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    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.

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    Lyon is a journalist, but not by the usual ’90s definition. Whether he was photographing the Civil Rights Movement in the American South in the ’60s or the guerrilla uprising in Mexico in the ’90s, his journalism is not about the surface, the sensational, the soundbite; it is imbued with his respect for the people he photographs, and with the commitment and responsibility this respect entails. Now, in his collages, Lyon has come up with an emotional kind of journalism exploring classes and cultures and the options that people are allowed. Claiming the same credibility for his personal images as for his more conventional documentary pictures, he has made some of his most political and most moving work to date.

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    Thank You Jason Wood for allowing us this moment.
    Oden’s struggle with cancer finally came to an end.
    May he rest in peace and his memory be eternal.

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    I am often asked by photographers just starting out what advice I can offer.  Here are some tips  which might be a good start.

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    The rules and categories for the National Press Photographers Association’s upcoming 2010 Best Of Photojournalism contest have now been posted online, and the Call For Entries has gone out to the world of visual journalism inviting all still and television photographers, photography editors, Web editors, and television editors to take part in the world’s second-largest photography contest.

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    I think this must be my newspaper recovery phase. I feel over-indulgent and greedy in photographing these feature stories just cuz. Just cuz I’m intrigued. This world is so huge and so full of intrigue. I got to shoot so many things that interested me as a staff photographer but so much of it was just filler and important projects never got the space they deserved.

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  • Showcase: Romania, Still Beneath a Cloud

    On the 20th anniversary of the Romanian revolution, Nadia Sussman reports, Cristian Movila depicts his country as a land of perpetual winter.

    via Lens Blog: http://lens.blogs.nytimes.com/2009/12/21/showcase-95/

    Cristian Movila was 7 years old when a firing squad executed the Romanian dictator Nicolae Ceausescu and his wife, Elena, on Christmas Day in 1989, ending more than 40 years of Communist rule.

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    Pictures of the Year International is privileged to launch its 67th annual competition, setting the gold-standard for documentary photography, multimedia, and visual editing.

    Online registration and the entry uploading platform is now open and will continue through Friday, January 15, 2010.

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    In 2010, I will be teaching one week workshops on street photography in many of the world’s most visually exciting cities and regions: Buenos Aires, Rio, Seville, Paris, Istanbul, New York, Provence, and Calcutta. These workshops should be a wonderful opportunity for anyone interested in creating a photo essay or portfolio around themes of life of an amazing city. All of my workshops embrace a philosophy of keeping one’s heart and eyes open to the potential of “decisive moments” of daily life present in the streets and culture of the world’s great cities. Much attention and discussion is offered to help students develop camera technique at the service of making spontaneous and powerful images while developing their personal vision. The workshops help students overcome anxiety and nervousness they may have photographing people.

    Please take a look below at the dates and locations of each workshop. Course descriptions and registration information accompany each course title and date. Please feel free to forward this information to any of your friends, family, or associates who might be interested in knowing about these exciting workshops. Wishing you very wonderful holidays. Warm regards, Peter.

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    The MEND rebels of the Niger Delta are on a charm offensive, hosting press on fact-finding missions. Are they legitimate freedom fighters or environmental profiteers?

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  • Letters: A picture of privatised streets and plain-clothes police

    Letters: I was stopped and searched twice near London City airport – for watercolouring

    via the Guardian: http://www.theguardian.com/uk/2009/dec/18/cities-photography-police-painting-liberties

    I was stopped and searched twice near London City airport – for watercolouring! I was not even facing the airport. I was painting the Tate and Lyle sugar factory opposite. They said they saw me on a camera and thought that “no one would want to paint a factory”. I explained that LS Lowry did loads. Then they said I could be an anarchist and I was carrying “suspicious paraphernalia” – this being a flask of coffee and an iPod. Oh, and a box of watercolours.

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    With the introduction of video-capable DSLRs from Nikon and Canon, a new workflow was needed to handle the files coming out of these cameras. Editing Nikon’s MotionJPEG and Canon’s H.264 files straight out of the camera is doable, but not advised. The highly compressed files will tax your processor as it has to decompress on the fly sometimes causing erratic playback. If you wanted to mix and match with video footage, you had compatibility and time-consuming render issues.

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    I redesigned and relaunched my own portfolio site recently, and I worked with the wonderful James Muspratt to make it happen. So here is an interview with the fellow.

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    A PDN reader voices a counterpoint to advice we published on estimating assignments, and two industry experts on artists’ rights offer their views.

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    What can make working for a record label worthwhile for photographers, especially jobs with smaller budgets, depends on a number of intangibles, such as the potential for licensing, future assignments in the music industry or the chance to build a portfolio that appeals to advertisers.

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    As a photojournalist, I felt like I was using my gift for good. I was giving a voice to the voiceless. As a wedding/commercial/gun-for-hire photographer I’ve started to feel like a sell out.

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