Reporter. Camera operator. Sound technician. Lighting technician. Writer. Narrator. Editor. Those aren’t seven jobs. They’re one. Mine. Oh, yes, I also carry up to 100 pounds of gear. (That’s right: add Sherpa to the job description.) I’m a VJ; a video journalist.
The end game is now in sight. The Digital Economy Bill introduces orphan
works rights, which – unless amended, which HMG says it will not – will
allow the commercial use of any photograph whose author cannot be
identified through a suitably negligent search. That is about 90% of the
photos on the internet.
Images of luxury cruise liners docking at the Haitian port of Labadee immediately following the earthquake raised an uproar. Now the decision of two photographers to hold workshops amidst the chaos and death are stirring online debate on the ethics of pho
Images of luxury cruise liners docking at the Haitian port of Labadee immediately following the earthquake raised an uproar. Now the decision of two photographers to hold workshops amidst the chaos and death are stirring online debate on the ethics of photojournalism.
– Photographs by Peter Turnley- Introduction: This is a significant occasion at The Online Photographer. It marks the first time we’ve published a significant body of original photojournalism. The following 50-picture photo essay is a World exclusive of n
This is a significant occasion at The Online Photographer. It marks the first time we’ve published a significant body of original photojournalism. The following 50-picture photo essay is a World exclusive of new work shot a little more than a week ago by my friend the great photojournalist Peter Turnley.
I received this note from a reader: Hi Rob, I’m a photographer, regular reader and occasional commenter on your blog. One thing that I have been struggling with since starting my freelance career is legal issues. Two specific problems that have plagued me
Infringements are rampant these days, both because it’s easier for the infringers to find and copy your images and because too many people think that they have a right to use your photos when they don’t or think that they won’t be caught. Fortunately, you can take steps to combat infringement. But the steps you take may limit your ultimate remedies so be sure to first understand what are your options.
Faces and Places. Brushes for precision retouching. Dozens of adjustment presets. True full-screen browsing and editing. And that’s just part of the perfect picture.
I make no apology for the lovefest review to follow. The tools we use make or break us, and I have been working with this digital stuff for a long time, always looking for ways to get back to the comfortable metaphors I grew up with in the wet darkroom and with film. Aperture 3.0 incorporates a lot of that tradition while providing all the latest technology to actually make me more efficient. Yes, they feature me in a nice video of how I use it, and that’s great, but seriously, my motivation for participating in beta testing and marketing is that I am just looking for the best tool to solve my problems. When I find something like Aperture I want it to succeed so I’m pushing hard for people to try it.
Apple today has unveiled Aperture 3, a new release of its pro photo management and raw conversion application for Mac. A new non-destructive brushes feature with automatic edge detection leads the list of changes. Other changes include the addition of adjustment presets, a full-screen browser mode, slideshows that can incorporate still photos, video and audio plus much more.
There’s few things I think photographers will want to know about this new release. First, and most importantly, driving this software feels like you’re driving a German sports car. Aperture 3.0 has the power and grace that we’ve come to expect from Apple. Second, it’s got new features for days…
Morgunblaðið, Iceland’s oldest newspaper and most-visited website (now co-edited by the former prime minister and head of the central bank) has just announced an anti “deep linking̶…
The downturn in publishing is, in and of itself, one more compelling reason for photographers to understand the inner workings of their copyright. As the methods of sale, licensing, and distribution of our images continue to change, photographers have little excuse not to understand the principles behind which their photographs are converted into income.
Haiti has been like nothing I’ve ever experienced before. The things I’ve witnessed—I hope all of you reading this—will never have to go through. I’m still here at the moment, so it’s difficult for me to really understand everything. I think once I get home and have time to reflect, it will sink in and I’ll begin to fully comprehend what happened. It’s a horrific tragedy. When I first arrived, bodies lined the streets and the smell of death pierced the air. I immediately did what I came to do and began documenting my surroundings. It’s challenging, but I believe most photojournalists have to put up a shield when doing this kind of work. You become numb to what you’re seeing. It’s crazy to think about light and composition when you’re shooting dead bodies or being shot at in police/looter crossfire, but that’s the reality of what we do. What I’ve witnessed will be sure to haunt me. My work takes a huge emotional toll on me and that’s something I think most people don’t understand.
“All of us would like to run to Haiti and photograph,” said Michelle Agins. Instead, she went to Queens, where Mariana Vasconcellos filmed her at work.
“Of course, all of us would like to run to Haiti and photograph,” said Michelle Agins of The New York Times, “but some of us have to stay here and cover it on the local level.”
London, 8th February 2010 – Canon today announces a groundbreaking new addition to its expanding, world-famous EOS range of Digital SLR cameras – the EOS 55
Kodak has announced that “due to significantly decreased sales volumes,” TXP (ISO 320) in 120 and 220 are to be discontinued in March. This news isn’t as significant as it might sound if you don’t keep up with film. The…
About a year ago, I bought a Canon EOS 5D Mark II and I’ve been trying to shoot great video with it ever since. People like Vincent Laforet and Robert Caplin, who have produced amazing videos with this camera, made it look so easy. Immediately, on my very first attempt, I realized that I needed to take my old still-photographer habits and start seeing and thinking like a video person.
I’d also seen samples of his work from a dozen stories, as varied as a LIFE photographer’s world could be, including one of the first sets of pictures of the ‘Great Cats of Africa.’ It was another time altogether from the world we know today, and so I was all the more pleased to be able to taste a great cappuccino made in the cozy kitchen of John Dominis. I’d known of John for a long time, arriving as I did at the end of the LIFE weekly, but it wasn’t until he became the picture editor of People in the ’70s that I really got to know him.
