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via The Daily Beast: http://www.thedailybeast.com/blogs-and-stories/2009-11-05/bruce-davidsons-true-grit/
From photographs of a Brooklyn gang to civil-rights workers in the South, a powerful new retrospective celebrates 50 years of a groundbreaking social documentarian
This seems to be a month for anniversaries. Last week (the 4th) marked the 30th anniversary of the taking of the US Hostages in Tehran, an …
Link: http://werejustsayin.blogspot.com/2009/11/die-mauer-ist-kaput.html
I can’t begin to describe the joy that those few days of liberation felt like in Berlin. The sparkle of discovery in the eyes of the Osties was something I’d never seen before. None of us really could believe it was happening. But as sometimes happens, the pictures of this most momentous event are uniformly less powerful than the memories of those dark and cool Berlin nights.
“So, at this point we are asking you, our loyal readers, who number more than 10,000, to help us,” Halstead wrote. “Effective immediately, we have set up a Paypal link on The Digital Journalist and urgently ask for pledges so that we can continue our work which will help you all. We have never solicited paid subscriptions, but these dire times call for dire measures.”
Online pokies for real money Australia gamblers can enjoy gaming sessions that are more enjoyable and stimulating by being familiar with the relevant rules and regulations. Being aware of what is at stake with each bet can help players make educated decis
via Online Pokies: http://www.truthwithacamera.org/
Truth With A Camera workshops is pleased to announce and open registration for the next workshop which will take place in Quito, Ecuador from January 9-17, 2010. Registration is now open, and typically the workshops have filled up fast.
With a population of 2 million people, the capital of Ecuador is one of the most modern in the country, although the presence of social inequality and the urban poor remain powerful reminders that thousands of people live below the line of extreme poverty.
This will not be a vacation. During this intensive week, you will work with Ecuadorian students from some of the best universities from across the country. At the end of each day, you will edit your images with some of the leaders in the field of documentary photography from the U.S. and Ecuador. Your work will be shared with our partnering NGOs, which gives you the opportunity for your work to stand as a witness and defense of the lives of your subjects. It is an opportunity to strengthen your skills while donating your work to an NGO at the same time.
I was in my early 20’s the first time I went to the Atlanta Photojournalism Seminar. Times were different – we shot film, jobs were available, newspapers were robust, and my hair weave was rocking. Fast forward 15 years – film is almost obsolete, newspapers are hurting and my weave – well, lets pretend it never happened.
It is a wonderful and unexpected honor to be named the 64th College Photographer of the Year. So far, it has been a very surreal experience and I am not quite sure what to expect. Winning CPOY was something I had never really thought much about, because it seemed beyond my grasp and an award I considered to be reserved for students at a level of shooting above my own. There are many students whose work I look up to and admire and I will continue to do so.
Robert Frank’s The Americans may actually be the only book that can safely claim to have influenced the work and inspirations of most any photographer, documentarian and photojournalist born and working since the 1950s. There isn’t a Most Influential Photographers Of The Century list that will not list Frank’s name. This is truly one of the great documentary works of our time, and worth seeing again and again.
The conclusion of a closer look at a child’s toy among bombed-out ruins, and at what it’s like photographing a war.
via Opinionator: http://opinionator.blogs.nytimes.com/2010/01/04/it-was-all-started-by-a-mouse-part-2/
BEN CURTIS: So there should be 19 pictures, numbered 101 to 119. Basically, I spent the whole day out and then came back and sent pictures. The numbers represent the order of when I filed the photos, not necessarily when they were taken. If you look at the pictures of the very small baby, that was what I did first in the day. That’s unrelated to the bombing incident with the Mickey Mouse.
ERROL MORRIS: Where are those taken?
Whenever I see it, I immediately hear a voice singing, “Standing on the corner watching all the girls go by.” Yes, it is a sexist work. But that is a fact about Winogrand we must face and accept, if we are to honestly assess his picture-making.
Part II
(This is the second of a two-part essay on
via AMERICAN SUBURB X: https://americansuburbx.com/2010/02/theory-standing-on-corner-reflections_08.html
Garry Winogrand’s premature death seven years ago was tragic and troubling. He was too young to die. He had not yet worked through what was clearly a very difficult passage in his photographic work. To want to eulogize him and his work seems natural. To want to assess his career in positive terms seems reasonable. To find oneself torn by the feeling that an honest assessment might expose something that is less than had been anticipated has, however, become the reality of the task at hand.
At one point there were almost certainly too many photographers in Haiti. But which point? Patrick Witty and several leading photographers wrestle with the issue.
via Lens Blog: http://lens.blogs.nytimes.com/2010/02/04/essay-13/
At one point there were almost certainly too many photographers in Haiti. But which point?
This question is scarcely new. It attends every war, every conflict; each famine, disaster and political upheaval.
First and foremost on the board’s list of priorities was NPPA’s advocacy effort. The board saw advocacy as the most effective way to help the greatest number of photographers. Therefore the board approved a large increase in NPPA’s advocacy budget. The committee, along with the NPPA’s general counsel, Mickey H. Osterreicher, will spend 2010 using increased resources to address First Amendment and intellectual property issues on both the federal and local levels.
Have we become so squeamish as to not accept the tragedy depicted in the many sad images emerging from Haiti? We send our young men to war, but we run from the reality of war when we see these men in action, wounded and sometimes dead. The horror of war is inescapable. It does not go away if we ignore it. Similarly, we cannot escape the images from natural disasters. If we turn away from the pictures an earthquake or tsunami brings, does it mean they did not occur? It does not.