one of the greatest shots ever taken and chokes me up when I look at it. Some people call it the pieta of photojournalism.

smith-Minamatasm.jpg


HL
 
Lunch With Bill

Lunch With Bill

I had lunch with Bill Pierce and Chris Weeks a few days ago. Many interesting stories.

It turns out that even though Bill was one of the official on stage photogs for Woodstock, his best selling Woodstock pics are of the audience, NOT the numerous music super star immortals. He is still justifiably proud his pics were the most stolen at the Woodstock exhibition.

Bill's famous Nixon goodbye victory shot happened in a blink of the eye -- that fast. He got two shots with a motor, and was apparently the only guy in the acres of photogs for Nixon's send off to get the shot.

Stephen
 
Actually, there were two others I know of that got the Nixon shot, but they were blocked by people in front of them or by an unfortunate shooting position. In that sense, these photo ops always involve a bit of luck. The seasoned pro has the flag pole growing out of the subject's head and the new kid on the block who is 5 feet to the left gets the best shot.

Bill
 
Just now had the chance to read through some of the posts here, and follow a few links (to the ones that were unfamiliar).

Let me join in the chorus in welcoming Mr. Pierce. I have to admit I didn't recognize your name, but I sure as hell recognized your images.

I'm glad to see you aboard.

Liam
 
IU Bloomington?

IU Bloomington?

Bill,

Were you with Indiana University at some point? I was there in the mid 70's and
for some reason your name makes me think of my time there.

Anyway...
 
christo said:
Bill,

Were you with Indiana University at some point? I was there in the mid 70's and
for some reason your name makes me think of my time there.

Anyway...
Click to expand...

I shot some assignments in Indianapolis in the 70's and may have even done a one day guest lecture at the university. But that's the total of my Indiana experience.

Bill Foley, the Pulitzer Prize winner, one of the few who was nominated twice, lives in Indiana and does lectures and shows in the area. But, I only see him when he comes to NY. Fortunately, he has clients in the City; so I get updated on what's happening in Indiana fairly often.

Bill
 
Bill Pierce said:
I shot some assignments in Indianapolis in the 70's and may have even done a one day guest lecture at the university. But that's the total of my Indiana experience.

Bill Foley, the Pulitzer Prize winner, one of the few who was nominated twice, lives in Indiana and does lectures and shows in the area. But, I only see him when he comes to NY. Fortunately, he has clients in the City; so I get updated on what's happening in Indiana fairly often.

Bill
Click to expand...

Oh yes, I knew Bill Foley when he was at IU. I didn't know he lived in Indiana. I live in
Indianapolis but haven't come across him.
 
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