• 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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    We see hundreds of projects a month.   There are scores of stories on Gaza, African immigrants in Europe, and drug/gang violence in Latin America, Which doesn’t mean that these are not important subjects.  It just means that to get attention it has to have a different approach or style.  It’s exciting when we see a well-photographed story on a subject that we haven’t seen before.
 
When Marco Baroncini said he wanted to show us his black and white photographs of the Roma (gypsies) in Rome, we told him that the bar on black and white photos of gypsies was very high. It had to be at least half as good as Koudelka’s work. To our great surprise it was wonderful and Lens published it. 

We particularly want to encourage people to photograph their own communities rather than traveling abroad for professional recognition and legitimacy.

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  • A Court Victory Al Gore May Not Want to Advertise (Published 2010)

    This case pitted Mr. Gore and Current TV against Ken Light, a photojournalist and an outspoken advocate for fair compensation for journalists.

    Link: https://www.nytimes.com/2010/04/23/us/23sfmetro.html

    The art, a photograph, belonged to a Berkeley professor, and Mr. Gore and Current TV had used it without permission, payment or credit. A judge this week ruled against the professor, indicating the use was not illegal.

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    Italian photographer Tommaso Ausili is the overall winner of the L’Iris d’Or/Sony World Photography Awards Photographer of the Year award. Ausili’s series of photographs in the Contemporary Issues category, The Hidden Death, captures an assembly line at an abattoir. Ausili received a $25,000 cash prize plus Sony digital SLR camera equipment and he joins previous L’Iris d’Or winners, David Zimmerman and Vanessa Winship, as a member of the World Photographic Academy.

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    This video is of a conversation that took place on the show floor at NAB 2010 between the infamous video guru Philip Bloom and DSLR video shooter Khalid Mohtaseb. Just in case anyone missed it there has been a vigorous debate here on this very site about the rights and wrongs of a montage of footage the Khalid showcased – the debate even made it all the way to the Huffington post.

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  • Street Photographer tournament

    This spring Tyler Green conducted an interesting experiment on Modern Art Notes . He chose 32 nominees for Greatest Living American Abstra…

    Link: http://blakeandrews.blogspot.com/2010/05/street-photography-tournament.html

    I’ve decided to set up a similar tournament for Street Photography. I’ve chosen 64 of the best Street Photographers in history, seeded them, and designed a tournament bracket.

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    Thomas Bruso’s already unpredictable life took an abrupt detour. It was the day he ceased being Thomas Bruso and became Epic Beard Man, Internet sensation.

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    The deadline is fast approaching for the first annual LUCEO Images Student Project Award, a cash prize of $1,000 which will be announced at this year’s invite-only LOOKbetween Festival in June. Applications are due via FTP by midnight EST Saturday, May 15.

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    For those photographers contributing with a smile to these “agencies” thinking they bet on the right horse, they will realize soon that they are no better than slime sticking to a rotten ship . Your photos will soon be free, the exact value that these companies have for your miserable little lives. If you think you are in control now, we shall talk in 5 years from now.

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    The Aftermath Project is working on publishing it’s next book, War is Only Half the Story, vol. 3, and the organization needs your help. Each print run costs about USD$20,000. Now, you can buy a print (warning: pdf link) to help fund the publication of the next volume. Prints are available from Ami Vitale, Davide Monteleone, Rodrigo Abd, Saiful Huq Omi, Donald Weber, Asim Rafiqui, Louie Palu, Andrea Bruce, and Sara Terry.

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    This work is from his series, Western Frieze.

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