Link: Q&A: JeongMee Yoon, Seoul:
JeongMee Yoon is a photographer living and working in Seoul, South Korea. In 2006, she received her MFA from the School of Visual Arts in New York. This work is from her series, The Pink & Blue Project, which has been widely exhibited.
Link: War Crimes Court Convicts Journalist of Contempt – washingtonpost.com:
The case against Florence Hartmann — who covered the Bosnian war as a reporter in the 1990s, became spokeswoman for the tribunal prosecutor from 2000 to 2006, then returned to writing — has been denounced as a waste of the court’s time and money and a deviation from its mission of prosecuting those accused of atrocities during the bloody breakup of Yugoslavia.
Link: Showcase: TriBeCa Chiaroscuro – Lens Blog – NYTimes.com:
Donna Ferrato’s raw, energetic black-and-white images capture shadowy figures walking alone on wet pavement. There are compelling scenes of construction workers seen through steam and dust hammering Belgian block pavement, and of celebrities and everyday New Yorkers strolling down side streets as if they were fashion catwalks.
Link: A Conversation with Vanessa Winship – Conscientious:
Vanessa Winship’s work came to my attention when a friend of mine showed me the copy of Sweet Nothings, a most exquisite little book of portraiture of school children in Eastern Anatolia (Turkey). A little later, Vanessa sent me a copy of the book, and we started talking about her work, so I ended up asking her for an interview.
CLICK NOTE: Click on FEATURE GALLERY to see the photos. It’s VERY EASY to miss.
Link: 44 Days: A Revolution Revisited – The Digital Journalist:
In the case of these photographs, they have lived happily, cared for in the file cabinets at Contact Press Images in New York for the past three decades. Now and then a picture would be licensed but for the most part, as a body of work it remained relatively untouched. Then, about two years ago, I returned from a trip to find that a small conference room at the agency had been papered with 5″x7″ Xerox copies of dozens of photographs from the Revolution. They had been taped up in the timeline sequence they were shot in, and for the first time, I realized that I was looking at the whole story all at once. The progression of the story was laid out, and it made total sense. Jacques Menashe, a reporter with Contact, and Robert Pledge, the director, had, in my absence, put together this visual narrative in a way that really told the story. We worked from this point forward, sharpening details about what happened where, and on which day, cross referencing with both contemporary news accounts and books written about the Revolution. In the end, when we presented the package to the book division at National Geographic a year ago, it was pretty much ready to go. And once they signed on, there were dozens of little detail items that we wanted to make sure were right. Between those accounts, my caption envelopes, and my sometimes fading memory, we managed to structure the book layout in a form which tries to tell the story in the timeline that unfolded. It is a book of history. Yes, photography is memory, and whatever else is written about the Iranian Revolution, and the ways in which it became the precursor for much of what has happened in the Middle East in the last three decades, this book will remain to tell that story.
Link: E-Bits – The Lens Cap Comes Off: AP Defends Photo Release – The Digital Journalist:
In her journal, Ms. Jacobson expresses consideration, compassion and concern for the families of soldiers shown in conflict. Her mission as she states it: “Then, there’s the journalism side of things, which is what I am and why I am here … it is necessary for people to see the good, the bad, and the ugly in order to reflect upon ourselves as human beings.” And reflecting we are. The publication of Jacobson’s image of Cpl. Bernard has stimulated one of the most active discussions in recent memory.
Link: French photographer Willy Ronis dies at age 99 – lens culture photography weblog:
French photographer Willy Ronis died today in Paris, apparently lively and active until the end. His work captured the romance of French culture of the mid-20th century with classic, poetic beauty.
Link: Too Close for Comfort? : CJR:
The dramatic change in Ricks’s writing about the military in Iraq reflects a broader shift that has taken place in the coverage of the wars in Iraq, Afghanistan, and Pakistan. The doctrine of counterinsurgency has received almost uniformly positive press coverage, at times making it appear to be the only possible avenue for the U.S. military, and in the process that coverage has cast it in the most positive light.
