• 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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  • How To Hack Panasonic GH1 to Shoot Super High-Quality 24p Video and More

    Canon isn’t the only game in town when it comes to hacking camera firmware. The famous CHDK firmware hacks now have a rival, at least if you are shooting with a Panasonic GH1, and especially if you are using the Micro Four Thirds camera to shoot video. The hack, called PTool, doesn’t add nearly as […]

    via WIRED: https://www.wired.com/2010/06/how-to-hack-panasonic-gh1-to-shoot-super-high-quality-24p-video-and-more/

    The hack, called PTool, doesn’t add nearly as many features as the Canon hacks, but what it does is startling. With PTool, you can up the video bitrate of the GH1 from a pedestrian 20Mbit to 32MBit in AVCHD. If you opt for Motion JPEG (MJPEG), you can shoot at an astonishing 50 Mbit/sec at a full 1080p. This, according to testers, offers better quality footage than you get from the EOS 5D MkII. Above you can see an example. To view it in its full HD glory, click through to the Vimeo page

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    Preston is on staff at The Virginian-Pilot and I’m a freelancer. I left my job at the San Antonio Express-News to live with Preston and work on personal projects. It’s a sacrifice to give up a good newspaper job in this economy but it doesn’t feel that way. It’s liberating to try something new. The idea of owning my work for the first time in my career really excites me.

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    Seattle photographer Mike Hipple reports that he has run out of money to defend himself against a copyright infringement claim by a sculptor, and he’s now trying to raise money by selling a self-published book.

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    In 2008, Chinese photographer Liu Yuan and his wife embarked on a train journey across North Korea. While riding the rails, Liu photographed out the window of his private compartment. “When a male inspector found my Canon 1Ds NMARK III with it 28-300 mm lens, he raised his eyebrows in surprise and quickly brought several of his comrade inspectors over to see it,”

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  • A Conflict Between the Press and the President in the Gulf Spills Into View

    The spill in the Gulf seems uncontainable, but the press is frustrated that information about it seems very much under control.

    via Media Decoder Blog: https://archive.nytimes.com/mediadecoder.blogs.nytimes.com/2010/06/07/a-conflict-between-the-press-and-the-president-in-the-gulf-spills-into-view/

    “I am here to tell you that you’re not alone. You will not be abandoned. You will not be left behind,” he said, but could not resist a sideswipe at the press corps in front of him. “The cameras at some point may leave; the media may get tired of the story; but we will not.”

    Oops. The press corps in the gulf had been on the story for more than six weeks, often dealing with a tight-lipped disaster communications apparatus that seemed to be in the hands of BP rather than the government.

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    That ducky has been present at many historical moments. It was with me when I witnessed women voting for the first time in Afghanistan. It was once a few feet away from President Hamid Karzai of Afghanistan at his palace in Kabul. It was with me when I crazily walked into northern Iraq from Turkey — at night, in monsoonlike rain — just before the bombing started. The ducky visited Saddam Hussein’s palace in Tikrit before the Marines arrived.

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    Associated Press photographer Charlie Riedel’s up-close images of brown pelicans soaked in oil finally brought home the effects of the Gulf oil spill catastrophe last week. They showed scenes that photographers have had much difficulty documenting, not only because of the location of the spill, but because BP and government officials have worked to keep the spill’s consequences out of sight—and out of mind.

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  • Intro

    Website of visual Artist James Pomerantz

    Link: http://www.aphotostudent.com/2010/06/07/shooting-gallery-the-limitations-of-photojournalism-and-the-ethics-of-artistic-representation/

    The winning press photos by Hetherington and Guttenfelder on the one hand and McQueen’s art work on the other can be seen as two poles defining the spectrum of possible representations of war with a camera – one employs the rhetoric of reportage, the other uses a conceptual strategy, or the rhetoric of the metaphorical. Arguably, the photojournalist has a professional and ethical imperative to capture the immediate circumstances, while the artist has the license or luxury to turn his camera away from these events, even to question the photograph’s ability to accurately represent them. Does one approach function more effectively than another? And by what criteria can we judge their effectiveness? When it comes to images of the events and consequences of war, how close is too close? And how much distance is too much?

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    Nobody covers the NBA Finals like Sports Illustrated. Two photographers, three assistants, hundreds of pounds of gear and hundreds of man-hours in set up and travel time.

    Shawn Cullen and Jordan Murph (along with Kevin Liles) worked tirelessly setting up remotes and helping SI staffers John McDonough and Bob Rosato with their coverage.

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  • matt eich – carry me ohio

    [slidepress gallery=’matteich-carrymeohio’] Hover over the image for navigation and full screen controls EPF 2010 Finalist Matt Eich Carry Me Ohio play this essay   Once known for …

    via burn magazine: https://www.burnmagazine.org/essays/2010/06/matt-eich-carry-me-ohio/

    In this series of images I show the isolated and trapped residents of Southeastern Ohio. From Hercules the German Shepherd, chained to his house in the snow to Timmy, asleep on the couch, trapped in his body and requiring around the clock care from his family. Despite their bleak surroundings there is still a sense of whimsy and beauty in the lives of the region’s occupants. They opened their homes to me and this is my love song to the place I once lived.

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    This is the 41st year of the world-renowned photo festival, Rencontres d’Arles. As always, the festival will attract a worldwide audience of photo lovers, photographers, experts, curators, scholars and collectors, who congregate in the small Roman town in the south of France for a month every year.

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