“Disgusting concept. Some people have no shame,” wrote one video game blog reader. Another called it “pretty creepy.”
The game, called Imagination Is the Only Escape, apparently will not be distributed within the United States. It casts players in the role of a young boy in eastern France during the German occupation who seeks escape from real-life horror through a fantasy world.
Darkly illustrated and full of gruesome historical facts, it is a far cry from the normal fare written for the Nintendo DS, which tends toward games featuring cute ponies and the like (DS stands for double screen).
Citizen journalism has become the faddish name for the effort to encourage regular folk to use the Internet to report the news directly, but Mr. Wolfson had a point: many of the people whom his organization and an immigrant rights group, Juntos, are teaching to make video reports for streaming on the Internet are not citizens. Many are not even legal residents.
The hope, however, is that they can be journalists.
The classes are supported by a $150,000 news challenge grant from the Knight Foundation in Miami, which is donating a total of $25 million over five years “for innovative ideas using digital experiments to transform community news.”
Women have stripped off in them, Fred Astaire has danced in one, Andy Warhol turned them into a business. Näkki Goranin, who has spent 10 years collecting these pictures, tells the remarkable story of the photobooth and its camera-mad inventor
Once upon a quite recent time, say a decade and a bit ago, only 3,000 or so students took university journalism and related media courses. Today you can count around 10 times that number of young people studying to inherit a green eyeshade, and there are 30 courses accredited by the National Council for the Training of Journalists (plus a rather substantial number which aren’t). Almost exponential expansion – except, where are the jobs?
I am sorry to report that this website is down for the count. The site was recently hacked several
times this weekend and severe damage was done. I do not have the time or resources at this time to
continue. I wish you all the best. I only wish this hadn’t happened.
[To the ‘hacker’ I hope it makes you happy to destroy something that people put their
heart and soul into for years, for the sole purpose of learning and creating a small community
on the web. Just to have you destroy it for no reason. You win. There is a special place in hell for you.]
Then the riot police surged forward at a full sprint. I ran alongside, photographing them. Did they push me or did I trip? All I know is that the next moment I was airborne, hurtling through space, then crushed to the ground. The riot police trampled over me as they charged towards the rioters. When they passed I sat up, dazed in a swirling cloud of dust, bleeding from both my arms, my leg, back and side. Pieces of my camera and lens lay in pieces around me. I limped back to my car where my driver said, “This is when the police will start shooting people,” as if to prod me back into the melee. I considered returning into the vast sea of tin shacks that is home to over a million people. Then I took a look at the remains of my camera and the blood soaking through my clothes and realized that I needed to go to a hospital more than I wanted to photograph any more police and rioters.
A number of blogs and Web sites have devoted a great deal of space to discussing the recent and somewhat abrupt dismissal of Steven Lee as CEO of Leica. There has been much conjecture as to the reasons and much of that has been centered around the Leica M’s introduction into the digital world. Truth is, the M8 was well underway long before the arrival of Steven Lee. And Leica’s problems started long before the M8 or Steven Lee were around, long before.
The other day, I had the chance to visit Jerry Spagnoli’s studio and to talk to him about his work, and afterwards I asked him whether he would be available for a conversation, to be published on this blog. I’m very glad he agreed to it.
There is also, on the wall above his desk, a framed photograph of a white student attacking a black man with the American flag. The picture, taken by Stanley Forman at an anti-busing rally held at Boston’s City Hall Plaza on April 5, 1976, won the Pulitzer Prize for the Boston Herald American spot news photographer.
What follows is the story of the photograph that would come to be titled “The Soiling of Old Glory,” and the story of the man who was attacked with an American flag and had every reason to flee a city viewed as racist, but who remained in the hope that he could make a difference.
These photographs of McClellan Street by David and Peter Turnley, taken in 1972-73, help us understand how America came to be the country that it is today.
As seen in digital photographs, noise manifests itself in two different forms, chroma noise and luma noise. While having no noise at all would be ideal, that is simply not possible at high ISO values. Luma noise tends to resemble the type of grain that would be seen in high speed film stock, while chroma noise characterizes itself as random color splotching across the image; especially in shadow areas. In general, people are not overly bothered by luma noise; however chroma noise has an unappealing effect on an image. Therefore while we can’t get rid of all noise from an image, removing the chroma noise improves things a great deal. The goal of this article is to present a quick and easy way to greatly reduce or eliminate chroma noise from an image using some simple layer techniques in Photoshop.
This is one of my favourite street photos from the years that I shot B+W. The shop window had always caught my eye. It’s the Nike shop and is on the corner of Melbourne’s two busiest streets. An extra wide pavement here similar to the ones on Oxford Street, London gives great depth to street photos. It was early afternoon on a summer’s day and I was out shooting with my auto-focus Hexar (hence the one handed shooting style)
It is the world’s fifth poorest nation with no prisons and few police. Now this small west African failed state has been targeted by Colombian drug cartels, turning it into a transit hub for the cocaine trade out of Latin America and into Europe. Grant Ferrett and Ed Vulliamy tell the remarkable story of how the cocaine cavalry arrived three years ago and transformed the life of Guinea-Bissau
PicLens currently offers a small icon cue inset in each Web photo that lets users know they are at a site like Facebook, Google or Flickr that can be browsed with the software. Clicking on the icon transports the user away from the conventional page-oriented Web into an immersive browsing environment.
The software does away with the browser frame and gives the user the effect of flying through a three-dimensional space that feels like an unending hallway of images. In the future, the Cooliris designers plan to make it possible to browse text and video as well.
“I’ve wondered for a long time why the computer interface hasn’t changed from 20 years ago,” said Austin Shoemaker, a former Apple Computer software engineer and now chief technology officer of Cooliris. “People should think of a computer interface less as a tool and more as a extension of themselves or as extension of their mind.”
Dith Pran, who survived torture under the genocidal Khmer Rouge after helping The New York Times’s Cambodia correspondent for three years, was diagnosed with pancreatic cancer in January. He was hospitalized for three weeks starting in mid-February, and was released to the Roosevelt Care Center in Edison, NJ, on Friday.
After escaping his country in 1979, Dith, 65, became a photographer for The New York Times in 1980, where he remains on staff. [His given name is Pran; Dith is his family name.] He was made famous by the 1984 film “The Killing Fields,” which depicts him in his role as a translator and journalist assisting Sydney Schanberg, then a foreign correspondent for The Times.
My story on Ben finally ran yesterday, on my last day of work. I felt like I went out with a good note. It was nice to see my vision for the story play out through fruition. All the photos ran in black and white over three pages starting on the A1.
