Photo by Whitten Sabbatini
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Photo by Mo Costello
Photo by Juan Madrid
I think it's a golden age in the production of photo books, and the production of photography in the first place. But at the same time, it's also a lot more competitive and harder for photographers to get their name, or at least their photographs, more face time.
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See Through Mine Shaft. Photo by Suzanna Zak
Talking about the competitive nature of photography, you have over 100 photographers in Mossless issue three, and nine in the IPF show. How did you make that selection?We wanted photographers who explored different aspects of the book, were a diverse group, and created images we really liked. Having three images from each photographer showed some variety in their own work, and we were able to play each photographer's work off one another.
Photo by Whitten Sabbatini
I try to focus on a really broad range of work so I'm not sure that everything would resonate in the same way. But one thing that's really important to me is to have photography that resonates in an international mindset, in the sense that the subjects in the photos have a really human sense to them and can really be in any place in the world.'Mossless: The United States (2005‑2015)' opens in Melbourne as part of IPF on Wednesday, November 11.Follow Hannah on Twitter.
Route 44, West Virginia. Photo by Amy Stein
'Coolin Out At The Upper Deck,' Virginia Beach. Photo by Carl Gunhouse
'Above Medina Jabal Town,' National Training Center. Photo by Claire Beckett
'Carsen and Cooper,' Texas. Photo by Ilona Szwarc
'Valarie in the Shadow.' Photo by Lucas Foglia
