Alec Soth, Trolling for Strangers to Befriend – NYTimes.com:
ALEC SOTH has created a photographic career out of finding chemistry with strangers. On his frequent road trips through America, he’s drawn to loners and dreamers he spots from his car; sometimes he will do several pass-bys before striking up a conversation. Often that will lead to a portrait session with his large-format 8-by-10 view camera.
lenscratch: Monica Denevan:
I recently received the new issue of The Sun magazine, and was happy to see the stunning image by Monica Denevan on the cover. Monica has consistantly produced amazing imagery from her trips to Burma and China.
CLICK NOTE: This piece, on the New York Times error-riddled Walter Cronkite obit, is an example of proper transparency when things go wrong in the newsroom.
The Public Editor – How Did This Happen? – Op-Ed – NYTimes.com:
Though the correct date of the moon landing was fresh in his mind, Manly said, he read right over that mistake. Catching it might have flagged the need for more careful vetting. For all her skills as a critic, Stanley was the cause of so many corrections in 2005 that she was assigned a single copy editor responsible for checking her facts. Her error rate dropped precipitously and stayed down after the editor was promoted and the arrangement was discontinued. Until the Cronkite errors, she was not even in the top 20 among reporters and editors most responsible for corrections this year. Now, she has jumped to No. 4 and will again get special editing attention.
Photos By Formula | Matt Slaby:
You know before you even touch the shutter that they’re going to hate the picture. All the tricks that photographers use to make a photograph flattering are kinda pulled out from under you by the procedures set forth by the United States Department of State ‘Composition Checklist’ for making what they call a “successful photo.” No hats, no glasses, no outrageous jewelry, neutral expression, flat light –it all culminates in a photograph that is hard to be proud of and even harder to hand to someone without apologizing.
Behind the odd angry shot:
What led him to the forefront of his profession was a leap of faith. In 1989, Philip Blenkinsop left a relatively secure position as a staff photographer at The Australian, sold his 1964 Austin Healey Sprite, and bought two Leica cameras and a one-way ticket to Bangkok. It was a decision born of artistic frustration.
How can I believe what I see, when the truth is a show?:
Finally, now that Edgar Martins has been exposed as a liar, why would he then continue to treat us like idiots by offering a load of pompous drivel instead of a frank and honest explanation? I find the whole sequence of events baffling, particularly as it could have been so easily avoided.
PDN – Leica’s Erhardt Addresses Criticism Over S2’s Hefty Price Tag:
Seeking to address some of the Internet chatter that has been critical of the Leica S2’s just announced pricing – $22,995 (body only) – Leica Camera’s Vice President of Marketing Christian Erhardt talked to PDN Gear Guide about why he thinks the camera’s not getting a fair shake.
Behind the Scenes: Edgar Martins Speaks – Lens Blog – NYTimes.com:
Edgar Martins is a freelance photographer whose picture essay in The Times Magazine on July 5 and an accompanying slide show on NYTimes.com, “Ruins of the Second Gilded Age,” were found to include digital alterations — contrary to the stipulations of his contract and his stated, repeated assertions to the writer, editors and fact checker at the magazine. This week, Mr. Martins released an essay, “How Can I See What I See, Until I Know What I Know?” It constitutes his response to the controversy that has arisen.
He also annotated five photographs from the “Ruins” series, which encompasses more work than appeared in The Times. (Of those seen here, only the picture from Greenwich, Conn., was published.) In the quoted descriptions below, Mr. Martins discusses publicly — and more specifically than he has before — some methods he used and why he employed them.
Q&A: Tim and Eric on Child Abuse, Diarrhea, and Yerba-Mate Tea: Eric Spitznagel | Vanity Fair:
Tim and Eric Awesome Show, Great Job! is one of those rare TV shows that can alienate some viewers with nothing more than the opening credits. Even for long-time viewers and hardcore fans, it’s kinda confusing. It begins with stars Tim Heidecker and Eric Wareheim, dressed in matching red jumpsuits, dancing on their own tongues. Then there are flashing images of a fax machine, a hot dog and two kittens tongue-kissing. Tim and Eric’s respective heads explode, sending their viscera and dozens of tiny kitty heads spiraling towards the screen. If you don’t enjoy those 20 seconds of rapid-fire absurdity—which, for the record, tells you absolutely nothing about the show itself—then you need to keep on tappin’ that remote, brother, ’cause you ain’t gonna like what comes next.
a lost shot is just that — lost. | PICTURES | STLtoday:
I never want to miss a good photograph, so myself and many other photographers carry a camera everywhere — Call it paranoia, or maybe it is a shadow of the phase kids go through when they carry a security blanket everywhere? Who knows. While I do not particularly need a security blanket — I am an adult (right?), I carry a camera because more often than not, the best photos come when you are least prepared. Moreover, nothing is worse than seeing a great photo and losing it because you did not have your camera handy.
The F Blog: meeting Alex Majoli (part 2):
I’m asking them: “hey, why you’re sitting?” Why you don’t use it? They keep philosophying on photography instead. “C’mon guys! Move the ass now! Make some pictures!” And they sit, they criticise other photographers! I mean” “who are you man?!” And it’s common within young photographers, I can’t understand that!
What is the role of the blog words on photography:
What really got my hackles up was rather sophomoric post by Mr. Colberg today about what a photograph is as it compares to a photo-illustration. This post showed me that he is swimming in unfamiliar waters. He could have easily referenced the Reuters handbook on what is accepted digital processing. It is very clear, probably too clear for Mr. Colberg.
The lack of an ability to comment on this post directly, save for emailing him, also gets to me. How is this really a discussion in this day and age in the blogosphere? I am not always a fan of comments, but in this case, I wish they were there.
PDNPulse: Homeland Security Secretary: Report Suspicious Photographers:
We could explain (for the hundredth time) how police investigations of photographers are very unlikely to expose terrorists, and far more likely to waste everybody’s time. But instead we’ll borrow some of Napolitano’s own words: Her advice “doesn’t seem to make any sense.”
whats the jackanory ? – wired to the new rules:
Delighted to have another first here today on WTJ? An interview with a Creative Director. That glorious honor falls to the incredibly talented Mr Scott Dadich of Wired magazine. Scott has been at Wired since 2006, joining ship after an award winning six year stint at Texas Monthly. Yes awards this man has quite a few. He also designed Dan Winters new book ‘Periodical Photographs‘ and the 2009 American Photography Annual. Scott is on the board of the Society of Publication Designers and regularly posts lots of cool shizz on their blog.
Dangerous Minds | Las Vegas City Council Pranked
