Interview Tuesday October 28, 2025
Jerry Schatzberg, began his career photographing celebrities in portraits that came to define the visual aesthetic of the 1960s (think Bob Dylan’s "Blonde on Blonde" cover art). By the following decade, he’d graduated to film, earning Palme d’Or and Grand Prix nominations for his 1971 film The Panic in Needle Park. Now, at age 98, Schatzberg has taken Interview magazine on a tour of his photo archive. His approach, he explains, is to first find a human connection, getting to know his subjects before ever picking up the camera.
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High Museum of Art Tuesday October 28, 2025
Atlanta’s High Museum of Art began collecting photographs in the early 1970s, making it among one of the earliest museums to commit to the medium. Today, with more than 9.000 prints in its holdings, the photography department comprises the museum’s largest collection. But as assistant photography curator noted recently at Rough Draft Altanta, LGBTQ+ artists were underrepresented. Now the High has added work from four LGBT+ artists—Peter Hujar, Catherine Opie, Naima Greene, and Martine Gutierrez—through a new acquisition initiative.
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CNBC Tuesday October 28, 2025
AI headshots for resumes and CVs are becoming a popular replacement for studio photography offering job applicants professional-looking portraits in minutes for a fraction of the cost, notes CNBC. According to recent job-market research from Canva, a design company that offers access to an AI headshot feature, 88% of job seekers believe a polished digital presence influences hiring decisions, which is up 45% from the year before. This is in line with the general uptick in use of AI as part of the application and hiring process, adds CNBC.
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Fstoppers Monday October 27, 2025
“The photography industry is littered with the corpses of once-mighty brands that dominated their markets for decades before making single, catastrophic decisions that destroyed everything they had built.” So notes Fstoppers, which tells the tale of five such brands, from Polaroid, which ignored the digital revolution it helped enable, to Rollei, which refused to abandon twin-lens reflex cameras for 35mm SLRs.
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