This is an exciting development for our non-destructive editing technology and is designed to address lens correction via two methods: Lens Profiles and Manual Correction
Link: Preview of Lens Correction Solution for Camera Raw 6 and Lightroom 3 – Lightroom Journal
Figures for the six months ended March 31 show that weekday sales declined 8.7 percent from the same period a year ago.
Link: http://www.nytimes.com/2010/04/27/business/media/27audit.html?partner=rss&emc=rss
Among the 25 largest circulation newspapers, 10 had declines in weekday circulation of more than 10 percent. The Sunday circulation figures were slightly higher, though far from a bright spot, as five of the 25 largest papers reported double-digit declines.
Counting down to what may be one of the better recorded instants in recent memory.
via Lens Blog: http://lens.blogs.nytimes.com/2010/04/27/readers-10/
If you missed these invitations, what we’re asking for is one picture, taken on May 2, as close as possible to 15:00 hours (U.T.C.). the international designation that corresponds to Greenwich Mean Time. You can consult this converter to find out what your local time will be. (Don’t fret about nanoseconds. We would rather have a good picture taken at 15:01:07 than a not-so-good picture taken at 15:00:29.)
Nikon’s new telephoto zoom lens is huge, and has a price-tag to match. The AF-S Nikkor 200-400mm ƒ4G ED VR II will cost you $7,000, and if you need all its features, it could be worth every penny. First, the traditional decoding of the name. AF-S refers t
via WIRED: http://www.wired.com/gadgetlab/2010/04/nikons-new-7000-200-400mm-monster/
Nikon’s new telephoto zoom lens is huge, and has a price-tag to match. The AF-S Nikkor 200-400mm ƒ4G ED VR II will cost you $7,000
Chris Boarts Larson is always busy, and always smiling. She is the creator of Slug and Lettuce fanzine, a free quarterly publication that celebrated it’s 20 year anniversary in 2007 with issue #90. Starting in NYC, Slug and Lettuce was…
via WFMU’s Beware of the Blog: http://blog.wfmu.org/freeform/2010/04/slug-and-lettuce-diy-online-photo-archives.html
Chris Boarts Larson is always busy, and always smiling. She is the creator of Slug and Lettuce fanzine, a free quarterly publication that celebrated it’s 20 year anniversary in 2007 with issue #90. Starting in NYC, Slug and Lettuce was the zine that took days and days to read because it was so packed with information, columns, reviews, comics and Chris’ amazing live band photos.
Former LIFE photographer Myron Davis, whose iconic images included the “From Here to Eternity” photo of actors Burt Lancaster and Deborah Kerr kissing on a beach, died on April 17 from injuries suffered in a fire that broke out in his apartment in Hyde Park, Chicago. Davis was 90 years old.
There’s a saying from the War – “All roads lead to Auschwitz.” The meaning is pretty clear. It was the central extermination site set up in a strategic location where it was easily accessible from countries with big Jewish populations.
But that was then, this is now. The camp is still there, bringing in about a million tourists a year. Most take a 1.5 hour train or bus ride from Krakow to the camp, then go back at the end of the day. Most aren’t considering modern Poland, or what life is like for the people who live near this ultimate symbol of evil. The road/railroad/passage to the camp has a lot of historical weight. If you think about the road to Auschwitz I bet you’ll imagine old black and white photographs of cattle cars, barbed wire, SS men, etc. These are memories of actual pictures you’ve seen in textbooks, movies, museums which has transcended society’s visual imprint of the Holocaust. And as a result, of Poland.
So in my back and forth trips I look out the window and try to see things for what they are instead of what history might imagine. It’s an exercise in altering implanted memories that come from old photos. There’s no time to plan the pictures I take because the moments pass by in an instant. Although my split-second reactions are of course affected by my perception of the things I’m seeing, the resulting photos reflect a more accurate reality of the landscape.
Link: Danny Ghitis | Photo Blog: Re-imaging The Road to Auschwitz
Merco Vernaschi, for the Pulitzer Center (Editor’s note at end of post) During the past week a few blogs have unleashed a wave of criticism on my work about child sacrifice in Uganda, questioning my ethics and values and the Pulitzer Center’s guidelines.
via Pulitzer Center: http://untoldstories.pulitzercenter.org/2010/04/uganda-response-to-critics.html
During the past week a few blogs have unleashed a wave of criticism on my work about child sacrifice in Uganda, questioning my ethics and values and the Pulitzer Center’s guidelines. Much of the criticism has focused on the picture of Margaret Babirye Nankya, a child who was killed during a ritual sacrifice, and whose body was exhumed to be photographed.
