It seems a bit strange to me that the media carefully warn about and label any content that involves sex, violence or strong language — but there’s no similar labelling system for, say, sloppy journalism and other questionable content.
I figured it was time to fix that, so I made some stickers. I’ve been putting them on copies of the free papers that I find on the London Underground. You might want to as well.
After winning the trust of his distraught subjects in New Orleans after Hurricane Katrina five years ago, Mario Tama just had to keep going back.
via Lens Blog: http://lens.blogs.nytimes.com/2010/08/10/showcase-200/
Mario Tama, 39, has covered war in Iraq and Afghanistan. He has witnessed death and destruction on a grand scale. Yet he had never seen what he saw in New Orleans after Hurricane Katrina. And it was not just the the people screaming for help from rooftops or the bodies that floated by him.
“As an American citizen,” he said, “witnessing other American citizens being abandoned by our own government was incredibly shocking.”
One of the best magazine articles I’ve ever read was in Esquire and it was about how to fry an egg. I never cease to think about that humorous and descriptive article when I pull out a small cast iron pan to make breakfast. And that article reminds me how I feel about John Baldessari. His work has resonated with me since I discovered it in art school, and it’s his ability to make simple and humorous ideas into something more significant and resonate, that serves him so well.
Link: l e n s c r a t c h: John Baldessari and Catherine Opie
Here are some of the amazing and inspirational visual goodies that have been feeding my creative brain. I hope you find something you haven’t seen and it inspires you to create something.
Link: A Virtual Gallery of Video Inspiration – MultimediaShooter
Link: http://www.nytimes.com/interactive/world/war-logs.html
A trove of military documents made public on Sunday by an organization called WikiLeaks reflects deep suspicions among American officials that Pakistan’s military spy service has for years guided the Afghan insurgency with a hidden hand, even as Pakistan receives more than $1 billion a year from Washington for its help combating the militants.
Andrea Star Reese has been photographing homeless people living in Harlem. She talks about her project, “The Urban Cave.”
via Lens Blog: http://lens.blogs.nytimes.com/2010/07/20/showcase-190/
For three years, Andrea Star Reese, a former filmmaker, has been photographing homeless people living in West Harlem. Her first project, “The Urban Cave,” will be exhibited at Visa pour l’Image, the international festival of photojournalism held in Perpignan, France, beginning Aug. 28. James Estrin met with Ms. Reese, 58, in New York, where she lives. Their conversation has been edited and condensed for space.
[slidepress gallery=’justinmaxon_whenthespiritmoves’] Hover over the image for navigation and full screen controls ESSAY CONTAINS EXPLICIT CONTENT EPF 2010 Finalist Justin Maxon When th…
via burn magazine: http://www.burnmagazine.org/essays/2010/07/justin-maxon-when-the-spirit-moves/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+burnmag+%28burn+magazine%29
Those living in Chester, PA, USA, grow up in an environment where forces everywhere are against them; where gravity seems to be stronger and less forgiving. It is a place where pollution alters cognitive development, violence and crime are commonplace, poverty is oppressive, jobs are virtually non-existent, and people with nothing take from others who have little
If you walk these streets, you pass people in a trance, who speak without being heard. You see children with shallow eyes, with scars deep. Ghosts are everywhere, fading from neglect. There is little for people to grasp a hold of for support, to deliver them through. People are forced into carrying this burden of weight and thus are required to be strong to withstand it.
The results for 2010 were announced on
Wednesday 30th July 2010.
Bruce Davidson is one of the best-known photographers in America. With his three-volume retrospective, he hopes to be rediscovered.
via Lens Blog: http://lens.blogs.nytimes.com/2010/06/28/showcase-177/
One thing I learned is that I had photographs that were very contemporary in their scope that I didn’t print. At the time, I didn’t think they were worthy. What’s great about looking at your work is the emotion comes back. The emotion comes back. The rhythm of what you were photographing comes back. It’s almost like a musical score. You can see where I may have quit too soon, or stayed too long.
In their series, Scenes of Life, Lucie and Simon present moments we’re all familiar with: a breakfast, a nap on the sofa, a swim in a pool. All of the mundane clutter of everyday life is there in abundant and clear detail. What gives the viewer a real jolt of delight, however, is that all of this is seen from directly overhead, looking straight down — a seemingly impossible perspective, especially for the photographs made inside the rooms of their home.
With the premier nearing of his documentary, “Restrepo,” Tim Hetherington takes time to talk with Michael Kamber about the future of photojournalism.
via Lens Blog: http://lens.blogs.nytimes.com/2010/06/22/behind-44/
The documentary “Restrepo,” directed by Mr. Hetherington and Sebastian Junger, will open Friday. Last week, Mr. Hetherington sat down with Mr. Kamber in Midtown Manhattan to talk about the film — and much else besides. Their remarks have been edited for brevity and clarity.
Stephen Crowley may be a bit shy in person, but he’s taken some bold gambles with traditional forms of photojournalism.
via Lens Blog: http://lens.blogs.nytimes.com/2010/06/21/showcase-175/
Stephen Crowley has spent most of his career masquerading as a newspaper photographer while producing idiosyncratic projects that push the boundaries of photojournalism and reveal unvarnished truths behind his most frequent subject: Washington politics.
Mr. Crowley, 57, a staff photographer for The New York Times, consistently takes risks in his photography. He was employing complex compositions in newspaper photography long before the style became trendy.
A photo essay about opium addicts in Afghanistan.
via Lens Blog: http://lens.blogs.nytimes.com/2010/06/15/showcase-173/
“I walk through a low entrance, stepping over a large puddle while crouching to avoid the wooden beam of a door frame,” A. K. Kimoto wrote. “It’s dark. As my eyes adjust, I see a figure sitting in a corner as gentle wisps of smoke slowly dance across the room. … I’ve come to these remote settlements in Badakhshan, Afghanistan, to find out why so many of the inhabitants have become addicted to opium.”
Emerging Photographer Grant 2010 Recipient [slidepress gallery=”davidemonteleone_northerncaucasus”] Hover over the image for navigation and full screen controls Davide Monteleone…
via burn magazine: http://www.burnmagazine.org/essays/2010/06/epf-2010-winner/
I’ve been working from Chechnya to Dagestan, from Northern to Southern Ossetia, just after the war in August 2008, all the way to Abkhazia, from the Caspian Sea to the Black Sea coasts, crossing geographical and political borders. My interest isn’t to cover the news that brought the region back under the international floodlights, but to carry on a considered path by making notes of the tracks left behind.
[slidepress gallery=”epf_2010_finalists”] Hover over the image for navigation and full screen controls SOME ESSAYS CONTAIN EXPLICIT CONTENT Emerging Photographer Grant 2010 Finalists pl…
via burn magazine: http://www.burnmagazine.org/essays/2010/06/epf-2010-finalists/
This is a short preview of the essays of our 13 EPF finalists
Slovakian photographer, Martin Kollar, lives in Prague and seems to have a knack for being in the right place at the right time.
