When my daughter Alison was born, in the tradition of a new parent, I began to photograph her, initially in a separate and private body of work. However, in the process of documenting Alison’s growth, I developed a passionate interest in human relationships and capturing intimate moments in the lives of family and friends.
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Attention art buyers and photo editors, this is a free promo that’s meant to supplement all the other ways you find photographers to hire. I created it see if there might be an easier more efficient way to quickly look at 200-300 photographe
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Which brings us to the Sigma DP-1, the subject of this report. For the first time we have a shirt-pocket sized digicam using a roughly APS-C sized sensor. This is approximately the size used in popular DSLRs such as the Canon 40D and Nikon D300, and slightly larger than the 4/3 format used by Olympus and others in their DSLRs.
To make the comparison a bit easier to visualize let’s compare the diagonals of these formats. The Ricoh GR2 and Canon G9 (and similar digicams) have sensors with about a 10mm diagonal. On the other hand a 4/3 format DSLR, like those from Olympus, has a 22.5mm diagonal. A typical Nikon or Canon or Pentax DSLR with a roughly APS-C sized sensor has a diagonal measurement of about 28mm. Godzilla was right – size does matter.
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The tactics of the Hollywood paparazzi were back in the spotlight yesterday after two photographers were accused of having supplied cocaine to the actor Heath Ledger so they could try secretly to videotape him snorting the drug
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The image is from the latest book by Amy Arbus, the daughter of celebrated late photographer Diane Arbus, who has spent years photographing actors in New York’s theater district — with some deeply intriguing results.
“The Fourth Wall” explores what Arbus describes as the “bizarre disconnect” of actors, many in period costume, being photographed in modern settings — often just outside Broadway theaters between matinee and evening shows.
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Authorities are confiscating cell phones from women staying at Fort Concho after a newspaper story included images of the crowded conditions inside the state facility, according to an attorney for the polygamous families.
Rod Parker, a Salt Lake City attorney, said that authorities have told the women to surrender their cell phones or they will be asked to leave Fort Concho.
“If the conditions at the compound are as good as they say they are, then let the ladies come out and talk to the media,” he said. “It’s as simple as that.”
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Sara Fajardo is a staff photographer at the Orlando Sentinel. Her photojournalism journey has taken her to many places, from local places in the States to covering the rise and fall of president Alberto Fujimori in Peru. You can see some of her photos at her website: http://sarafajardo.com/.
She’s also the author of a children’s nonfiction book, Enrique’s Day: From Dawn to Dusk in a Peruvian City.
Here’s Sara…
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The 2008 Jefferson Muzzles include the second recipient of a Lifetime Muzzle Award.
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Chris McGreal has reported from Zimbabwe for the past 20 years and watched its slow slide into despair. But who is at fault? Here, he blames British ministers, white farmers and the country’s opposition for misunderstanding the Mugabe regime – and for the complacency that laid the ground for his brutal dictatorship
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I think I’ve mentioned before what a fan I am of Jason Lazarus’ work. His current show up in Chicago, This is gonna take one more night is full of smart, endearing, compelling and the Jay-Laz-brand-of-humor images that have come to define him and his work. I decided to do ask Jason some questions about his show.
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It’s too soon to say whether the DP1 — with its handsome good looks, single-focal-length lens, and slip-on, rangefinder-style viewfinder — will garner a cult following like the classic 35mm Contax T2 and Konica Hexar compacts, more recent high-end digital compacts such as the Ricoh Caplio GX100 and Panasonic Lumix DMC-LX2 (a less-expensive version of the Leica D-LUX 3), or even Sigma’s own SD14 DSLR. But we couldn’t wait to put the DP1 to the test in the Pop Photo Lab and the field — especially after waiting a year and half for it since it was announced.
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Our general consensus is that it is in the eyes. It has to be, for there is nothing else to offer up that feeling of wrongness in the art of Marion Peck. Her palate is sunny enough, her subjects innocent enough, her landscapes full of greens and lights and other indications of virtue. But the eyes – the eyes hold none of those characteristics.
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Photo by M
photography is not only a record of the moment and of the event in front of you — for me it’s also a record of myself. and there are times, when i want no paper trail, no indicator of my mood, no recollection of the destination… no memory of myself.
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If one were to name a few photographers whose work is felt so heavily as an influence on the current generation of photographers going through various MFA programs then Stephen Shore would certainly be on the list.
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The Red Badge that I am wearing states that I must be under escort at all times (including the rest room). Jen and I find it kind of comical because as we walk by the five-foot-tall cubical walls we can hear “Red Badge” and chuckling in reply as we walk by. It reminds me of a scene from a Monty Python movie that I have seen many times.
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Click: Whitmarsh on page 15!
Last night I spent a half about a half an hour or so looking through the newest issue of Readymade, one of my favorite magazines these days. The only difference is that I read the whole dang thing digitally on my computer. Readymade has made a GIGANTIC leap, deciding to place the entire contents of their magazine online, and I honestly couldn’t be any more excited about this.
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Newspaper staffers facing layoffs and cutbacks all around them respond in different ways. For San Jose Mercury News Designer Martin Gee, his reaction was to post online a gallery of photos depicting life in the newsroom with empty desks, discarded phones and computers, and other remnants of his paper’s recent cutbacks. One image shows a bottle of Prozac.
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There is also a gray area about what is ethical and what isn’t. There are the biggies that are fundamental–like cloning someone/something in or out of your frame. But to me the big part of ethics has to do with intention and misleading. Statements like “If I can do it in a darkroom, it’s okay” or “This is what the scene looked like to me” aren’t good enough reasons. I’ve seen what used to be done in a darkroom —and you can do some pretty drastic things.
This is why for me it comes down to the intent of the photographer, and whether or not it misleads the reader.
