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    Toronto-based photographer and filmmaker Ryan Enn Hughes used still images and strobes to create a unique new short film appearing online and throughout Vancouver during the Olympic Winter Games, which open this weekend.

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  • An Ogling Subversive With a Homemade Camera (Published 2010)

    Miroslav Tichy, a Czech who took pictures during the 1960s and ’70s in his hometown, Kyjov, now has a solo show at the International Center of Photography.

    Link: https://www.nytimes.com/2010/02/12/arts/design/12photos.html

    The photographs are blurry, skewed, badly printed and in terrible condition: dog-eared, scratched, spotted and encrusted with who knows what. They all show girls and young women, in streets and public parks, going about their business and mostly unaware of the camera.

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  • On Assignment: Up for the Downhill

    To photograph subjects who’ll be moving past him in a flash, Doug Mills spends weeks of preparation.

    via Lens Blog: http://lens.blogs.nytimes.com/2010/02/11/assignment-32/

    The regimen begins long before he arrives at a Winter Olympics site. Doug Mills, just shy of 50, calls himself a “survivor skier,” who must train for a few weeks to ensure he can ski safely to photographic vantages along the slopes. (You thought photographers got there by bus?)

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    “If I wasn’t a comic or television star, I really wanted to be a photojournalist,” Carey told Sports Illustrated’s Richard Deitsch in 2005 as the photographer and his cameras followed the United States Men’s National Soccer Team.

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    A few days ago I ventured out of the city with a photographer friend of mine named Quinn Mattingly.  Our intention was to drive north to Tay Ninh near the Cambodian border for the day.  But once we hit the town of Cu Chi, I became tired of driving on the highway with the hoards of traffic leaving the city and decided to venture down an unknown road.

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  • On Assignment: Minders, Fixers, Troubles

    Yemen is a fascinating and daunting place for a Western photographer, as Michael Kamber learned. There are plenty of subjects; just not the ones you want.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/02/09/assignment-25/

    It’s New Year’s Eve in Dakar when the call comes from the editor in New York. A Nigerian man, Umar Farouk Abdulmutallab, tried to blow up an airliner headed to Detroit six days earlier. I’m told he’d studied in Yemen. Steven Erlanger, chief of The Times’s Paris bureau, is already there filing stories. I’m to join him immediately. I fly to Paris, pick up money and gear at the bureau, then rush back to the airport to catch a flight to Dubai. Thirty-six hours after leaving Senegal, I’m in Yemen.

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    Damon Winter and Shaul Schwarz are veteran photojournalists, and have seen more death and misery in foreign lands than most professional soldiers and aid workers would see in 10 lifetimes. But they were both unprepared for the catastrophe they found in Haiti in early January.

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    Here is a sampling of images that strike me as the best from the aftermath in Haiti. In them you can see the way events have evolved from a stunned people in the initial confusion and makeshift rescue efforts with few tools or supplies, to the spontaneous self-organization of survivors and caregivers, the relatively hasty collection and burial of the dead, and finally to the arrival of international response teams offering sophisticated relief.

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    Have we become so squeamish as to not accept the tragedy depicted in the many sad images emerging from Haiti? We send our young men to war, but we run from the reality of war when we see these men in action, wounded and sometimes dead. The horror of war is inescapable. It does not go away if we ignore it. Similarly, we cannot escape the images from natural disasters. If we turn away from the pictures an earthquake or tsunami brings, does it mean they did not occur? It does not.

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    First and foremost on the board’s list of priorities was NPPA’s advocacy effort. The board saw advocacy as the most effective way to help the greatest number of photographers. Therefore the board approved a large increase in NPPA’s advocacy budget. The committee, along with the NPPA’s general counsel, Mickey H. Osterreicher, will spend 2010 using increased resources to address First Amendment and intellectual property issues on both the federal and local levels.

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    As the Indianapolis Colts get ready to take on the New Orleans Saints this Sunday in Super Bowl XLIV, Photographer Rob Tringali is preparing to attend what will be his 20th Super Bowl, an event that, after all these years, still gets him excited.

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  • Essay: Too Many Angles on Suffering?

    At one point there were almost certainly too many photographers in Haiti. But which point? Patrick Witty and several leading photographers wrestle with the issue.

    via Lens Blog: http://lens.blogs.nytimes.com/2010/02/04/essay-13/

    At one point there were almost certainly too many photographers in Haiti. But which point?

    This question is scarcely new. It attends every war, every conflict; each famine, disaster and political upheaval.

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    ‘In any case, the subject was very fresh to me, exciting but also daunting because of the massive scale and steep learning curve (of which I’m still somewhere down near the foot). There has already been some good photo reportage on the trade, so when my editor Kathy Moran and I mapped out our coverage, we did our best to add new angles, looking at the loopholes of wholesale animal harvesting, captive breeding, and the exotic pet trade.

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  • Lee Friedlander: “Just Look At It” (2005)

    By Rod Slemmons

    Lee Friedlander was born in the logging mill town of Aberdeen, Washington in 1934. He began photographing in 1948 because of a “fascination with the equipment,” in his words. His first paid job was a Christmas card photograph of a dog for a local madam named Peggy Plus. He later a

    via AMERICAN SUBURB X: https://americansuburbx.com/2010/02/theory-lee-friedlander-just-look-at-it.html

    It has become increasingly difficult to see photographs as the visible world has been almost completely plastered over with lenticular representations of itself. Strangely, as the photograph becomes the world, it disappears — or perhaps more accurately, it loses its informative opacity

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