Alec has teamed up with a Minnesota-based non-profit housing developer called CommonBond Communities with the goal of providing 4000 affordable apartments and townhouses to needy residents of the Upper Midwest. Alec photographed some of the residents of the CommonBond homes and produced a beautiful book called Allowing Flowers that is given away as a gift to people who donate significant sums to the effort.
You’ll notice the overall visual changes first. While the old site (image 2 in the slideshow above) was good enough, it was a stock wordpress template and has been popping up all over the place of late. It was cluttered, didn’t utilize the full width of modern computers, and was beginning to look dated. Mostly, I was just tired of it and thought I could do something that fit our visual content better. We also wanted a way to highlight posts from our archive.
ONE REASON SEEKERS of news are abandoning print newspapers for the Internet has nothing directly to do with technology. It’s that newspaper articles are too long. On the Internet, news articles get to the point. Newspaper writing, by contrast, is encrusted with conventions that don’t add to your understanding of the news. Newspaper writers are not to blame. These conventions are traditional, even mandatory.
another offering from Dokument and Hello Press… Like Lipstick Traces is a coffee-table collection of 600 polaroids taken specifically for this project over the course of two years by 13 mostly European graffiti artists.
In much of the world men and women remain economic refugees, whether they be in Israel, South Africa, Russia, China, Bengladesh, or in the United States. With an growing world population and an increased competition for limited resources, the exploitation will inevitably increase, just as the backlash against them will become more severe.
I asked a number of photographers and curators to name their image of 2009 for the Sunday Telegraph magazine end of year issue. In case you missed it, here they are:
Tortuga Travel Photography Adventure Workshops formed in the summer of 2009 with a common goal of sharing our knowledge of great still photography and love for the amazing diversity and similarities of cultures and people around the world.
I have a feeling we will be hearing a lot more about Alex Kisilevich in the future. His website reveals a number of smart and interesting projects, and I’m quite sure that’s the tip of the soon-to-be iceberg.
Can you work hard and have fun at the same time? Are you looking for a workshop you can afford? Would you like to work elbow to-elbow with some of the best
The 2010 Kalish is open for business and accepting applications for the 21st edition of this venerable visual editing workshop. It’s an opportunity to learn cross-platform/multimedia skills from a faculty of Emmy and Pulitzer Prize winning visual editors.
Hearst Corporation’s history of working with photography’s pioneers and rule breakers continues with the 2nd Hearst 8×10 Photography Biennial – an international competition saluting the next generation of talent, which will play an important role in the future of magazines, media, the web, design and photography.
On Christmas Day, police in the U.K. rounded up tourists taking photos of the royal family at Sandringham church and confiscated their cameras. At The Independent, Dominic Lawson’s dismay sub…
On Christmas Day, police in the U.K. rounded up tourists taking photos of the royal family at Sandringham church and confiscated their cameras. At The Independent, Dominic Lawson’s dismay subsides to confusion: Britain’s police are “descending into obvious madness,”
a new option called Endless Memory that enables the card to automatically delete the oldest photos and video from the card once it has confirmed they’ve been successfully transferred to their destination.
This has been a momentous year for media. In my previous four posts on the revolutions in the media economy, I have used the present uncertainty to take a fresh look at the past many now view nostalgically. This critical view demonstrated that newspapers have always been commercial enterprises rather than altruistic associations, they were in decline many years before the Internet restructured the conditions of publishing, and that the practice of investigative journalism is something we need to create as much as we need to protect. In this context, photographers who believe that their practice is defined by an editorial paymaster committed to documentary work are going to have a very hard time.
In a way, this completes a full circle for McSweeney’s founder and editor Dave Eggers, who, in his 2000 book A Heartbreaking Work Of Staggering Genius, recalled doing freelance design for the San Francisco Chronicle to pay rent. While journalism struggles to redefine itself on the Internet, Eggers maintains that “print is a more calm, and maybe even civilized, delivery vehicle,” and wants the Panorama to demonstrate things print can do that web content can’t. The day after the Panorama’s release, The A.V. Club called up Eggers to find out what his favorite things are about newspapers.
Here are questions the organizers may want to think of. Why aren’t the talented and courageous Palestinian photographers, who risk their lives to document the daily horrors of Gaza, also invited? Why doesn’t GPP also invite some of the immensely talented Bangladeshi documentary photographers who document the impact of poverty and floods on their homeland? Why don’t you invite the Kashmiri photographers…why don’t you also invite the emerging Afghan photographers…the incredibly prolific Indian photographers? The Malaysians…the Iranians?
