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    The pictures are made in Abkhazia, one of the small breakaway republics of Georgia. I went there because I was curious about life in a country which didn’t formally exist: What is life like in a country marked by war, isolation and not recognized, with no or limited possibilities to travel abroad or having contact with the surrounding world?

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  • VII Photo – VII Foundation

    VII VII is synonymous with courageous and impactful journalism. In 2001, the dawn of the digital era enabled the creation of VII Photo Agency. It drove VII to prominence during the aftermath of 9/11, the war in Afghanistan, the invasion of Iraq, and the c

    via VII Foundation: http://www.viiphoto.com/showstory.php?nID=1128

    Choosing only to photograph friends, family members and partners, this personal project, photographed over ten years, seeks to look at beauty and female emotion in an unvarnished and un-retouched way, thus challenging the 21st Century ethos of cosmetic enhancement and air-brushed magazine perfection.

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    In the midst of all of this, photographers have made the collective decision, I suppose following the lead set by publishers, to try and keep their customers happy by working for free.

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    “His work is a testament to the power of how a single photographer, armed with a vision, can really [communicate] to the rest of the world,” says Kurt Mutchler, Executive Editor of photography at National Geographic.

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    It’s hard to explain a mind-blowing mess like this one, but AFP is suing a Haitian photojournalist for “antagonistic assertion of [his] rights” after it distributed his news-breaking earthquake photos all over the world without his permission.

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    Davis’s archive contains thousands of subjects, including a photo essay on an Iowa farm boy and his dog, the last photos of film comedienne Carole Lombard at an Indiana war bond rally (her plane crashed on the way back to California), as well as portraits of General Dwight Eisenhower, President Franklin Roosevelt, and famed photojournalist Robert Capa reading in a bathtub, among many, many others.

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    Just because I am not breaking any laws does not always mean I am welcomed by the crew to shoot candid photos. If I am discovered shooting and they decide they don’t want images getting out, they may go to great measures to prevent me from getting my shots. Some ways a film production might do this is by blocking my view with equipment or vehicles, shining a bright light in my direction, or having a security guard stand in front of my lens with an umbrella. This is why I prefer stealth mode. It also makes for a better candid photo when the star does not know they are being photographed and are just acting naturally. On the days when there are several other Paparazzi photographers all competing for the same shot, there is no reason to hide. Production does their best to block the view of all the photographers or often just allow us to shoot, considering everyone keeps a respectable distance and does not get in the way of filming.

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    Fukase’s images are grainy, dark and impressionistic. Often, he magnifies his negatives or overexposes them, aiming all the time for mood over technical refinement. He photographs flocks from a distance, and single birds that appear like black silhouettes against grey, wintry skies. They are captured in flight, blurred and ominous, and at rest, perching on telegraph wires, trees, fences and chimneys. Fusake photographs them alive and dead, and maps their shadows in harsh sunlight and their tracks in the snow.

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    With this being our first year for the Award, we didn’t really know what to expect. But we were completely blown away with the turn out – 43 different schools and universities were represented, spanning the globe from the US to Germany to Bangladesh to Denmark to the UK. We were also very pleased with the quality of submissions. Many were very well developed and displayed a sophisticated visual language.

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    I have just updated my website with 12 new photo essays, made in recent times. I am passionate about visual story telling in photo essay form, and about the process of creating a visual narrative that can ask as many questions as affirm answers. I am also passionate about trying to make 2 and 2 make 5 rather than 3 through the process of linking and juxtaposing imagery, and interested in opening discussion and dialogue and imparting a sense of perception of how certain dynamics feel, rather than attempt description or explanation. My Photo Essay webpage now offers the viewer 27 different photo essays or portfolios that can be seen here:

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    Photojournalist Randy Reid, who was a staff photographer for more than two decades at the Arizona Republic and the Phoenix Gazette, died May 19 after a long battle with cancer. He was 49.

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  • via Thomas Hawk Digital Connection |: https://thomashawk.com/2010/05/is-imagelogr-com-trying-to-be-the-largest-copyright-infringer-of-all-time.html

    Imagelogr claims to be scraping the entire “free web” and seems to have hit Flickr especially hard, copying full-sized images of yours and mine to their own servers where they are hosting them without any attribution or links back to the original image in violation of all available licenses on Flickr. If people on Imagelogr want to they can manipulate your images, rotate them, see them at different sizes up to 300% and even download the images with a download button directly from the site.

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    Millions of flies cover the ground.  As I walk they fly up and back down again like an ocean wave.  Every other second they land on me.  I constantly swipe them away until I just give in to the feeling of an insect crawling on my skin.  I look at the people in the dump and I count how many seconds they last until they swat the flies away.  Most do not even care.

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    Almost everybody wants to belong to a group or a family and share their daily life activities/experiences. To define their own identities is important for every human being and to be part of a community is universal…

    I’m interested how people interact and behave in a group, the use of symbols or dress codes.

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    In the almost 20 years I’ve been shooting, I’ve made a lot of mistakes. I’ve seen colleagues do the same, to the extent that we remark on them and try to find ways to solve them. I’ve tried to highlight the 7 below that seem to be the most common or the most dangerous…

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    The Aperture Foundation’s two-part seminar on Strategies for Emerging Photographers began Thursday afternoon with presentations by three artists who have taken advantage of community building, grants and other opportunities in advancing their careers.

    Denise Wolff, an Aperture book editor who hosted the seminar, began by noting the importance of “staying in touch with the photographic community,” especially for photographers who are trying to go from being unknown to known

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    I planned on lighting the rink with multiple lights but quickly learned that Roller Rinks built way back when don’t have electrical codes of today. The only available outlet I found was at a DJ booth pretty far from the track. I was only able to use one light that night, but it was a blessing in disguise.

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    It’s been two weeks since we announced the release of significant new PhotoShelter features that included many user-suggested improvements in usability. One such feature is the addition of 2 new (empty) website pages to use however you want.

    Having the flexibility to customize 2 more pages is a really powerful addition to a PhotoShelter website. As expected, our users wasted no time in taking advantage of this. Here are a few of the best examples I’ve seen so far…

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    Deep within the treacherous terrain of the Uzbin Valley, young soldiers of the French International Security Assistance Force had a mission to fulfill: to take the valley, the same valley that saw a dozen French soldiers killed in an ambush by Afghan militants in August 2008. During the course of six months, the troops took the valley and every last village within, using what little mental and physical strength they had left. Not once during this time had they used their weapons, nor had they seen a Taliban. There had been an occassional attack upon them, but no one knew from where. Most days, the valley was hauntingly still, like a ghost, heightening the tension and fear of confrontation–as though scenes from Dino Buzatti’s “The Tartar Steppe” had come to life.

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    Volume 26 of Lens Culture is online now. As always, it’s filled with a wonderful and eclectic mix of contemporary photography from around the globe.

    Photographers whose work appears in this new issue include:

    Pierre Torset, Charlie Ferguson, Tamas Paczai, Allen Ginsberg, Lennart Nilsson, Vee Speers, Marie Docher, Andrzej Mitura, Tony Ray-Jones, Massimiliano Clausi, Judit M. Horvath and Gyorgy Stalter, Jim Vecchi, Matt Lutton, Carolle Benitah, Michael Christopher Brown, Margaret M. de Lange, Franco Pagetti, Lucie and Simon, Marcos Lopez, Antonio Martinez, Annie Liebovitz, and Joel-Peter Witkin.

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