How do the revolutions in the media economy (detailed in the first and second post of this series) affect photojournalism? Given both the crisis in the distribution of information and the new opportunities for the structure of information, what futures are there for photojournalism?
Link: dispatches / Revolutions in the media economy (3) – photojournalism’s futures
Hi and welcome to the new luceoimages.com. We created this site in large part to help grow our photographic community and to encourage participation from those of you that have been frequenting the old Luceo site, our collective blogs and personal portfolios over the last two years. This update is the next step in that trajectory, something that’s a little more user-friendly, a little more centralized, and full of new stuff to explore. So get yourself a cup of coffee and make yourself at home. Click away and comment away. We’d love to hear from you.
Link: Luceo Images
Mark Klett and Bryon Wolfe have been collaborating on a series, Charting the Canyon, since 2007. The photographers have been re-photographing a variety of iconic views of the Grand Canyon and using digital technology to present old images in new contexts. The old images, which include paintings and drawings as well as photographs, are superimposed on new photographs—and vice versa—with provocative results.
We parked our car and I positioned myself behind several protesters as Claudia asked two men to allow me to balance my camera on their shoulders, in order to make a long exposure without flash, of the lineup of Stasi and their dogs that were biting protesters. After making many images, I was suddenly swept off my feet by several undercover police officers. I was sure that I would lose this important film as I was taken to a paddy wagon and asked to surrender my film and cameras.
Link to story: 20th Anniversary: The Fall of the Iron Curtain – The Digital Journalist
Link to photo gallery: Digital Journalist Weblog » Peter Turnley – 20th Anniversary: The Fall of the Iron Curtain
Vewd delivers OTT and hybrid TV solutions on nearly 40 million connected devices each year, with more than 300 million Vewd-enabled devices shipped to date.
via Vewd: http://vewd.org/index.php/photo/essay/brian_l_frank/
This photographic essay documents the violence due to the drug war in Mexico in 2008. The story, was completed over a period of 6 months, mostly in the notorious barrios of Tepito and Nezahualcoytl in Mexico City. However, in October, I also visited Juarez where, with the help of local journalists was able to document just a fraction of the rampant violence that has turned the border town into a war zone.
We at McSweeney’s love newspapers. We love the internet, too. But we believe that print newspapers are an invaluable part of the journalistic landscape. So we’ve spent five months collaborating with dozens of reporters, designers, photographers, and authors on a 21st-century newspaper prototype.
Link: McSweeney’s Internet Tendency: The San Francisco Panorama Press Release.
via: dvafoto
“The director confided that Winogrand doesn’t make learning easy; be patient, he urged, it’s worth it. If we weren’t satisfied by the weekend, he’d give us a refund.”
Coffee and Workprints: A Workshop With Garry Winogrand – Two Weeks with a Master o
via AMERICAN SUBURB X: http://www.americansuburbx.com/2009/11/theory-coffee-and-workprints-workshop.html
We quickly learned Winogrand’s technique–he walked slowly or stood in the middle of pedestrian traffic as people went by. He shot prolifically. I watched him walk a short block and shoot an entire roll without breaking stride. As he reloaded, I asked him if he felt bad about missing pictures when he reloaded. “No,” he replied, “there are no pictures when I reload.” He was constantly looking around, and often would see a situation on the other side of a busy intersection. Ignoring traffic, he would run across the street to get the picture.
In the current conflicts in Iraq and Afghanistan, where images have largely been sanitized, Peter van Agtmael’s photographs offer an up-close look at wars that, to most, seem emotionally blurred and distant. His recently released book, “2nd Tour, Hope I Don’t Die,” is a young photojournalist’s firsthand experience: the wars’ effects on him, on the soldiers and on the countries involved.
Link: Showcase: Peter van Agtmael — ‘2nd Tour, Hope I Don’t Die’ – Lens Blog – NYTimes.com
Marco Baroncini didn’t set out to photograph the Roma people (or Gypsies) who live in Rome. As James Estrin reports, they came to him.
via Lens Blog: http://lens.blogs.nytimes.com/2009/10/26/showcase-69/
Marco Baroncini didn’t set out to photograph the Roma people. They came to him.
Link: 100Eyes || Beware the Cost of War | 100 Eyes Photo Magazine
The photographers in this exhibition are some of the best in the world. Uriel Sinai and Amit Shabi have been awarded in the World Press photography competition, Jafar Ishtyeh and Mahmud Hams have won the Prix Bayeux war photography prize and all of the other photographers have received various awards and accolades.
This exhibition would not have been possible without their generosity and their help in suggesting and recruiting the other photographers – even ones from “the other side.”
Link: lens culture: Prix Pictet 2009 shortlist:
Prix Pictet is a yearly £60,000 ($97,000) photography prize awarded for a body of work that focuses on environmental sustainability.This year the theme is ‘earth’. A Mexican garbage dump where people forage to sustain a pitiful existence; the changing landscape and displaced communities of China’s Yangtze River; the devastating impact of oil production in the Niger Delta; and the annual pilgrimage to the desert fronts of the Iran-Iraq war are among the subjects that feature in the work of this year’s shortlisted artists.
