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    It’s hard to believe but my 20th high school reunion is only a few months away. I was an avid photographer starting in junior high, and in fact, sitting on one of my bookshelves is a bunch of albums filled with pictures from the 1980s — literally, a veritable hot tub time machine.

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    In Jane Hilton’s intimate portraits, these 21st century cowboys are removed from these competing narratives, and from their beloved outdoors, and we encounter them in that most surprising location: the bedroom. Ever since she was first invited to supper by Johnny Green, a veteran cowboy who sold horses to John Wayne (every cowboy worth his spurs has a John Wayne story), Hilton was captivated by the interior life of men who spend their life outside. Her eye was drawn to the stuffed elk heads, the belt buckle collections, the stirrups strung above the bed that brought the spirit of the land into their domestic space.

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    There’s a parallel to what’s happening in the publishing world. You can stay put and keep doing things as you have in the hopes that your newspaper won’t eliminate you. You can assume that the clients you had before the economy tanked will come back when the economy returns. You can keep making and presenting pictures the way you always have because that’s always been fine.

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  • Riddle? Yes. Enigma? Sure. Documentary? (Published 2010)

    Banksy, the pseudonymous British street artist, is laboring in a new documentary to convince audiences that he’s playing it straight.

    Link: https://www.nytimes.com/2010/04/14/movies/14banksy.html

    The thing is, both Banksy and Mr. Guetta are pretty unreliable narrators. The immediate scuttlebutt was that Mr. Guetta either didn’t exist at all, that he was in cahoots with Banksy or that he was Banksy himself. Even aficionados of the scene were unsure what to think.

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    TIP OF THE DAY: Black instead of magenta in the shadows, a natural skin-tone and eyes that look real would make this kid happy again. Happy and healthy is a good look, try that instead.

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    ShutterSnitch for iPhone, iPod touch and now iPad combines an FTP server, automatic display of incoming JPEGs, pinch zooming and more into a neat app for photographers using a wireless transmitter or Eye-Fi card.

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    Now living in France, Morris, 93, has been called “the world’s most influential photography editor.” While working for Life magazine in the early 1940s he was Robert Capa’s picture editor on D-Day in World War II, and his friends Henri Cartier-Bresson, George Rodger, and David “Chim” Seymour picked him to be Magnum Photos’ executive editor. He joined NPPA in 1958.

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    a project depicting the transformation of Polish village. His focus is on the relationship between human being and nature and on the essence of humanity in relation to the earth, the seasons, and passing away and birth as inseparable elements

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    Even though I wasn’t out to review a new camera, but rather just use it for myself, I did take note of a few things

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    I was photographing environmental portraits and human portraits of a town affected by a mass shooting in March 2009. Amongst the people that I was photographing, there was a man who had lost his wife in the murders. His name is Omri and he had lost his wife, Dolores, and grieved deeply for her. Omri is turning his house into a museum of remembrance for his wife and her life and leaving town. As soon as I met him, I knew that we would connect. Softly spoken, firm and extremely direct, Omri communicated in a way that I understood… Direct.

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    The full text of Palu’s proposal is posted here on the Alexia Foundation web site. We asked judges to explain what made it a winner.

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  • Human Scale in the Grand Central Dig

    Forty-five feet below street level, Todd Heisler and Mariana Vasconcellos visited an enormous excavation project at Grand Central Terminal.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/04/29/assignment-33/

    Forty-five feet below Midtown’s busy streets, Todd Heisler of The Times took a tour of an enormous excavation project at Grand Central Terminal.

    Mr. Heisler’s best-known work includes intimate stories like “One in 8 Million.” So one might think photographing a tunnel would be a challenge. But he managed to find “little quirky human elements” in the vast mechanical undertaking. This video, by Mariana Vasconcellos, shows how Mr. Heisler approached the assignment.

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    On Monday, Agence France Presse filed a complaint in the United States District Court Southern District of New York against Haiti-based photographer Daniel Morel. Agence France Presse claims Morel engaged in an “antagonistic assertion of rights” after the photographer objected to the use by AFP of images he posted online of the Haitian earthquake of 12 January.
    At the heart of this case, which has prompted Morel to file a 66-page brief and 10 counterclaims, is the use, by news agencies, of social networking websites such as Twitter. However, in my opinion, this case highlights one major problem affecting the journalism world in particular: a blatant lack of respect for a photographer’s work and copyright.

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    Louis Porter was born in the north of England in 1977 and has been based in Melbourne, Australia since 2001.

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    The Impossible Project, which in March announced the success of their effort re-engineer analog instant film packs for Polaroid cameras, will open a New York store and gallery on April 30.

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    When two cows got loose last Wednesday, Lantern photographer Alex Kotran hustled to his room in Lincoln Tower. He had heard about the commotion, grabbed his professional camera gear and ran to the athletic fields next to Lincoln Tower.
    Within two hours, Ohio State Police had caught the cows – and Kotran. He was detained, handcuffed and is facing a misdemeanor charge of criminal trespass.

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    Matt Slaby: Here’s some frames from my current trip back north to Wyoming.  If everything continues according to plan, I’ll be home in a couple days.

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    In 1932, a young photographer named Ansel Adams sought to lay down the law: “the artist must have a clear and complete conception of the final effects of the print before he operates the shutter of his lens’’ (Adams’s italics).

    That same year, a slightly younger photographer, Henri Cartier-Bresson, took what may be the emblematic photograph of his career, if it isn’t too absurd to reduce a career as fecund and dazzling to a single image. In doing so, he took the law into his own hands.

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