What do they call it in the corporate world — value added skills? How about a staff photojournalist doing some DIY lens repair on a Canon 400mm 2.8 II? That’s just what I’m up to after one of our older 400mm telephoto lenses broke at a recent Cards game.
I was dismayed today to read about the latest alleged case of Flickr Censorship. Censorship (or as they like to call it “moderation”) continues to be a problem on Flickr.
PDNPulse: On Lack of Diversity in Photography, and in PDN:
Yesterday some blogs circulated a note about the fact that of the 24 judges of the 2009 PDN Photo Annual contest, all of them are white. It’s a valid point ,and one that everyone who works on PDN’s contests has given a lot of thought. While the lack of any judges of color wasn’t intentional, it is regrettable.
An Associated Press reporter’s official reprimand over an innocuous comment on his Facebook page has sparked the ire of union officials. They are now demanding that AP clarify its ethics guidelines and are also urging reporters to watch who they add to their friends lists.
For more than three years I have documented rural poverty in eastern Kentucky through the eyes of the White family. Their roots in Whitesburg run deep through the generations and into the depths of the mines. Richard White, his wife Tammy, their three children, and Richard’s nephew Derrick Collins all live together in a mobile home. The son of a coal miner, Richard has experienced the problems of eastern Kentucky firsthand.
Stephen Crowley has just returned from covering President Obama’s trip to Saudi Arabia, Egypt, Germany and France. These tetraptychs convey the round-the-clock cognitive dissonance of such a journey, with its multiple agendas and audiences — “Bilats and Tea,” Mr. Crowley calls it, using the diplomatic jargon for a bilateral talk. He also assembled a verbal scrapbook of impressions, drawn from press communiqués, pool reports and news accounts.
Today, we launch a new feature in Credentialed that we call “Perspective.” We’ll be regularly bringing you Q&A’s with talented local photographers in our community and featuring some of their work here. We kick off the feature with questions for Matt Mallams, a self-proclaimed “graphic documentary” photographer, who is consistently making waves in the national photo community.
“Taking photographs of objects or people in plain view is not a crime. Police should not presume that it is a suspicious act, and should not overreact by detaining people for taking pictures,” said Sarah Dunne, legal director of the ACLU’s Washington chapter.
I just got back to NYC from the shootout. They gave us about 2 and a half days to shoot. The story topic was rituals and the single topics were architecture and cable car. I’ll post some more words later when I have time, but I just wanted to get the photos up for all that are interested. I placed 1st with these images.
That it follows the Pen’s stylings is significant, if only in nerdy kind of way. The MFT sensor is one half the size of a 35mm frame (and a slightly different shape, too). The Pen eked 72 shots out of a 36 exposure roll of 135 film by using the same trick. I’m pretty excited about this camera. If it can bring DSLR handling and image quality to a tiny package, it could be the Leica M of the 21st century, and as Olympus has a special event in London scheduled for June 25th, we may not have long to wait.
JONATHAN TAGGART – News Photographers Association of Canada:
I was awarded a scholarship to a Magnum Workshop in Toronto in May of 2008, and while I was there I was fortunate enough to work with the Canadian photographer Larry Towell. I’ve always admired his work, but what I found most insightful was hearing him speak about his experiences in the field and about his working methodology. The best piece of advice he gave his students was we should expect to spend half our time shooting and the other half editing, because it is through the editing process that depth of narrative is created.
Although I might revise that to say, “expect to spend a third of your time gaining access, a third shooting, and a third editing.”
Since Polaroid no longer makes either film, I often wonder about the photographers whose work was most identified with Type 55 and 665 — how are they doing and with what.