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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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    The entry period is now open for the National Press Photographers Association’s 2010 Best Of Photojournalism contest, and the rules and categories and FTP instructions have now been posted online and the Call For Entries has gone out to the world of visual journalism.

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    Chris Zedano, originally from Lima, Peru, has been living and working in New York since 2002. For this project, Staple Street, he has photographed some of New York’s most interesting characters on a street in Tribeca (Staple Street) that dates back to at least the early 19th century.

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  • On Assignment: Yemen, With Nuance

    Karim Ben Khelifa is among the many journalists who are arriving in Yemen, now that it’s at the top of the news. The difference is that he once lived there.

    via Lens Blog: http://lens.blogs.nytimes.com/2010/01/05/assignment-18/

    Journalists are now descending on Yemen. Among them is Karim Ben Khelifa, who arrived Friday packing more than equipment. He came with a nuanced perspective.

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  • It Was All Started By a Mouse (Part 2)

    The conclusion of a closer look at a child’s toy among bombed-out ruins, and at what it’s like photographing a war.

    via Opinionator: http://opinionator.blogs.nytimes.com/2010/01/04/it-was-all-started-by-a-mouse-part-2/

    BEN CURTIS: So there should be 19 pictures, numbered 101 to 119. Basically, I spent the whole day out and then came back and sent pictures. The numbers represent the order of when I filed the photos, not necessarily when they were taken. If you look at the pictures of the very small baby, that was what I did first in the day. That’s unrelated to the bombing incident with the Mickey Mouse.

    ERROL MORRIS: Where are those taken?

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    As for shooting overexposed pictures on purpose, I personally credit every starting photographer who has ever picked up their Dad’s Nikon F2 and later wondered why after all that time in the dark room resulted in his or her photo paper still being all white; maybe except for, let’s say the dog that was sitting under a shady tree, in the picture.

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