Using Photos to Fight Hate: For Better or Worse – PhotoShelter Blog

And thus we confront one of the contemporary conundrums of images and culture. More than any time in the history of photography, images and metadata provide incredibly powerful ways to increase transparency and uncover “truth.” But the potential for malicious or misuse is high. And ironically, publicizing these incidents often brings attention to fringe ideologies.

September 2017 – Fovi8

Upload your best work from August (you keep the copyright). Help us judge the work. You’re guaranteed feedback, and if one of your photos is in the top 50 at the end of August, you’ll be in the first issue, online and in print. The top photo will be the cover.

Announcing 5th Annual Luminance Talks at Photoville: Sept 15th at St. Ann’s Warehouse, NYC

Join us at the studio in St. Ann’s Warehouse in Brooklyn all day Friday, September 15th for discussions with industry professionals and photographers. We’ll cover topics like mistakes photographers make, getting more money from your work, developing a signature brand, women in photography, how to bring a commercial campaign to life, plus a special conversation with celebrated photographer and professor Deborah Willis.

Mark Peterson: Photographing the Hate in Charlottesville Up Close | PDNPulse

The New Republic has published Mark Peterson’s dramatic images of clashes in Charlottesville, Virginia, last weekend between white nationalists at the so-called “Unite the Right” rally, and counter-protesters who showed up to demonstrate against the rising fascist movement. Peterson has covered US politics since the 1990s. We caught up with him to find out why he covered the rally, what he was trying to accomplish, and how he positioned himself to photograph the white nationalist leaders—and the violence—at such close range.

A Changed Landscape for Abortion Rights in Texas – The New York Times

Today, the fight over access in South Texas continues, with the effects of H.B. 2 not just visible in closed clinics. They are also seen in the lives of women fighting for what they feel is right. I photographed these women as part of a long-term project for the San Antonio Express-News. In early 2016, my editor, Luis Rios, and I began thinking about how we could cover abortion in South Texas in a deeper way. We knew that regardless of the outcome of the Supreme Court case, which was still pending at the time, the landscape of abortion access had changed dramatically.

Wayne Levin: The States Project: Hawaii | LENSCRATCH

For the past 12 years I’ve been compelled to photograph schooling fish, focusing on Akule (Big Eyed Scad–Selar crumenophthalmus). These images were taken at Kealakekua Bay and Keauhou Bay on the Kona Coast of the Island of Hawaii, and Waimea Bay on Oahu’s North Shore.

John Lanchester reviews ‘The Attention Merchants’ by Tim Wu, ‘Chaos Monkeys’ by Antonio García Martínez and ‘Move Fast and Break Things’ by Jonathan Taplin · LRB 17 August 2017

A neutral observer might wonder if Facebook’s attitude to content creators is sustainable. Facebook needs content, obviously, because that’s what the site consists of: content that other people have created. It’s just that it isn’t too keen on anyone apart from Facebook making any money from that content. Over time, that attitude is profoundly destructive to the creative and media industries. Access to an audience – that unprecedented two billion people – is a wonderful thing, but Facebook isn’t in any hurry to help you make money from it. If the content providers all eventually go broke, well, that might not be too much of a problem. There are, for now, lots of willing providers: anyone on Facebook is in a sense working for Facebook, adding value to the company. In 2014, the New York Times did the arithmetic and found that humanity was spending 39,757 collective years on the site, every single day. Jonathan Taplin points out that this is ‘almost fifteen million years of free labour per year’. That was back when it had a mere 1.23 billion users.

Sophie Barbasch – Fault Line « burn magazine

Fault Line is a project I am doing in the small coastal town of Brooklin, Maine. The protagonist is my younger cousin Adam, who lives there. I also photograph my brother, father, and other cousins. I chose the title because a fault line alludes to where the earth splits in an earthquake (a metaphor for a divided family with a complicated history) and also alludes to fault, or blame (I wonder, how does a family support each other, even when things aren’t perfect?). My goal is to show the weight we all carry and how we are both connected and isolated from each other.

