© Johanna Warwick [The Weight of the World]

It is my pleasure to post here a dialog with Johanna Warwick, an emerging photographer whose work I find extraordinary. Creative, diverse and exquisite work. Her photography represents both the lived reality, and perception of relations between figures and surroundings that define a layer of reality that usually escapes our perception.

In this candid dialog she shares her background, artistic drivers for her work and her approach to photography. I am certain you will find this conversation very interesting. I like to thank Johanna for sharing her thinking and for taking the time to build this conversation.

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© Graham Nash (self-portrait)

What makes a great portrait? What are the elements that make a portrait really special?

Few weeks ago, a reader initiated a conversation about these interesting questions with Jörg Colberg [from Conscientious] and myself. Our discussion about the features that define a good portrait lead to the inevitable realization that any interpretation is subjective and that emotional reactions to the image are often summarized with unclear statements like:

Great pictures have "it"!

But what is "it"?

Even when we acknowledge that this is a subjective topic, we thought that it would be very interesting to explore it with other people whose opinion could provide informative perspectives.

This post, that is published in conjunction with Conscientious, illustrates the opinions of a number of great photographers, editors, curators and bloggers when they try to define "what is it" that makes a great portrait. All of them were extremely generous to take some time to share with us their views on the following questions:

• What makes a good portrait?
• Could you provide us an example of a portrait that you really like and explain why the portrait works so well for you?

What follows is a very interesting and charming article that combines their opinions. Before you read it, I like to express my sincere appreciation to each contributor, to Frank Gross whose questions triggered our interest to pursue this project and to Jörg Colberg for his cordial collaboration.

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© Jennifer Loeber

[Limited series prints for sale at at the Humble Arts Foundation]

I am very pleased to post an in-depth interview with photographer Jennifer Loeber. Jennifer Loeber is a young photographer based in New York City.

Jennifer's portfolio reflects the exploration of an evolving artistic vision, from documentary series to portraits that have the quality to bridge both the subject and the viewer with a unique sense of intimacy. Her work was exhibited at a group show by the Humble Arts Foundation in New York City.

Her latest series, Zeig Mal (Show Me), was featured in a profile on Gothamist.com and her first feature documentary, Fishkill Flea, is currently exhibiting internationally. Jennifer has also a personal blog.

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Peter van Agtmael with a group of Afghan soldiers [abc news]

Over at Conscientious, Jöerg Colberg has posted a very interesting conversation with documentary photographer Peter van Agtmael [published also at PopPhoto.com].

It is refreshing to see new emerging photographers, some in their 20s like Peter, making a difference with their work. You can also read another interview with Peter van Agtmael at Smithsonian.com and an interesting photo diary by Peter published at abcnews. Some aditional images from Peter's can be seen here.

"I get really frustrated when I hear excuses about not publishing pictures in the name of protecting the privacy of wounded soldiers. With few exceptions, the folks I've met have wanted others to see what they went through in their name. I think the real problem is that America has a guilty conscience and we don't want to see the pain caused by our folly." - Peter van Agtmael

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[From Vacancy, 2004-2005] © Timothy Briner

Because of my presence, regardless of the situation, I could never truly capture a scene as it was. Yes, I am creating a document, but it is flawed, mostly by that fact that I am there with a specific intention, to create something, therefore manipulating something. But there is more to it: The photograph itself is only an object; It is an object viewed and judged differently every time it is seen, therefore it separates itself farther from reality. - Timothy Briner

A young photographer breaking his path in fine art photography. His vision, his dreams, the challenges, the inspiration.

I had the opportunity to interview photographer Timothy Briner, and he shared a candid view of his work, projects and struggles as a young photographer.

After several personal projects and a brief exploration of commercial photography, Tim is now embarked in a project, Boonville, that intends to explore "small-town" America, its people and its cultural diversity across states. But this project is not only a journey through America but a discovery of his own path.

The Boonville project is a a year-long cross-country journey to six different towns named Boonvilles across the United States. Timothy will be living with families and individuals during his thirty-plus days in each town. The final product will take images from the six communities, juxtaposing them together to create a fictional town named "Boonville".

The Boonville project project is really about the people living in modern America: the good, the bad and the indifferent. This project is a dream come true. Traveling across the country, working on what you wish, when you wish; It all sounds very romantic. And it is! But not without some debate. I am grateful and very excited to be doing what I am doing. But it gets lonely.-Timothy Briner

Read the dialogue with Tim after the jump.

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