As I usually do when people send me a link, I took a look. My immediate reaction was that the pictures were way too close to The Sartorialist’s work to be of any interest to me, but the surprising thing was the pictures were pretty good
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The MediaStorm Multimedia Workshops are intensive, hands-on educational experiences in advanced multimedia storytelling. The Workshops are designed to address three areas:
Original Multimedia Reporting
Post-Production
Multimedia Training
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Cara Phillips is in the process of creating a body of work on the extreme end of the beauty industry, whose work usually is invisible: The plastic/cosmetic surgery business. Since I have always been quite baffled by the general acceptance of beauty ideals that only a tiny fraction of the population can easily conform to, I asked Cara whether she’d be willing to tell me a little bit about her work and about what’s behind it, and I’m glad she agreed to it.
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The White House News Photographers Association has launched a Student Photographer of the Year contest, and the deadline for entering the inaugural competition is March 1, 2008.
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A bill that would have repealed Maryland’s ban on cameras in court during criminal sentencings was rejected by the Maryland House Judiciary Committee on Wednesday.
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I’d be lying if I didn’t say I was intimidated by working down the hall from legendary Rolling Stone Director of Photography Jodi Peckman. She’s garnered every accolade the photo industry can hand out and her rolodex is the size of a parmesan cheese wheel
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I think it’s time to take a constructive look at audio slideshows and review ways to make them better. One of the raps on audio slideshows is that they can be boring and predictable. I agree. I’ve watched hundreds of audio slideshows and it can be painful at times
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The following 4 photo-related technologies are cool and quickly slipping into the marketplace. Some are already in heavy rotation, some are in development, others are in still in commercial viability studies. I thought you’d appreciate an aggregate of them into one post for your speedy perusal.
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I Want to Be the Guy is an insanely hard platformer video-game that mashes together art, bosses, and other play elements from several 8-bit console cartridges from the golden age. Here’s a video of someone running the game
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This project in particular is interesting because it came at a time when Lee was experimenting with different camera formats and frame ratios. Within the span of the 89 images in Frederick Law Olmsted Landscapes he shifts from his Leica, to a Noblex pivoting lens panoramic camera, to his Hasselblad Superwide, and the results are noticeable beyond the obvious frame shape.
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No telling how many photos will be ruined by this new breed of cell phone photo takers.
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If you have some used equipment to sell, or are looking to purchase something that might be slightly used, check out the photo equipment classifieds. You can even post a free ad telling others what you are looking for if you can’t find it in the listings.
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Photographs from Iraq and Afghanistan by
Alvaro Ybarra Zavala, Andrew Cutraro, Ashley Gilbertson,
Balazs Gardi, Ben Lowy, Christoph Bangert, Eros Hoagland,
Ghaith Abdul Ahad, Guy Calaf, Jason Howe, Jehad Nga, Lucian Read,
Luke Wolagiewicz, Mike Kamber, Moises Saman, Peter van Agtmael,
Rita Leistner, Stefan Zaklin, Stephanie Sinclair,
Teru Kuwayama, Yuri Kozyrev, ZalmaiFeb 28—April 30
Opening reception Feb 28, 6-8pm
Gallery FCB
16.W 23rd Street NYC
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I don’t often miss California or Berkeley, but last week saw a very special event that I wish I’d been there for. Pinhead Gunpowder, the long-lived but very occasional band featuring peripatetic wordsmith Aaron Cometbus and Green Day’s Billie Joe Armstrong played a series of secret and not-so-secret shows capped off by a triumphant return to their spiritual home at Gilman Street.
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And while looking at their site for the first time in a while, I realized that they finally got around to putting up some amazing audio from the past 20 years of the workshop. It’s kind of like having your own personal workshop experience right in your home. Legends like Gordon Parks, Bill Eppridge, David Hume Kennerly, Peter Turnley and the man himself, Eddie Adams. Their words of wisdom are invaluable.
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This essay has focussed primarily on a dark future: While the technology has gotten better, the average photography quality on exhibit in the press is deteriorating. The essay has shown why giving journalists cameras is not a substitution for specialised photographers, but the question remains: What can be done?
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The Albuquerque Tribune announced today that it will cease operations, publishing its final edition this Saturday. In 2005, PDN named the Tribune one of the best newspapers to shoot for.
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In his softly lit bedroom, former SJSU photojournalism professor Joe Swan looked down at the nonexistent bump in the bed sheet where his legs should be.
“I’m pretty well bedridden,” Swan said in his slow Texas twang. “If I keep getting healthier – if you can use that term for somebody fatally ill – I might try to convert to a wheelchair.”
Within the last year, Swan, 78, has had both legs amputated and has been on dialysis, a process of filtration used when the kidneys stop working, because of complications from diabetes.
He stopped dialysis almost one month ago.
According to the Kidney End-of-Life Coalition, most patients who stop dialysis die within eight to 12 days, although some do live weeks or months.
“‘Brave’ just comes to mind when you’re doing something that will probably actually take your life,” said Debbie Gorman, Swan’s daughter.
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A leading team of CGI experts hand-selected by blockbuster producer and director Michael Bay has pushed the limits of what can be accomplished with special effects and digital imaging by creating a computer- generated best-director Oscar for the 43-year-old filmmaker.
The $125 million project, funded entirely by Bay, has been called one of the most ambitious CGI undertakings to date, dwarfing even Bay’s most ambitious efforts in his 2007 robot-action film, Transformers. A crew of nearly 200 technicians working for nine months on a 15,000-square-foot soundstage was required to realize the director’s wildly imaginative fantasy world.
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