A Lighthearted Look at L.A. – The New York Times

Instagram and iPhones didn’t exist when Beth Dubber began taking street photographs in Los Angeles in 2006. She had moved there in 2003, hoping for a career as a set photographer for film and television. While waiting for her big break, she joined a local networking group where she got the idea to photograph Los Angeles one day a week, and share one picture with a weekly email list. Remember, this was 2006: Social media hadn’t taken off, and the list forced her into a habit of shooting weekly, no matter what.

Photographer Bill Frakes loses university position after sexual harassment report: Digital Photography Review

Photographer Bill Frakes, whose career has included shooting for the likes of Sports Illustrated and Coca-Cola, has been removed from his position as visiting professor at the University of Nebraska – Lincoln. The decision was made by the university after it judged that a report claiming sexual harassment against Frakes was credible. News of the allegations first surfaced in documents obtained by The World-Herald.

How Robert Shults Photographed His Own Homeless Experience | PDNPulse

Formerly homeless photographer Robert Shults recently explained in a Q&A with PDN the ethical and esthetic challenges of photographing homeless people, and how photographers can approach the topic in ways that dignify the subjects and elicit empathy and deeper understanding on the part of viewers.

Unsplash CEO Tries to Justify Copyright Grab | PDNPulse

The co-founder and CEO of Unsplash, the photo-sharing platform that asks contributing photographers to grant free licenses to their images, attempted to justify the company’s terms of use in a blog post written last week. The post follows outrage by professional photographers, who blasted the company on social media. Unsplash’s terms are terrible for photographers, both amateur and professional. (Read our previous post here for more on those terms.)

Photographers edit photographers: Tanya Habjouqa’s provocative and mysterious images – The Washington Post

This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Nina Berman edits the work of her colleague, Jordanian photographer Tanya Habjouqa. Habjouqa is a founding member of Rawiya, the first all-female photo collective of the Middle East, and she is currently based in East Jerusalem. Habjouqa’s project, Occupied Pleasures, received support from the Magnum Foundation and achieved a World Press Photo award in 2014. Culminating in a namesake book by FotoEvidence, it was heralded by Time magazine and the Smithsonian Institution as one of the best photo books of 2015.

The Alyssa Coppleman Mixtape | LENSCRATCH

It gives me great pleasure to celebrate a special friend and bright light in the photo world, the wonderful Alyssa Coppelman. Alyssa has a well-developed eye for connecting images to text in her various incarnations of Photo Editor, Art Researcher, and Writer/Contributor. She also can often be found reviewing portfolios at the major photography events –we were both recently at Photolucida in Portland, as well as at PhotoNOLA in December, and several years ago, we spent a very memorable experience at Atlanta Celebrates Photography that ended in an epic evening of dancing, and in October we will be enjoying the San Diego sunshine at the Medium Festival

101-Megapixel B&W Photos of Pre-War Era Racing

Wenner was equipped with a Phase One XF IQ3 100MP Achromatic camera system that captures a 101-megapixel black-and-white photo with each exposure. The $49,990 IQ3 100MP Achromatic is the world’s only 101MP digital back dedicated to monochrome photos.

The Increasing Cost of Truth | NPPA

With the threat to visual journalists never greater than today, our ability to advocate on your behalf has never been more important. But, ensuring the stability and continued work of the NPPA comes with increasing costs.

That is why the NPPA board voted to increase annual dues for the first time in 11 years. This is not a decision we made lightly; rather, it was a step necessary to ensure the future of this organization.

Why You Should (Re)-Join the NPPA – PhotoShelter Blog

And for many photojournalists (whether freelance or not), work environments are becoming increasingly hostile. Thus the advocacy work of the NPPA for everything from press freedoms to copyright legislation has also become more directly relevant. It’s a level of protection that can’t be gleaned from watching a YouTube video or downloading a PhotoShelter guide.