For those not familiar with DNG, it’s the archival raw format that Adobe created to address the proliferation of proprietary raw formats. With hundreds of undocumented formats introduced since the advent of raw capture, it’s no wonder that the concept of a raw standard has elicited quite a bit of discussion. Much of the discussion revolves around the topic of file format obsolescence: Will I be able to open my raw files in 50 to 75 years from now? This is a good question and a valid reason why photographers choose to use the openly documented DNG format but there are other more immediate benefits to using a DNG workflow:
To my eye, there’s something integral to photography that’s not translating from film to digital. This isn’t to say that I think that digital is crap, but there’s definitely something missing.
I also think that a photographer’s relationship with shooting is quite different when it’s film and when it’s digital. If I buy fresh Polaroid film for my pinhole camera, it’s roughly $3.75 a shot. Shooting with an SX-70 is roughly $1 a shot. The choices that I make are an important and necessary part of my process.
With digital, you pretty much shoot ‘til your card’s full. I guess, I miss the ongoing interior editorial conversation that happens in my head.
Even if you’ve never heard his name, chances are you know the work of David Rubinger. For roughly six decades he worked as a Time-Life photographer, documenting Israel’s tumultuous history. Some of his photographs, such as the 1967 shot of Israeli paratroopers reaching the Western Wall, have become icons. In 1997 he was awarded the Israel Prize, the country’s highest award for achievement in the arts and sciences. Rubinger has now written a memoir, Israel Through My Lens, Sixty Years as a Photojournalist, just out from Abbeville Press.
VII photographer Christopher Morris is trailing the U.S. presidential candidates as they crisscross America during the state primaries and caucuses. In Iowa, which held its caucus January 3, 2008, he followed the Democratic presidential hopeful Hillary Clinton, and captured her supporters out in full force. The New York senator came in third in the Iowa caucus, behind Barack Obama and John Edwards.
Over the past couple of months, I spent quite a bit of time thinking about this, and I now want to offer portfolio reviews. Needless to say, I have no idea how much interest there is in something like that, so this is going to be quite interesting. Also with time there might be modifications to the whole process, we’ll see.
So if you are interested have a look at the description first and then send email to the address given there.
Sensitive, reflective, intimate. These are not words normally associated with the oeuvre of Pablo Bartholomew, best known for his stark World Press Photo award-winning images: morphine addicts shooting heroin up gnarled forearms in cheap Paharganj hotels, and the glassy-eyed dead baby that came to symbolise the Bhopal gas tragedy in 1984. But it was the feeling of having become “a hard-boiled egg” inured to historic images”this riot, that PM”that prompted Bartholomew to dredge up 35,000 black-and-white negatives of his “personal, collective history” that had gathered dust over a quarter of a century. And are now on exhibit at the National Museum as part of India Photo Now ’08, the French Embassy festival coinciding with French president Nicolas Sarkozy’s India visit.
The Utah Supreme Court has adopted a rule that allows reporters to refuse to identify confidential sources if called to testify in court, a protection described as one of the most sweeping in the country.
“It provides near-absolute protection for confidential sources,” Jeff Hunt, an attorney for a Utah media coalition, said yesterday.
The only exception to the shield rule would be in cases where the information could prevent substantial injury or death, he said.
The rule also protects non-confidential, unpublished information — notes, photographs and videotape — collected in the reporting process.
Lots of buzz online about the termination of editor Dave Seanor over this cover, which refers to a thoughtlessly stupid remark by golf anchor Kelly Tighman.
It’s worth noting that the controversy over this cover is inextricably wrapped up in its conceptual quality. The insipid stock image brings nothing to the package that isn’t explicit in the headline. The noose may be a loaded cliché, but that doesn’t mean it’s not just as tiresome on a magazine cover as any other over-used icon.
Illinois lawmakers have joined in the fight over whether the Illinois High School Association can prevent newspaper photographers from covering public school academic and sporting championship events games, and whether they can regulate the secondary use of photographs and videos that come from the events.
A new state law proposed this week comes in the aftermath of a dispute between the IHSA and the Illinois Press Association, a disagreement that reached a boiling point last November when several Illinois newspapers were prevented from photographing the state’s high school football finals and championship games.
And now Illinois lawmakers have proposed legislation intended to resolve the current conflict and to keep it from happening again.
Rep. Joseph M. Lyons (D-Chicago) has introduced House Bill 4582 which, if voted on and signed into law, will provide open access to all competitions, from elementary school to high school levels, including sports and academic activities.
