Stephen Mayes argues that the rise of digital changed the very nature of photography by moving it from a fixed image to a fluid one. Photography is less about document or evidence and more about community and experience … and that’s not a bad thing.
Message to freelancers: sue the Los Angeles Times at your own risk. An arbitrator has awarded the paper $266,000 to cover the costs of defending itself against a suit by the longtime Hollywood photographer.
Barely a year after its takeover by two “money makers,” the Sipa photo agency is now dealing with the turmoil created by the bankruptcy of several subsidiaries of the second largest German news agency, DAPD. While one of the shareholders is in hiding, 127 employees and tens of millions of photos hang in the balance.
Tabitha’s “Running” portraits have appeared on dozens of blogs and websites this year. When I first saw them, they didn’t initially grab my interest primarily because they felt too staged. As they continued to appear on my radar, I saw different selections of photographs, and began to look at them more closely.
Shooting in the dark, with a handheld camera, in a vibrating helicopter, 5,000 feet above land sounds like a photographer’s nightmare. But Iwan Baan made it look easy.
Portfolio reviews can be costly or, depending on what you make of them, cost effective. This idea—set forth by Center For Photography at Woodstock Executive Director Ariel Shanberg—was the focus of a panel this afternoon at Photo Plus Expo that aimed to h
Today two professional photography trade organizations‚ American Photographic Artists (APA) and Editorial Photographers (EP)‚ announced that they will merge to create one organization with a membership of approximately 3200 photographers. The move will se
After twenty years of travel and assignment photography, I was at a career crossroads. Disenchanted by the developments in my chosen profession, I felt like there was only a trace of my own signature left on my work. But, unwilling to relinquish my love of photography, I gave myself an assignment, to rediscover my identity as a photographer.
by Bill Cramer, Wonderful Machine With the recent shake-up at Luceo Images raising questions about the viability of photo cooperatives, I thought I’d share my own experiences with the photo cooperative business model. Wonderful Machine didn’t always have
Sometimes pictures can change how we see the world and the people in it. This happened to me a few days ago, when I received a link for an amateur photography blog called Almostmemories. It features pictures of private family moments and vacations from…
At the party that is Instagram – and all the other filter-heavy, photo socials out there – it’s time for the hipsters to rip off their filters and just let it all hang out. Because like clothes, filters allow us to hide our insecurities. And when we take
On August 16th, Andrea Verdone received the shattering news that her 3 year-old daughter, Natalie Grace Gorsegner had been diagnosed with Leukemia. Natalie’s treatments will take approximately two years to complete, however for the next seven months or so
’m fully aware that writing about photography can be a most tedious endeavour, especially online, where nobody wants to pay a cent for anything and where it’s more important to stir up a quick debate about some drama, about some scandal or controversy. But that aside, assuming one has convinced oneself that one wants to or needs to go about it, how can this be approached? It seems safe to say that there really is no recipe
I argued that it’s essential for photographers to carefully take the presentation of their work online into consideration. Instead of keeping things mostly theoretical, I thought I’d follow up with an article discussing examples.
We’ve been talking about Instagram so long that it seems quaint to continue to hear the “on-going debate” about whether professional photographers should be using it (and cellphone photography) or not. VII’s John Stanmeyer pretty much destroyed any argume
In less than two years, 6Mois has established itself as a high-quality French magazine that uses photography to tell the story of today’s society. But, for photographers, it’s even more than that. Olivier Laurent speaks to editor Marie-Pierre Subtil