Italy’s Berlusconi regime, already known around the world as an enemy of free speech and popular access to the tools of communication, has now floated a proposal to require Italians to get an…
floated a proposal to require Italians to get an “uploader’s license” in order to put any “moving pictures” on the Internet. The government claims that this is required as part of the EU’s product placement disclosure rules, which is about as ridiculous assertion as I’ve heard this month.
American visitors to “Four Perspectives Through the Lens: Soviet Art Photography in the 1970s-1980s,” an exhibition at the Jane Voorhees Zimmerli Art Museum, may be surprised to discover that photography was not officially considered art in the former Soviet Union. It was regarded as a documentary tool at the service of Communist Party propaganda.
After spending the morning clicking through the latest photos from Haiti, I can’t seems to get my thoughts off of what is going on there. The images coming back spew a long list contradictory adjectives. Beautiful. Ugly. Revealing. Tragic. Hopeful. Insightful. Disgusting. Amazing. Every click of the mouse is another rectangle that holds more human suffering within the four walls of its shape that I don’t want to ever see again, and can’t get enough of.
Reminds me of this pack of war paparazzi. I’m well aware that coverage of disasters is chaotic and involves a huge crowd of reporters. Photojournalism isn’t just one photographer out in the middle of nowhere sending back photos, but it shouldn’t be a pack of hungry wolves descending on the latest victim to emerge from the rubble. The world needs to know about disaster and it takes an army of reporters to do that. The pictures from Haiti have likely been the a driving force behind the private and public relief donations.
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,
My charge was to photograph Wall on the Kentucky campus in an iconic and easily recognizable setting. Lexington is an absolutely beautiful area, but the horse farms, race tracks (Bourbon distilleries?…..just kidding.) and the like were out due to the limited time we had with Wall, and oh yeah….it was about 24 degrees, completely overcast, snowing off and on, with 20-30 mph winds that day!
American photographer Roger Ballen has been living and photographing in South Africa since the late 1970s. His photographs have caused international controversy, excitement, and debate ever since his book, Platteland: Images of a Rural South Africa, was published in the 1990s. Platteland was filled with raw, direct, disturbing photographs of poor white people in South Africa whose lives had been marginalized by the Apartheid government. While some critics accused Ballen of compiling a “voyeuristic freak show,” Susan Sontag described the book as “the most important sequence of portraits I’ve seen in years.”
There was a saying in Haiti: “Beyond the mountains, more mountains.” And that was before last week’s earthquake, in a period recorded by these archival images.
“The good news is that we made it through a really rough 18 months,” Straight said. “But don’t think we’ve seen the end of this. I think it’s going to continue. The bad news is that the recovery of our industry is going to be slower than the general public’s recovery, I think.”
‘You must also ensure you show the effect of the NGO’s work rather than just the vulnerable members of society and their stories,’ he says. ‘Providing such context is extremely important as otherwise you are just picturing misery without suggesting a solution – which in this case is the work of the NGO.’
Photojournalists on the ground in Haiti covering the aftermath of Tuesday’s earthquake are struggling with logistical challenges, including housing, food, water, transportation and communications. Safety is also a mounting concern.
There’s a new camera category in town. It’s EVIL, and it’s going to kick your DSLR’s ass. EVIL stands for Electronic Viewfinder Interchangeable Lens, and is our favorite acronym for cameras like the Olympus Pen, the Lumix GF1 and the Samsung NX10. These s
There’s a new camera category in town. It’s EVIL, and it’s going to kick your DSLR’s ass. EVIL stands for Electronic Viewfinder Interchangeable Lens, and is our favorite acronym for cameras like the Olympus Pen, the Lumix GF1 and the Samsung NX10. These small, mirrorless, finderless cameras can fit in a pocket and outperform bulky DSLRs. Here’s why your next camera will probably be EVIL.
I enjoy reading the high end DSLR discussion boards on the internet. Those gearheads go ape over minute differences in “chromatic aberration” and “barrel distortion”. They p…
I think if you are going to make a fetish over camera equipment, it should be junk store cameras, not DSLRs. There’s something about a fifty year old scratched up plastic lens that makes magic happen.
I aksed my friend, Susan Burnstine, what she was featuring at Photo LA this weekend and it turns out that Susan will be represented by two galleries, Kevin Longino Fine Photographs from CT and TX and the Susan Spiritus Gallery from Newport Beach, CA.
Andrew Henderson is a staff photographer at The National in Abu Dhabi, United Arab Emirates. Henderson previously worked as an intern at The Virginian-Pilot, Concord Monitor, The New York Times, and National Geographic Magazine. Henderson has a photography degree from Rochester Institute of Technology, a history degree from Western Kentucky University, and studied multimedia in the graduate program at Syracuse University.
one of the first U.S. journalists en route to the Caribbean island after Tuesday’s earthquake was Patrick Farrell, who won the 2009 Pulitzer Prize for breaking news photojournalism for “A People in Despair: Haiti’s Year Without Mercy.”
When I give talks or lectures people often ask me my personal feelings about war, usually I dodge the question. Sometimes I say that I don’t expect my pictures to stop wars, but rather I hope they help citizens to understand what going to war means. On that level at least I think the Tal Afar pictures fulfill my goals as a photographer; for they shine a rare and unsparing light onto war’s brutal-yet-routine realities. And people should know about them.
The situation in Haiti has brought a tremendous many talented photographers to Haiti, with many more on the way. We would like to find a way to broaden the picture of Haiti that is currently in the news, by combining work with the disaster area with work from the rest of the nation.
If you are going to Haiti and will be there in February, I am asking photographers to spread out around the country and to spend day or two photographing something other than the earthquake ravaged area, to be included in a special issue of 100Eyes on Haiti.
Mr. Stock was a photographer whose intimate and evocative portraits captured the essence of jazz performance and helped shape James Dean’s moody public persona.
“The goal for the photographer is to be visually articulate. If the subject is in a suffering circumstance, it is all the more preferable to apply craft to the utmost. Call it art or not, we photographers should always try to pass on our observations with the utmost clarity.”
