I’ve always thought this Canadian Club print campaign was genius, partially because of the vibe but mostly because I couldn’t figure out if the images were 40 years old or shot recently. When I discovered that Liz Miller-Gershfeld, VP and Senior Art Produ
Arrest 1 (1965) by Bridget Riley I’d like to propose an alternative method to discuss issues of race in visual culture and the photographic industry, but first some preliminaries. HUGO AND TH…
Again and again similar images are repeated, with only the actors and settings changing. Grieving mothers, charred human remains, sun sets, women giving birth, children playing with toy guns, cock …
Many argue that a block on such pictures is meant to protect the families of the victims. That is a worthy sympathy too. But that place is a funny one to draw such a line. If that holds true, should we not avoid photos of any casualty? Any disaster? Any death? Valuable coverage of the world would greatly suffer. We need to see to believe, and to understand the impact of our or others’ actions.
Things do go wrong, but a photojournalist who has worked for a daily newspaper is trained to do superior work, and quickly. She cannot come back to the office with no photo. The paper is coming out tomorrow, a photo is needed. She is used to operating under pressure.
There is a stereotype of members of the media as ghoulish news hounds, eager to push a camera in a grieving family’s face or go to any length to snatch a sound bite or quote for a story. As with many broad stereotypes, there is very little truth to it. That kind of thing rarely happens. But that doesn’t stop some people from jumping to conclusions and making assumptions about our ghoulish nature. For example, there were these comments posted to our story on the death of five-year-old Catherine Elizabeth Gibson, criticizing the stunning photo that ran with the story.
“14. Media will not be prohibited from viewing or filming casualties; however, casualty photographs showing recognizable face, nametag or other identifying feature or item will not be published. In respect to our family members, names, video, identifiable written/oral descriptions or identifiable photographs of wounded service members will not be released without the service member’s prior written consent. If the service member dies of his wounds, next-of-kin reporting rules then apply. Media should contact the PAO for release advice.”
SPORTS SHOOTER ACADEMY VII will be held April 7 – 10, 2010 in Southern California featuring a line up of award-winning photographers on the faculty. The Academy is a hands-on, shooting workshop where participants cover real sports events under the guidance of the faculty and receive critiques of their work nightly.
Each year, a few students are selected to not only shoot still images, but record audio and video as well. Each photographer works intensively with their team leader and the multimedia team led by Brian Storm, Tom Kennedy and Rich Beckman to produce a multimedia piece within two days.
Pablo Picasso once said, “Good artists copy, great artists steal.” But Wall Street Journal illustrator Noli Novak says Spanish artist Jose Maria Cano engaged in outright plagiarism in producing a large painting that meticulously duplicates Novak‘s stipple
Danfung has been producing incredible work from Afghanistan where he works as an embedded photojournalist. His filming is both editorially and visually compelling – especially given the extreme conditions under which he works. He is currently working on his own documentary, “Battle for Hearts and Minds”, as well as having his footage featured on PBS Frontline. This is his first post about his technique for www.dslrnewsshooter.com
The first two videos are a “must see”: More videos of the D3s (not from the D3s) after the break: More videos available here. Related posts: Nikon Df camera hands-on and preview videos “I am different”: new series of videos on Nikon photographers by The T
A team of journalists from the University of North Carolina at Chapel Hill observed this unique ecosystem in summer 2009. They witnessed conservation, natural beauty and a welcoming culture. They also saw a host of environmental and cultural issues that leave the Galapagos Islands at a tipping point