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A properly good series of interviews. So I subscribed

Excellent episode.

Great video, thanks!

It was Hillary Clinton who referred to half of her Republican opponent’s supporters as a ‘basket of deplorables,’ in her 2016 presidential election campaign. Doy reminds us of the power of the photograph. Sometimes, the Crit House contributors reveal uncomfortable realities of the society we live in.

Well done. Thank you.

We are all so fortunate that you, Jeff, expose us to, not just photography, but the overarching question of why we photograph and what we're try to say. Arturo has really opened a new door for me. Thanks so much for having him on your program.

really interesting, thank you for bringing Doy to us!

Well done, loved the stories.

Very good, thanks.

Another incredible video. Thank you.

Fantastic discussion. The Russell Lee story 😂

Wonderful episode. I've never heard to Doy Gorton, but his selections are familiar to me, and he's right, they're classic. Interesting stories too. Thanks for presenting.

Great episode. Interesting guest, fascinating stories and photos to talk about. Heartfelt with a lot of substance. Thank you!

Fascinating and insightful interview. Love the stories. We need more documentarians like him.

This is another excellent video for myFIVE.

So interesting what an academic education does to the way you see things. Thank you for this!

I must admit I found this presentation confounding. For me, It really invites the bigger question of what is photography? And, granted it can be many different things to many different people which is totally valid. And, with that said, I would like to suggest that sometimes a pile of bricks is just a pile of bricks.

Wow great discussion 😊 thank you

Brooks has a very good website of which i am an online member, and have been for years, a tremendous resourse - highly recommend

First I would like to thank you for your channel. It is a great gift for the photographic community. Thanks again! Now just a few details to clarify facts about this video (as someone else pointed out the response are sometimes to the point, other times vague, and a few times erroneous. First New Topographics was never a group per say, not even close to the rather short-lived f/64 of 1932. Some photographers had never met, Baltz was an outsider although he knew of the Becher. In the beginning R. Adams wondered why he was there. Jenkins, Deal, Gohlke and Nixon did know each other as their paths had crossed. Jenkins and Deal knew each other well as they both lived in Rochester NY and were acquainted through Visual Studies Workshop and the (then) International Museum of Photography at the George Eastman House where they both worked. New Topographics was just the title of what happened to not such a visible show: few people saw it and it only went to an extra venue. However the participants were included in many exhibitions following New Topo: first the already somewhat known in the photographic community (Adams, Baltz (who was already exhibited by Castelli), the Bechers and somewhat Shore), then Deal, Gohlke, and Wessel who established a deserved reputation. What was knew was they all had an academic education, most of them taught or would teach, and they got grants either from the Guggenheim Foundation or the NEA. They all had conceptual bases for their work and they all exhibited series and not groups of individual images. Although the denial of authorship was proclaimed in the introduction of the catalogue it was quite obvious that everyone of them had their own style and Baltz and R. Adams had a societal if not political background. Then they all took the man-made landscape as subject matter. All this was radically knew and the label "New Topographics" helped photo historians and educators to identify a trend that is still developing. Now about facts: Baltz always declared he had always wanted to be an artist first, photography was just the medium he used to get there (and that is why he was represented by Castelli, a gallery mostly dedicated to contemporary art. He even made R. Adams joined him there after New Topographics. The film that Baltz used for Industrial Parks was not Panatomic (a 50 ISO film manufactured by Kodak as said in the video) but a high contrast, high resolution film produced to reproduce documents whose sensitivity was between 6 and 8 ISO (ASA at the time). ["I use Kodak High Contrast Copy film rated at 6 ASA" Lustrum, 1980] .It would be improved and sold as Technical Pan in 1982. Baltz processed it in Perfection Micrograin developer (and not the one named in the video, Agfa's Rodinal). He printed on Agfa Bravura in a 1:2 Dektol solution, and selenium-toned his prints (better conservation, and higher maximum density). Now regarding Robert Adams: reading the various texts he wrote (among which I recommend "Beauty in Photography" [Aperture] may help getting deeper into his work but most of it does not require any text. The point seems pretty obvious from the "New West" to the recently beautiful reprinted "Los Angeles Spring" [Steidl]. That's all from me regarding added details. All the best!

These pictures show us that many photographers are not understandable by the majority of people, but they make work that is just for other photographers, like many other photographic books, especially in modern times. These pictures need a lot of effort to be appreciated, I personally like this kind of photography. Thanks for sharing your thoughts

Well done. Inspirational. Thank you.

Arturo Soto, you introduced me to photographers I had never heard of. Thank you for that. Man, do I like photography even more. So many subjects to photograph. So many new ways to see things.

really great discussion. I especially enjoyed learning about Dickens and Wright Morris

The story about the patches…wonderful! (You forgot the link to Cig Harvey)

thank you

An excellent inspiring video, thank you. The only problem I had with it is that it was to short.

Yet another wonderful episode. Having been exposed to LensWork (and Brooks) many years ago I'm still enjoying his magazine and work. This episode was a great insight into his way of seeing. Well done, Jeff.

Just awesome! Thank you for introducing me to my new hero!

Wonderful discussion! Thank you

I am speechless and inspired to no end. Brooks validates what I have been trying to do with my photography for all these years. I checked out his website and have shared this video with my friends. Storytelling, that is the key. Wow.

A very inspiring conversation. Thank you very much.

Your guest is a calm and articulate voice in the world of photography. His encouragement to see "beyond" is rich and instructive. Good job.

At first i thought you are talking to your brother .... great talk! thanks

I love Vivian Maier's work :)

Thank you!

Excellent....Big fan of Henry Wessel

Great video. I've done that timer thing - maybe once an hour. It might be time to do it again.

Two weeks is a lot to wait, but certainly worth it! thanks!

Great episode. One of your best. Thank you!

excellent image selection and discussion on why they were chosen. It was great to hear the back story of the Richard Avedon shot, especially about it being a YSL designed dress. The final image was confronting, but what an amazing story about how it was captured. Keep up this great series Jeff and thank you Tina for such an entertaining discussion on your 5 images.

This was the best episode of this series so far! Absolutely amazing! Thank you for doing this!

I once heard Richard Avedon regret that he did not have a gentle breeze blowing the scarf to the left.

Brilliant choices and Tiina is so entertaining!

This was fantastic! I've always thought about the model standing with the elephants the same way, by the way. These days she'd be ai'ed into the picture. I have Cindy Sherman's book; another great project. Excellent video.

The Avedon photo is for me both beautiful in a very international controlled manner and at the same time intensely melancholy. The composition works wonderfully the echoing of the trunks and the large ribbon of the model is great fun. But I think the subtext of the image is the relationship between humans and animals. Avedon does this yes by the use of models hand on the trunk but the I think also by use of the feet of all those posing. Scale and shape the models feet coming towards the viewer almost the the first element in the image nearly breaking the picture plane coming into viewers space, stating the importance of the person. The hand on the trunk doesn’t do this other than echoing the dominance of humans. The chains on the elephants legs does place them lower in the cast system of human and animals. A sort of Chantel ownership.

Wonderful and insightful. Thank you for sharing. I think photographers can gain a lot of insight into what makes a great photograph from the perspective of photo editors.

This was another one I enjoyed and by a photographer I did not know. Wonderful images selected by Debbie, and I love her work with that high-contrast look...well done. Thanks.

Jeff, this was a particuarly rewarding episode. I like the more leisurely, conversational nature of it. It seemed very organic and more relaxed; less of a slave to the clock or format. Very accessible, interesting and knowledgeable guest . Many thanks.

Phil Penman is a great photographer