Joe Klamar, works for AFP and made some pictures that some people aren’t happy with. Joe Klamar is my new hero. – Kenneth Jarecke
given the continued post-modern collapse of what constitutes a great image, I advise Joe to polish these babies up, maybe hire one of those post-production gurus, and get ready for an free trip to Amsterdam!
Link: Magnum Photos adds new members [updated] – British Journal of Photography
Zoe Strauss, Jerome Sessini and Bieke Depoorter are Magnum’s newest nominees.
The surveillance of journalists covering Syria has heightened concern about the risks journalists face in relying on mobile communications and cellphones. In February, journalists Remi Ochlick and Marie Colvin were killed when shells struck the press cent
via PDNPulse: http://pdnpulse.com/2012/07/your-cellphone-is-not-your-friend-and-other-security-tips-for-conflict-zones.html
The surveillance of journalists covering Syria has heightened concern about the risks journalists face in relying on mobile communications and cellphones
Visa Pour l’Image is coming back to Perpignan, but an increasing number of photo agencies are skipping the show, Corbis being the latest one to withdraw its support. BJP speaks with festival director Jean-François Leroy
Link: The picture of the cost of war – Spotlight – The Buffalo News
First of four parts: The News profiles those whose lives were changed in the traumatic moment captured in this iconic photo from Operation Desert Storm.
via @marclesterphoto
All paparazzi are photographers. But not all photographers are paparazzi. The problem is that in a time of catchy phrases, it seems that many media outlets are unable or unwilling to take the time to distinguish between the two. In the aftermath of actor
via NPPA Advocacy Committee: http://blogs.nppa.org/advocacy/2012/06/21/photojournalist-or-paparazzo-a-distinction-with-a-difference/
In the aftermath of actor Alec Baldwin’s assault on photographers who were waiting for him on a public street outside the New York City Marriage License Bureau this week, the distinction between the use of the pejorative “paparazzi” as a way to denigrate members of the media is not only unfortunate, but does a disservice to all photographers and journalists who strive to earn a living through visual storytelling.
Link: Paper stops the presses after spotting obscenity in grad’s glasses | JIMROMENESKO.COM
Eureka (Calif.) Times-Standard publisher David Kuta tells Romenesko readers that presses were stopped after someone noticed the “F*ck You” in a high school graduate’s glasses. He says about 6,000 to 7,000 copies of Saturday’s paper had the front-page obscenity, while 10,000 or so copies got to readers with the words blacked out.
Changes in the business of photojournalism over the past five years have produced an explosion of collectives, fostering cooperation within and among groups.
via Lens Blog: http://lens.blogs.nytimes.com/2012/06/18/a-lone-wolf-approach-disfavored/
Radical change in the photography industry during the past five years has ignited an explosion of photo collectives. Each collective is unique and reflects the circumstances, desires and philosophy of its members. The paradigm of photographers operating as lone wolves has shifted somewhat to one of cooperation — both within and between collectives.
On the 40th anniversary of the famous “napalm girl” picture that changed the tide in the Vietnam war, another photographer who was there and missed that picture reflects on the power of that image and on waiting for the moment.
via Washington Post: http://www.washingtonpost.com/lifestyle/magazine/forty-years-after-napalm-girl-picture-a-photographer-reflects-on-the-moment-that-might-have-been-his/2012/06/13/gJQAfoToeV_story.html
It’s difficult to explain to someone who has grown up in the world of digital photography just what it was like being a photojournalist in the all-too-recently-passed era of film cameras. That there was, necessarily, a moment when your finite roll of film would end at frame 36, and you would have to swap out the shot film for a fresh roll before being able to resume the hunt for a picture.
MediaStorm are charging $1.99 for people to access their latest films. One of them features the work of Maggie Steber….
I don’t think $1.99 is too much to ask because of the subjects…these are stories, and we should not think of them only as photography.
If you do, you are mistaken and shortsighted.
These are universal stories about life and the end of life and about how we as loved ones can be braver and more involved with those aspects of life.
If those stories and what you can learn from them isn’t worth $1.99 than we are doomed as story tellers.
We have to quit thinking that it’s only about photography.
It’s far beyond that.
Highlights from the conversation between Geoff Dyer and the photographer Alex Webb at the LOOK3 Festival of the Photograph, which took place last weekend in Charlottesville, Va.
via The 6th Floor Blog: http://6thfloor.blogs.nytimes.com/2012/06/12/the-photographer-alex-webb-live-and-in-color/?partner=rss&emc=rss
Alex Webb, one of the most influential color photographers of the last four decades — and whose photographs accompanied an article in the magazine on Treece, Kan. — was interviewed by Geoff Dyer on Saturday afternoon during the final “Insight Conversation” at the Paramount Theater
Multimedia production company MediaStorm says it will start charging viewers $1.99 for access to each of its stories under a new system it calls Pay Per Story. “We have decided it is time to try a new model that transfers a minimal cost to the viewer,” co
via PDNPulse: http://pdnpulse.com/2012/06/mediastorm-now-charging-to-view-its-stories.html
“We’ve earned the right to do this,” Storm told PDN of his decision to charge viewers. “We’ve put a lot of [stories] out there for a long time, and built a great audience.”