And Sen. James A. DeLeo (D-Chicago) has agreed to file an identical bill in the other chamber of the Illinois General Assembly.
When Leon Kaufman’s (Bradley Cooper) latest body of work – a collection of provocative, nighttime studies of the city and its inhabitants — earns the struggling photographer interest from prominent art gallerist Susan Hoff (Brooke Shields), she propels him to get grittier and show the darker side of humanity for his upcoming debut at her downtown art space. Believing he’s finally on track for success, Leon’s obsessive pursuit of dark subject matter leads him into the path of a serial killer, Mahogany (Vinnie Jones), the subway murderer who stalks late-night commuters — ultimately butchering them in the most gruesome ways imaginable.
His alleged offense was distributing to classmates a report, printed from a Web site, commenting on a Muslim woman’s right to multiple marriages. The article, written in Farsi, which is close to the Dari language spoken in Afghanistan, questioned why men are allowed to have four spouses in Islam while women are denied the same right.
Without a lawyer to represent him, Kambakhsh was hustled Tuesday into a small hearing room where three judges and a prosecutor conducted a five-minute proceeding, according to his older brother.
He was then handed a piece of paper saying he had acted against Islam and should be executed, said the brother, Sayed Yaqub Ibrahimi, who visited him in prison Wednesday night.
Photography is a medium that feels natural to me. Once you place the camera in front of the eye, it constructs the world. The camera foregrounds the power of temporal and spatial affectivity as seen and thought. In fact, you could say that what I do is create frameworks. I frame the space within each image but also within the installation space. I devise a spatial montage that marks a rupture with the single moment in time and the one-point perspective.
The camera fiends at Vision Research have trotted out the Phantom V12, a crowd pleaser said to be capable of grabbing 1MM images per second (if you can live with 256×8 resolution; resolution goes up as frame rate goes down). Their gear is “targeted at industrial applications ranging from biometric research to automotive crash testing,” they say. “Essentially,” opines Engadget, “this little bundle of joy is meant to be strapped into daredevil-type situations in order to grab as many photos as possible within a split second.”
Photographic artist and gallery mate, Chris Jordan, has been making the TV circuit of late to promote his new Running the Numbers series. He has been seen on the Colbert Report, Bill Moyer’s Journal and now the Rachael Ray Show.
Mr. Boston, who retired from the Los Angeles Times, was working for the Washington Star on Oct. 21, 1967, when he took the image he called “Flower Power.”
The man with the flowers was later identified as teenage actor George Harris. He was making a nonviolent gesture against the soldiers, who were braced for trouble as they faced 250,000 demonstrators protesting the Vietnam War.
“I knew I had a good picture,” Mr. Boston later said. “Flower Power” became one of the most reprinted pictures of the past 40 years, appearing in government textbooks and television specials about the era.
At the time, Mr. Boston could not persuade his editors of the shot’s potential impact. They buried it inside the front section. Adding to his frustration, his car tires were slashed at the protest, and a bouquet of flowers was placed under his windshield wipers.
During my interview with Photo Talk Radio last week, I mentioned Bert Krages’ Photoshop Action to batch process your photos (reduce their file size) for copyright registration with the U.S. Copyright Office. He also provides steps to add copyright notice metadata to your photo files
The National Press Photographers Association’s long-standing and popular Monthly News Clip Contest is going digital beginning with the January 2008 entries, NPPA announced today.
The MNCC’s new format should be easier and faster for entrants, judges, and contest chairs alike.
“Going digital makes this a better contest, and that’s the goal,” NPPA executive director Jim Straight said today. “Digital will let us run this contest ‘on time’ and in today’s digital world that’s important. As an unexpected result, it will also create more space in News Photographer magazine for more stories, photographs, and original content. The magazine is consistently listed as one of the members’ top benefits, and the MNCC contest has been an important part of News Photographer over the years, and this advancement lets us make the best of both worlds for the contest and the magazine.”
A newspaper editor on Wednesday sued the Newark Police Department, charging that police had no right to arrest him and demand he not publish photographs from a crime scene.
The lawsuit, filed in U.S. District Court, came about two months after the state attorney general found that a Newark police chief violated her directive by questioning the editor and a photographer about their immigration status.
The incident stems from an incident in September in which a freelance photographer for a weekly newspaper, the Brazilian Voice, discovered a dead body and, along with the newspaper’s editor, reported it to police.
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