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    Since I started semi-immigrant life, I have experienced two worlds, with two different cultures and systems: that of Tokyo/Japan and that of New York. I came to perceive things in both of these worlds by comparing each one. In my work, the presence of certain objects questions my memories, and my understanding, or lack thereof, of the world I inhabit.

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    In the following audio interview Dana Popa talks about Not Natasha and her photographic process. It was recorded at Photofusion, London last year while Not Natasha was on show and it’s just under an hour long, so be warned. As it is a large file, the interview should be downloaded.

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    For as long as I can remember I have always noticed the small shifts in reality, things that don’t readily register as incongruous or shocking, but rather the things that make me smile or think about how people function. I would constantly tell whomever is standing next to me: did you see this? there, did you notice? It seemed I was living in a different world, seeing a different layer of reality, one some people never see, or ignore. Coming from the country of Magritte and Ensor has had a formative impact on my perception.

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    Andrea Bruce, freelance photographer on contract for the Washington Post, has been chosen as the recipient of the White House News Photographers 2009 Project Grant. The grant total of $10,000, half from the WHNPA and a matching amount of $5,000 from PNY Technologies Inc., will fund ‘The Caucasus at the Crossroads: Ingushetia’s Decisive Moment’, which Bruce plans to publish in magazines, major news web-sites and a traveling exhibition in the Caucasus.

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    So many questions were left answered that I could not help but feel that there was more to this story than just a bunch of Africans attacking a dead elephant as maggots would.

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    China-based photographer Ryan Pyle loves the still image and has continued to make his on film, even when trekking in remote areas. That hasn’t overshadowed his interest in multimedia though, which he’s been experimenting with recently. You can see the results below, where Ryan also shares his thought process in producing his first audio slideshow.

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    Profoto has rolled out two new battery powered flash packs, both of which utilize Lithium Ion Iron Phosphate (LiFe) battery chemistry to reduce pack size and weight and provide an impressive number of full power pops.

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    William Head recently graduated from the University of Wales, Newport, and hopes to continue his studies in Prague, but for now: i done some stuff, and i still got some stuff to do. William has two volume project titled, Humane Errors, where he explores the West Park Asylum in Surrey–one of Europe’s largest mental institutions.

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    Moore’s photograph of King’s arrest moved on the Associated Press wire and was picked up by Life magazine, transforming what had been a regional story into a national debate.

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    Daniel Mercadante and Maise Crow are two of the best visual journalists at work today, see for yourself.

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    I’m appalled by all of it. I hate the celebrity culture, and everything it implies. It’s a sickness that infects the people both behind and in front of the camera. And the audience.  Talk about empty calories.

    I’m also aware that history is not being recorded – and after all these years – I think at least some of the value of my work is very much in the history it captures – and so not to allow it to be captured is a social loss. But people are so focussed on success, and success is now so defined by the celebrity lens – especially in entertainment – that the work turns into what looks to me like product photography. The subjects seem more product than people.

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    Ken Light, the San Francisco photographer who won a judgment in February against Al Gore’s cable TV network for unauthorized use of an image, now has to fight to defend his rights again.

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    Choosing words to go with photographs is a big issue for us photobloggers. Some of us avoid them, others use them with caution, and some, like me, can’t seem to hold them back. Choosing the right balance between words and images is a very tricky thing and this tightrope walk often makes me think about the power of captions and titles in photography.

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    It was just a job. I was a year and a half out of college, and at the time it was just a job. I really wasn’t familiar with Leica, other than I owned a 35mm camera. But when you work here you quickly learn about Leica and what a fabulous brand it is.

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    There is a fine line between work and play being a photographer, which is what is so amazingly wonderful about our job.  A client calls and asks you to spend a couple days in “X” city, making whatever photos you want as long as they somewhat fit the story.  In general, that is all the 36 Hours series The New York Times is:  tip-toeing that line.

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    Covering the Academy Awards backstage is the most pressure-filled and difficult assignment I get each year. Dodging huge set pieces, lines of dancers, camera booms, stagehands, “A List” celebs and their handlers all while staying out of sight of the audience and most importantly staying out of the monitors in the production room where if spotted by the producers means I’ll get the proverbial hook. But the biggest challenge of all is the light.

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