Kolin Pope says:
My name is Kolin Pope. I am the savior of the future. Like most with the title of savior, I never went out looking for it. No, adventure found me.
It began on a very unremarkable evening in August 2003. I was nineteen at the time and in my room, when the evening silence was suddenly broken by the sound of my dog barking from downstairs. Moments later, my Mom strolled in, telling me calmly,“There’s someone at the door for you. He says he’s from the future.”
FRED LUM says:
Before heading down, I had to decide what gear was making the trip. Went with a bare bones kit of one D3, 24-70 and a 28-200 zoomer. This was a ‘just in case crap happens down here’ kinda outfit. The D3 ended up staying in the bag for pretty well the entire trip.
For most of my shooting, I used a Leica rangefinder with 21 and 35 lenses for street stuff and a Mamiya medium format camera with 43 and 85 lenses for rocks,trees and water. I also had a panoramic adapter for the Mamiya but funny enough, I picked up an Hasselblad Xpan down there for a pretty nice price. And the box was originally marked as a Canadian import, who’da thunk.
Thoughts of a Bohemian says:
There used to be something called “digital rights”. That is, when a publication wanted the right to publish a copy of an image to use in a digital format, it would pay an additional license fee. At first, like the internet itself or CD ROM (remember those ?) circulation, it was small. But everyone was preparing for the future. Now that its here, no one seem to notice.
Google is scanning books and will display them online, for a fee, without offering any compensation to non book copyright holders. That is 99% of images in books. They will however compensate publishers. Will the publisher compensate the photographers. Doubtful, since they are not the ones scanning and offering them.
Gadget Lab | Wired.com says:
while the original, non-video version sells for $630 including kit lens, the 1080p-capable camera will go for an astonishing $1500
Bruce Gilden says:
My work on foreclosed homes in Detroit has actually been a continuation of a project that started in Fort Myers, Florida in September 2008. For me the major concentration of the work is on the houses or what’s left of the houses. I chose to photograph them mostly straight on like my street work in a very blunt fashion.
WHAT IM SEEING dot com says:
Before I could get the 1st shot off, Fare Inspector #32 started marching towards me, hands in the air, yelling at me to “STOP TAKING PICTURES!!” So I put away camera, walked towards him and answered his statement with a question. I asked him if he could site me the specific Muni code that prohibited a Translink Card carrying passenger from taking pictures of Muni Personal on Muni Property. He could not. Instead he responded that I “needed his permission” and demanded to see my “credentials” and the pictures on my camera. He added that in fact, if I was unwilling to turn over possession of my camera to him he would seize my camera and have me arrested.
via Thomas Hawk
lens culture photography weblog says:
Stephen Mayes, who has served as World Press Photo Jury Secretary for the past six years, gave a keynote lecture during which he shared his personal observations, reflections and concerns about “how the media processes images” as well as his insights on the grueling but efficient behind-the-scenes workings at this most important award in photojournalism.
Alex Bartsch says:
the abstractness and geometry of the man-made world in Stephan Zirwes’ photographs are worth the detour!
lenscratch says:
Charles Grogg’s images of Bonsai trees and flowers are “platinum/palladium, handcoated on handmade Japanese gampi. Each piece of the nine-piece image is individually exposed under sunlight, washed, dried, and then sewn with cotton thread onto a larger piece of Japanese washi. Each print is then float mounted in a walnut, maple, or kiaat espresso-stained artist’s frame.”
Lori Vrba says:
I’ve spent the last year exploring the desire to protect that which is, or is perceived to be, vulnerable or sacred. As a mother to three young children I am present not only to the maternal urge to lock away the sensuality of a young girl or the exposed emotions of an adolescent boy, but also that they, like all humans, have feelings, secrets, treasures, and relationships that are for safekeeping.
The 37th Frame says:
Tim Gruber’s “When The Lights Go Out” explores the portrayal of women on late-night cable TV.
Glen E. Friedman says:
Who was Paul Haven? He was the art director at SkateBoarder magazine during it’s entire run in the 70’s, right through the last issue of Action Nowmagazine in the early 80’s.
The Guardian says:
I’m from Finsbury Park in north London. It was a place of ignorance, bigotry, poverty and violence. We were a family of five living in two basement rooms of a tenement block with no indoor loo.
Jim McNay says:
Another durn portfolio project. Inconvenient timing.
Very busy now. Feels like another rush job.
And it’s worth it.
BOX OF LIGHT says:
I wouldn’t have said yes to shooting The Masters this year if I didn’t have some odd pull and some odd fascination with the giant tournament. Yet, the images that stand out to me while editing aren’t those of Tiger Woods in nice light or Angel Cabrera with a club in hand. They’re the somewhat odder, somewhat unexpected images that make editing the whole week a little more bearable.
I’m giving you those.
Nikon Rumors says:
In order to prevent future head banging, I will post some unconfirmed rumors I have been getting in the past few days/weeks. At that point I cannot establish any patterns or draw any conclusions – those are just rumors and this is what this whole site is about