Lens Culture is pleased to provide previews of all twelve outstanding international photographers who are finalists.
Nocturne from Vincent Laforet on Vimeo.
Link: Lights Out, Camera, Action « Vincent Laforet’s Blog:
Just a little over two weeks ago my jaw dropped even harder when I took a prototype of the Canon 1D MKIV outdoors to test it at night. I was on the road, it was late and I had just rushed back to my hotel to get to the unit. I was expecting a 1D body, with 24p, a 1.3 crop factor sensor, 10 fps for stills, a new AF system – 60 fps at 720p – and of course 1080p video.
Nothing prepared me for what happened next.
I set the ASA to high – and I pointed it towards an area lit by a single flood light. The image was overexposed by 4-5 stops. I then started to play with the settings, pointing my light into an area in complete shadow (my eye saw nothing but black) but on the rear of the LCD I saw sharp, green leaves as crystal clear as if it were shot in daylight.
Discover and share the best in contemporary photography
via LensCulture: http://www.lensculture.com/webloglc/mt_files/archives/2009/10/exposure-awards-winners.html
After sifting through and evaluating more than 6,000 photographs submitted by photographers from 48 countries on six continents … the panel of judges for the Lens Culture International Exposure Awards 2009 have chosen the winners. Top prize went to Italian photographer Marco Vernaschi for his disturbing photo-essay about the effects of drug trafficking in a small West African country. Single Image Awards went to Brad Moore, Stella Johnson, and Laura Pannack. And 25 photographers from 13 countries won Honorable Mention Awards.
This was created in dedication to the photographer Vivian Maier, a street photographer from the 1950s – 1990s.
Vivian’s work was discovered at an auction here in Chicago where she resided most of her life. Her discovered work includes over 100,000 mostl
Link: http://vivianmaier.blogspot.com/
I acquired Vivian’s negatives while at a furniture and antique auction. From what I know, the auction house acquired her belongings from her storage locker that was sold off due to delinquent payments. I didn’t know what ‘street photography’ was when I purchased them.
It took me days to look through all of her work. It inspired me to pick up photography myself. Little by little, as I progressed as a photographer, I would revisit Vivian’s negatives and I would “see” more in her work. I bought her same camera and took to the same streets soon to realize how difficult it was to make images of her caliber. I discovered the eye she had for photography through my own practice. Needless to say, I am attached to her work.
Link: Rob Galbraith DPI: Nikon announces D3S with 102,400 top ISO:
Late next month Nikon will ship the D3S, an update of its venerable D3 digital SLR that features improved high-ISO image quality (and an eye-popping top ISO of 102,400), a 720p D-Movie mode with external stereo mic jack, approximately double the burst depth of the D3, a useful 1.2x crop mode and various other refinements.
Link: Upstate Girls: What Became of Collar City – Brenda Ann Kenneally – Digital Journalist:
As a journalist and activist I have dedicated my life to exploring the how and why of class inequity in America. I am concerned with the internalized social messages that will live on for generations after our economic and social policies catch up with the reality of living on the bottom rung of America’s upwardly mobile society. My project explores the way that money is but a symptom of self-worth and a means by which humans separate from each other. Poverty is an emotional rather than physical state with layers of marginalization to cement those who live under them into their place. The economic crisis as it is called has done some to take the moral sting out of being poor, though the conversation remains centered on economic rather than social stimulus relief. Thus indicating that the crux of the crisis is for those that are recently without money rather than Americans whose ongoing struggles left them unfazed by the headlines.
Intro to story (for gallery click link above)
Tyler Hicks of The Times has learned to be careful of where he points his camera in this southern Afghanistan city, and to rely heavily on his translator and driver.
via Lens Blog: http://lens.blogs.nytimes.com/2009/10/11/on-assignment-2/
Tyler Hicks has three rules when photographing in a dangerous, unstable city like Kandahar, Afghanistan. Keep moving, watch the crowd and always listen to your translator and driver.
APE: I talked to you about a year ago right after Canon announced the new 5d markII that shoots video. I called because I wanted to talk with someone who was actually a filmmaker and a photographer to get their opinion on the new product. We got into this
via A Photo Editor: http://www.aphotoeditor.com/2009/10/09/sam-jones-interview-part-2/
All of the good ones do. The 6×7 negative, there’s not chip that’s that size and film has it’s own look and color palette. We’re never going to lose that. The retoucher I’m working with now, who has done some of the biggest fashion and advertising work for the last decade, would much rather work from a film negative than a digital file in terms of skin tone and color. In fact, he even still sees photographers who prefer shooting only on 8×10 polaroid and scanning those images. There are cases where he is making a composite with the skin from polaroid and the product from a digital file. So, when money is no object, digital is just another tool.