The images in Invisible City are dark and grainy. They are all black and white, and it is the black and white that does not forgive, that doesn’t console the absence of color with sharply delineated form. Schles’ pictures turn, page after page, in mesmerizing succession, and though the pictures do not tell a particular story, they form an intense narrative each one contextualizing the image that came before and that comes after.
Inspired by a multiscreen video peep show in Times Square, Hiroyuki Ito set out to portray New York City in a seemingly random grid of pictures.
via Lens Blog: http://lens.blogs.nytimes.com/2010/04/26/showcase-153/
“Transfer of Guilt” is a collection of grids. Each grid contains four snapshots that were taken in New York between 2006 and 2009. They were all shot in black-and-white film, developed and printed on resin-coated paper before being scanned and assembled into grids.
Model # UHR-LM8 More pictures available here, here and here. Features (source): Features: most of the camera View staff: through the glass in their own display / viewfinder available External synchronization: Nikonos 5pin Depth: 45 m Housing: Aluminium Gl
While some have described, in hyperbolic fashion, the death of photography… I see rather a birth and a new definition forming, an expansion on previous ideas… a birth occurring that brings with it a new world in a sense, a massive frontier and a new sort of beginning… of new possibilities and new “tools”… and new way of using them and a new way of abusing them. The old is becoming renewed and fresh while “the new” is then already becoming a bit old and dull. We are looking forward yet looking freshly backwards on an unprecedented scale. The past and the present are co-mingling at such a rapid pace as to give one chills… if one can see it.
Link: The New York Photo Festival | The Future of Contemporary Photography
These images are the beginning of a project on alligator industry in the state of Louisiana. They are from two days of hunting with Julius and Rebel near Shell Island, Louisiana.
Discover and share the best in contemporary photography
via LensCulture: http://www.lensculture.com/webloglc/mt_files/archives/2010/04/red-shirts.html
Photojournalist Agnes Dherbeys is a participant in the VII Mentor Program, conceived by VII Photo to provide professional development for the brightest emerging talents in the industry. Agnes Dherbeys’ coverage of the unrest in Thailand is the first in a series of Mentor features
Sunday Showcase shows a collection of work from one photographer- from a startup to an established shooter- each Sunday. Ideally, it will be a nice place to visit, with coffee in hand on Sunday mornings, possibly as you nurse a hangover.
This week showcases work by Luis Sanchis.
The Amazon Rainforest located in the Mato Grosso region of Brazil is ablaze like never before. The surge in burning can be attributed to the extreme rise in commodity prices. As demand for more food grain is needed, farmers are pushed to dramatically increase soybean and corn production, removing massive tracks of pristine forest in their wake.
Link: VII The Magazine
Haitian Photographer sued by Agence France Presse (AFP) for “antagonistic assertion of rights” Award winning Haitian born photojournalist, Daniel Morel, has filed an answer and counterclaim to the French international wire service Agence France Presse’s lawsuit filed on March 26, 2010 in Manhattan federal district court. The French international wire service which distributes to approximately 110 countries, which provides text, photographs, videos and graphics to customers on a worldwide basis, asserts that Mr. Morel “has made demands that amount to an antagonistic assertion of rights in his photographs of the catastrophic earthquake in Haiti on January 12, 2010 at 4:54 p.m. taken in the hour immediately following the quake.
Shoe Shine
120collection.com is your connection to 120 film photography. I use a variety of cameras to create my images including Holga, Lomo, Mamiya, Brownies, and more. A new photo will be posted daily, so keep coming back. You can also follow me on twitter.com/120collection
Link: 120 Collection
The key for photographers today is that they must be idea people. Concept people. It is no longer any advantage to have technical skills. Today one needs idea skills, to really have something to say, either journalistically or artistically. I see photography as a language far, far from dead. In my opinion, just being born. I look for visual literacy in a body of work. The makers must be visually literate and the audience must be visually literate as well. Seeking this happy medium of literacy from creator to audience is a full time preoccupation that will never end. However, the pursuit of this ideal is in and of itself an art.
Link: The New York Photo Festival | The Future of Contemporary Photography