Link: At Toronto Film Festival, Cautions on Documentaries – NYTimes.com:
The report found that documentarians, while they generally aspire to act honorably, often operate under ad hoc ethical codes. The craft tends to see itself as being bound less by the need to be accurate and fair than by a desire for social justice, to level the playing field between those who are perceived to be powerful and those who are not.
Link: Journal entries of AP photographer embedded with US Marines in Afghanistan – The Digital Journalist:
To publish or not is the question. The image is not the most technically sound, but his face is visible as are his wounds. Many factors come into play. There’s the form we signed agreeing to how and what we would cover while embedded. It says we can photograph casualties from a respectable distance and in such a way that the person is not identifiable. Then you think about the relatives and friends of Bernard. Would you, as a parent, want that image posted for all the world to see? Or even would you want to see how your son died? You’d probably want to remember him another way. Although, it was interesting to watch the Marines from his squad flip through the images from that day on my computer (they asked to see them). They did stop when they came to that moment. But none of them complained or grew angry about it. They understood that it was what it was. They understand, despite that he was their friend, it was the reality of things.
Link: Ethics: Telling the Whole Story – The Digital Journalist:
The controversy has always involved the conflicting interests of two cultural titans, a military charged with protecting the nation and a free press that has the task of informing the citizenry.
The military has historically favored less war-related information for public consumption while the journalists have always favored more.
Off The Wall :: INVADER from friendswelove.com on Vimeo.
viaWooster Collective: Invader – The Interview With Friendswelove.com
Link: Art Capital Dropping Lawsuit Against Annie Leibovitz:
A statement issued Friday by both parties said Leibovitz has bought back control of her physical property—presumably including her two houses—and copyrights. Previously, Art Capital had said it had the right to sell Leibovitz’s homes and photo archive under the terms of the loan.
Link: Olympus EP-1 Review – PDN:
In fact, that first day the EP-1 came in, I couldn’t take my eyes off it. This is saying a lot considering that my office is usually filled with photo and consumer electronics gear of all shapes and sizes. While I’m admittedly a bit jaded when it comes to products, the EP-1 kept cooing at me from its place atop the printer: “Take me out, Dan. Take me out and shoot with me. Shoot with me forever….”
Link: Leica S2 First Impressions – Luminous Landscape:
No definitive evaluation can be made of something as complex as a new camera system in a single day. It can take weeks, even months to get the full measure of a sophisticated system such as this.
But, understanding that people want to know as quickly as possible how something as exciting as the S2 handles and performs, this report has attempted to provide a feel for what the camera is like and to allow for a first glimpse of image quality.
Link: World Press Photo:
World Press Photo and Anthony Suau have jointly produced a multimedia presentation for the World Press Photo website. In Hard Rain, the title Suau gave to the project, he places his 20 years of working as a war correspondent in broad perspective. “I feel it is imperative when covering any war”, he says, “that you are clear on your intentions and know where and how your work will be seen.”
Link: Ian Fisher – American Soldier | The Denver Post | From Basic Training to Iraq and Back:
Photographer Craig F. Walker chronicled the two-year journey of Ian Fisher from high school to Army boot camp to Fort Carson to deployment in Iraq.
Link: Getting Screwed by Flaunt Magazine | Fashion Photography Blog:
Today is the day I’ve decided to let out some truths about the uglier side of this business. In the past when I’ve wanted to speak frankly about an unpleasant truth about something or someone, I’ve been told, “You can’t say that, Melissa.” Today, no one gets that opportunity. Here’s one truth that no one likes to talk about: Sometimes shitty things happen to good photographers. Promises are broken, politics are played, back-stabbing takes place, and all kinds of ruthless shenanigans go on in this industry. It has always been this way, and I suppose it always will be.
via PDN