Seeing as four out of eight of my my favorite things (1/2!) involve food and photography, I appoint myself an expert on food photography. And as said expert, I crown Magnum photographer Christopher Anderson’s illustrations for New York Magazine’s Where to Eat story the best I’ve seen in 2009.
by Klavs Bo Christensen
hen I went to Haiti I had no idea what it would be like. I checked out the homepage of the British Ministry of Foreign Affairs and found that the warnings about going to Haiti sounded the same as those for going to Iraq or Afghanistan. But I wasn’t going to a war zone, I was going to Port au Prince (PAP). I decided to give it a try but only if I could get in touch with Medicins Sans Frontieres (Doctors Without Borders) in Gonaives, Haiti.
Much has been made of the perils undocumented workers face crossing the southern border of the United States in search of work and a better life. For Central Americans, the U.S. border marks the end of one of the longest, most treacherous migrations on the planet. Still there has been a rise of 50 percent of undocumented Central Americans from Guatemala, El Salvador and Honduras living in the U.S. since 2000.
The pairing of the song “How Many Christmases” and a slideshow of Chicago Tribune photos from 2008 is meant to jar the senses a bit.
Reporters, it pains us to say, never got it. First, they weren’t used to, and didn’t like, carrying STUFF. The idea was a nightmare to them. Mark it up to left-brain, right brain. Therefore, the idea that you can command a reporter to take over the cameraperson’s job is wishful thinking.
Photojournalist and NPPA member Pete Souza has accepted the position of official White House photographer for President-elect Barack Obama, he told News Photographer magazine tonight.
Marcus Bleasdale swapped derivatives for a camera to document the horrors of war
Check it out here. Once again, via APAD.
wingsuit base jumping from Ali on Vimeo.
There’s something magical about a camera, the way looking through it changes one’s view of the world and how with one click it can freeze time. Few know that better than Herral Long, a photojournalist with The Blade for more than 50 years.
Check it out here. Via APAD.
“Your reputation is everything here at the Times, and if you want get known, you’ve got to deliver what readers want: differences between men and women, and photos of cats,” national political reporter Adam Nagourney said. “I suppose I could be most e-mailed, too, if I sat in front of my computer all day making up cutesy names for government officials, like some redheaded Wednesday and Saturday columnists I know.”
I just received an e-mail from the editor over at JPG magazine, bearing a rather quite sad message: They’re shutting the doors for good.
Photos By John L. White
I went home for vacation a couple of weeks ago and instead of hauling around a bulky SLR camera, the kind I use every day at work, I decided to give the camera on my iPhone a try. Normally, cellphone cameras produce grainy and unusable in real life photos but with help from the Camera Bag application, downloaded from the iTunes store, I was able to take a lot of really fun photographs.
The year-end portfolio of the OMAHA WORLD HERALD’s Matt Miller is really a nice body of work.
Feature Shoot is a resource for photo editors, art directors, and other industry professionals to discover new photographic talent. We interview and showcase the work of up-and-coming American photographers alongside that of established photographers who have completed a project or whose work has taken on a new direction.
Check it out here. Via Tim Gruber.
it’s the time when photo editors compile collections of their staff’s best work of the year. At stltoday.com, we’ve organized our work into five different categories. Here are examples of each category, along with links to the full galleries.
Following my earlier request, Suzanne Revy kindly sent me some comments about getting your work reviewed at a portfolio review.
Walking through the streets of Oaxaca or its countryside, I felt a strange emotion in seeing the moments of daily life of “campesinos”, artisans, workers, old and young people. There was an incredible power, nearly like that of magic, to their faces. In spite of the heavy work, there was a serenity and a limpid hope in their eyes.
