burn magazine says:
Every year, thousands of Central Americans from Guatemala, El Salvador and Honduras illegally enter Mexico via the southern border with the goal of reaching the United States in search of a better life. The journey is long and full of dangers, traveling for days as they cross the country atop the “beast”, as they call the train that takes them to Mexico’s northern border.
PDN says:
This past April 23–26, reviewers and photographers gathered in Portland, Oregon, for the 2009 Photolucida Portfolio Reviews. Over the course of four days, reviewers saw work during 50 20-minute reviews with photographers, at a portfolio walk at the Portland Art Museum, and in informal reviews requested by photographers.
Feature Shoot says:
Fashion and advertising photographer, artist and creative director Paul Sika was featured in the 2007 summer edition of Olympus User Magazine UK. For this vibrant series, Sika created the environments using actors and carefully staged sets to convey a powerful social narrative.
Digital Photography Review says:
We were lucky enough to be loaned a full production version of Sigma’s latest camera on a recent trip to Japan for just long enough to put together a quick gallery of sample images. We used a variety of subjects and color modes, and ISOs from 100 to 800
RICHARD PÉREZ-PEÑA says:
Papers found a lot to report about declining news audiences, while national television news shows had little to say. And though the problems of print and broadcast have been similar in scope, both media dwelled primarily on what was happening to newspapers.
David Carr says:
David Simon, the former reporter from The Baltimore Sun and now a creator of television series including “The Wire,” boiled it down thusly in his turn at the microphone.
“High-end journalism can and should bite any hand that tries to feed it,” he said. “And it should bite a government hand most viciously.”
Will Baxter says:
Most foreign journalists are banned from reporting in Zimbabwe, and strict media censorship is practiced by the government. After Mugabe’s statements regarding the end of cholera in Zimbabwe, orders were sent to cemetery employees not to allow any journalists to photograph funerals.
CLICK NOTE: Article by the photographer is at this link.
Billy Macrae says:
What greeted me as I approached the aptly named area of “Bank” was a small crowd of disgruntled protesters flanked by a veritable wall of riot vans and police in luminous yellow outfits. On the other side, at the far end of the street behind several layers of hefty police, I could see a very large, very noisy and very angry crowd. There seemed to be lots of red smoke, like at an Italian soccer match. As always in situations like this it seemed best to move on. It was time to find a gap.
CLICK NOTE: The photo gallery is at this link. I don’t know why they have downplayed the photo galleries in the new redesign.
PF Bentley says:
In my annual hunt for cool and interesting products for videojournalists, my esteemed colleague, Dirck Halstead, and I walked what seemed like 874 miles and found some innovative items guaranteed to get you thinking and maybe buying in the future.
Ron Steinman says:
I believe to reach the highest quality possible in a film there must always be another person looking over the shoulder of the person in front of him or her. That way creativity can reach its peak. One person doing everything is counterproductive. If the gatekeeper arrives only at the very end of the process, then it is too late to fix problems and make a better film. Without a gatekeeper, there is no one to keep the filmmaker honest. Meaning more often than not, the filmmaker cannot see the forest for the trees.
NPAC – News Photographers Association of Canada says:
The Photographer’s Q&A focuses on Canadian photographers and visual journalists. This is an ongoing series posted every Monday.
This week’s Q&A is with Veronica Henri, Sun Media.
Dan Bergeron says:
“I just finished installing a project that I have been working on since the new year commissioned by The Royal Ontario Museum and the Contact Photography Festival. The work has all been installed inside the Museum, as part of Housepaint, a larger project more specifically about homelessness and shelter. And for the purposes of working in my usual way and to create a juxtaposition between indoor and outdoor, I have also put the work up illegally in numerous spots around Toronto.
John Nack says:
Working on a commission from Adobe, Brazilian director Cisma* recently created “Le Sens Propre,” rather surreal story about “a dream-like voyage in the universe of a little girl.” Cisma & team used a RED camera followed by an exclusive Adobe CS4 Production Premium workflow
Jim McNay says:
After several months—or years—on the shelves of serious photographers, it’s time to take this volume down again and give it a look. For all of us who have complained about how tough things are now in these times—and who among us has not complained?—the voices in this book remind us photojournalism and documentary photography were never easy, not for those during photojournalism’s Golden Age, not even for those included in this book who are generally accepted as stars in the profession.
PHOTOGRAPHERS SPEAK says:
I think that the collective understanding of this country is very superficial, and big parts of it are just left out, deemed unimportant. It’s not just about being unfair; it’s something that makes for the kind of places where things are allowed to fester. It’s a whole other world, an alternate America. To the extent that my photographs can play a part in addressing some of that, I’m more than proud.
PHOTOGRAPHERS SPEAK says:
No, they did not. My mother thought I could be a rabbi and still paint on the third floor. “Who would know?” she would say. My father thought photography was done by lowlifes. My family was very unhappy about my becoming a photographer—profoundly and deeply unhappy. That’s not what they wanted for me, but I don’t want to go into it.
PHOTOGRAPHERS SPEAK says:
I created the “total vision” concept of Photosynthesis in opposition to the dogmatic concept of the “decisive moment” formed in the middle of the 20th century by Henri Cartier-Bresson. That aesthetic became the “canon obligatoire” in photography, and it also became a nice product for the export of French culture and lifestyle. The paradoxical fact is that the exceptional quality of Cartier-Bresson’s reportage, and the quality of documentary photography in France in general, brought photography to a standstill—like painting in the 19th century—and inhibited French photographers from developing a modern vision.
PHOTOGRAPHERS SPEAK says:
DEAN BRIERLY INTERVIEWS THE MEN AND WOMEN WHO ARE SHAPING THE PARAMETERS OF PHOTOGRAPHY — FROM OLD SCHOOL TO NEW GENERATION, TRADITIONAL TO CUTTING EDGE.
Via lenscratch.