Magnum photographer Alex Webb’s conversation with author and photography critic Geoff Dyer at the Look 3 photo festival provided a sweeping retrospective of Webb’s career, from his earliest black and white work through his development as a revered master
via PDNPulse: http://pdnpulse.com/2012/06/look-3-report-alex-webb-on-his-creative-process-kodachrome-and-magnum.html
Magnum photographer Aelx Webb’s conversation with author and photography critic Geoff Dyer at the Look 3 photo festival provided a sweeping retrospective of Webb’s career, from his earliest black and white work through his development as a revered master of color photography on projects from Haiti to the US/Mexico Border, Florida, Cuba, and beyond.
Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in th
Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in the life-affirming power of emotional intimacy and mutual respect that has informed her work and career.
“In the day time, I keep you alive,” the driver told Green, and “at night I go kill Americans.”
via Reading The Pictures: http://www.bagnewsnotes.com/2012/06/notes-from-look3-stanley-greene-and-the-bridge-in-fallujah/
Throughout the talk, a slideshow of Greene’s work appeared on the large screen. When a harrowing photo Greene took in Fallujah appeared, however, Leroy stopped the slideshow to ask Greene about the image.
Link: VII Photo adds four photographers to Mentor programme – British Journal of Photography
Photographers Laura El-Tantawy, Nafis Ahmed, Jošt Franko and Amanda Rivkin have been selected to join VII Photo’s Mentor Program
Interview with Susan David Alan Harvey: Young photographers are looking towards us to help them find the way. We are struggling with that, but you’ve evolved from a photo journalist at a ver…
via burn magazine: http://www.burnmagazine.org/essays/2012/06/susan-meiselas-interview/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+burnmag+%28burn+magazine%29
You need people who believe that it is still important to see what is going on in the world at whatever level that means. You know, I never thought about it in terms of ‘news’. What we used to do very well was anticipate. I mean, that’s really important to think about. We had to anticipate, because it took weeks or months for publications to prepare to go to print. In fact, even that’s part of the reason I personally never worked for National Geographic. For me, the difficulty of Geographic was that the anticipation cycle was so long. So if I was working on a timely subject, I wanted to see the publication in relation to the production in a closer cycle. And Geographic was so extended; it might be six months or a year after you did the work that you would see it in print. So it didn’t seem optimal or advantageous for the kind of work I was doing at that time. It was a more reflective space lets say.
Now, that’s a very valuable space; to have the opportunity to be more reflective and not have to be as immediate which is what this new medium has created and now demands in some ways. This intensity that we have to produce and deliver and disseminate instantaneously — so that there is no time for reflection. The MF’s Magnum Emergency Fund is trying to create a margin in which photographers can still have a degree of independence to reflect and create work
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2012/06/05/tiananmen/#1
Widener discovered that Martsen encountered gunfire and more soldiers after he left with the precious film and that he became lost trying to navigate back streets to find the Associated Press office. Martsen went to the U.S. embassy and handed over the film to a U.S. Marine at the entrance, and told the embassy to forward the film to the AP office.
“Kirk risked his life,” Widener says. “If not for all of his efforts, my pictures may never have been seen.”
The next day, the image appeared on the front pages of newspapers around the world.
Robert Seale Photography is an Advertising, Corporate, Commercial, Sports Portrait, Editorial, Oil and Gas, Industrial, and Annual Report Photography studio located in Houston Texas that works for Advertising, Corporate, Commercial, Editorial, Industrial,
via Houston Tx Advertising Photographer Robert Seale: http://www.robertsealeblog.com/it-was-20-years-ago-today/
It all started with a pre-dawn phone call in the winter of 1992 from George Honeycutt, then Director of Photography at the Houston Chronicle (in those days, George worked from 6am-2pm, and I…..well, I did not). Working as photo editor of the school paper and co-editor of the college yearbook, I was just getting to bed some mornings as George was showing up for work. Anyway, the phone rings, and there’s a gruff voice on the other end of the line, “Seale, you got any tickets?”
In those days, the Chronicle had great company cars, full size Ford Broncos, and they even issued one to the intern, so your driving record, not just your photo ability, was a consideration.
So with my unblemished driving record intact, I began one of the most formative experiences of my life: a summer internship at the Houston Chronicle.
Link: Patrick Chauvel : a living legend | La Lettre de la Photographie
“Let’s go.” These words sum up Patrick Chauvel’s life. For him, journalism is a way of life. It’s not some a Taliban of information. Photography? The obligation to be the first in line, where it’s really happening. “I’m not a great photographer,” he says to those who will listen. “But now and then I do take great photos.”