In this small town just across the border from Germany, a small group of Dutch scientists and one irrepressible Austrian salesman have dedicated themselves to the task of reinventing one of the great inventions of the 20th century — Polaroid’s instant film.
I received a phone call in the late afternoon hours of May 6, informing me of a fire in the hills of Santa Barbara. Not knowing the exact details of the fire, I quickly packed my things and headed for the flames.
Interestingly enough, turning in my company-owned equipment wasn’t the hardest part. Nor was it saying good-bye to my friends and colleagues at my farewell potluck held in the section of empty cubicles that, in the not-so-distant past, had been bustling with activity and decorated with family photos of the employees who once sat and worked there. Even the long walk, after having been summoned, to the infamous little room next to the publisher’s office wasn’t really that painful. For me, the hardest thing about getting laid off from my staff position was waking up the next morning and realizing I had nowhere to go.
I have always been a proponent of multimedia and video. It excited me, and I love to learn new skills. I made a list of things I wanted to learn, a list of resources to learn from, and a list of skills I thought the normal newspaper photojournalist transitioning to multimedia would not likely seek out. Things on the last list are arguably less relevant to the traditional journalist, but I wanted to have skills others didn’t, such as knowledge of specialized programs like Adobe After Effects, creative titling and editing, and 3D graphics, among others.
I wonder if World Press Photo is peeling away from reflecting the media as it is, and is rather reflecting the media the way we wish it were. Of the 376 images awarded prizes this year, I would be curious to know how many have been published in a paid-for context. Maybe all of them. Maybe. But the overall impression that I’m left with from the 470,214 images that I have seen entered into the contest in the current decade, is that they reflect a form of photojournalism that is now more romantic than functional.
Photographer Laura Domela, who often works in fashion photography, found a new project when she visited her brother Jason in a small gold-mining town in Alaska. Domela was delighted to encounter his large extended group of fun friends living there in Girdwood: roughnecks, eccentrics, pioneers, rugged individualists and a few misfits.
I have to give a little credit to the people who edit my file. Believe me sometimes I get angry with them for making me look a little less than perfect. Sometimes I even let them know it. Sometimes I use bad words to describe them.
On YouTube, though, where the segment was viewed by more people than could ever have witnessed it on TV in Britain, there were no commercials. The tens of millions of views swiftly brought YouTube and the producers back to the negotiating table, according to the people with knowledge of the talks, and soon they reached a deal for video clips.
“Will you be willing to tell me your name?” I asked politely, smiling warmly. He responded almost immediately in pidgin English, laced with heavy Ijaw accent.
“They call me Two-minute Fighter.”
What a name, I muttered to myself, ready with the next question.
“Why Two-minute Fighter?” I threw another one, as I tried to settle down.
“It is because of the way I operate,” he retorted.
Somehow, this reporter sensed that his initial suspicion had subsided and the following encounter ensued.
Collective Vision, the new photo blog by the staff of the Austin American-Statesman, was featured in a two-page spread in Sunday’s Statesman. We are really excited about our photo blog, and we invite you to check it out.
We proudly present the winners of the 2009 PDN Photo Annual. The images in this gallery were submitted from an international group of exceptional photographers. Even though we’re in the daily business of pictures, the entries we receive for the Photo Annual never cease to amaze us. We at PDN applaud this group of professional photographers—both new and seasoned—on the work they’ve submitted. Despite hardships in this industry, you’re traveling, finding inspiration, producing work that is fresh and exciting, and continuing to contribute at a level that is at the pinnacle of professional photography. After all, if there is any group that can find solutions to challenges, it’s the creative contributors we’ve come to know over the years, and the newcomers we’re eager to support.
It is impossible to know war if you do not stand with the mass of the powerless caught in its maw. All narratives of war told through the lens of the com batants carry with them the seduction of violence. But once you cross to the other side, to stand in fear with the helpless and the weak, you confront the moral depravity of industrial slaughter and the scourge that is war itself. Few books achieve this clarity. “The Photographer” is one.
The union representing Los Angeles police officers is pressuring the owner of San Diego’s main newspaper to change the paper’s editorial stance on labor issues or to fire its editorial writers.
The feud is rooted in the recent purchase of the San Diego Union-Tribune by Platinum Equity, a private Beverly Hills firm.
For the past year, the urban vinyl community has relied on Face Your Manga for all our avatar needs. But now one of our own has stepped up with an app that renders our likenesses in Kidrobocolor. That would be the awesome Tristan Eaton, whose Thunderdog Studios just released the B-BOT app for iPhone. B-BOT is the closest you will ever get your mug to a Munny. You can create your own B-BOT and also customize your contacts. When you receive a call from them, their B-BOTs will show up on the caller ID (and vice versa).
Roger Ballen’s work is often deemed to be disturbing. I don’t think is actually is (my idea of “disturbing” might be different from yours), but we can probably easily agree on calling him one of the most creative photographers currently producing work.
The continuous withdrawal of mental health funding has turned jails and prisons across the U.S. into the default mental health facilities. The system designed for security is now trapped with treating mental illness and the mentally ill are often trapped inside the system with nowhere else to go.