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    Another dva favorite, there’s a short video interview up on vimeo with Rob Hornstra talking about his process and how his books come together. Definitely worth a watch.

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    In July 2010 CPN readers from around the world submitted their sports images to Editor’s Choice for review by Sports Illustrated’s Photography Editor James K. Colton.

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  • Eyes Open, Back Into the Afghan Crucible

    How does it feel to be a photojournalist preparing for an assignment that’s left a friend of yours badly injured? Michael Kamber shares his thoughts.

    via Lens Blog: http://lens.blogs.nytimes.com/2010/12/07/eyes-open-back-into-the-afghan-crucible/

    The night before I leave Paris, Alissa J. Rubin, the Times’s bureau chief in Kabul, e-mails me to say that our embed is postponed. The unit we’re to join has suffered a tragedy. “Yesterday, they had six soldiers killed by an Afghan border policeman-in-training,” she writes. Six families have just had their lives torn apart.

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    Sebastian Junger, author of The Perfect Storm, teamed with photographer Tim Hetherington to spend a year embedded with the Second Platoon in Afghanistan, documenting the hard work, fear and brotherhood that come with repelling a deadly enemy. Hunkered down with the soldiers in one of the region’s most strategic valleys, the filmmakers uncover the dark humor, sleepless surreality and constant anxiety of war in this Best Documentary winner at Sundance.

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  • Newfound Colors for a Portrait of New York

    Does New York need another picture-book portrait of itself? Reuel Golden thought he could find a fresh approach for a tried-and-true format.

    via Lens Blog: http://lens.blogs.nytimes.com/2010/12/06/newfound-colors-for-a-portrait-of-new-york/

    A picture-book history of New York.

    Gee, there hasn’t been one of those since — let’s see, what day of the week is this?

    “It was fundamental that we found images that people haven’t seen before,” said Reuel Golden, the editor and author of the newly published “New York, Portrait of a City” (Taschen). The goal, Mr. Golden said, was to “unveil hidden gems that would excite even the most jaded New Yorkers and then print them big and bold.”

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    Claire Atkinson captures the human condition in her hometown of Manchester, UK. As a young photographer she as surprisingly distinct preference for film over digital capture, using a Leica M6 with 50 mm f/2 Summicron lens as her camera of choice. Perhaps it’s a little too soon to label her as a rising star, but her talent is considerable and we expect you’ll hear more about her before long. Here, in her own words, is her unremarkable but remarkable story.

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    David Zimmerman is an American born artist working in New York City and Taos, New Mexico. This work is from his ‘Gulf Coast’ series, large scale portraits of the people impacted by the BP oil spill in the Gulf of Mexico

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    Following on the heels of my interview with Darren Carroll about using his iPad to supplement his printed portfolio, I asked him about the difficulties of living in Austin while trying to build more of a commercial business — and while most of the clients he’d like to work with are sitting on the coasts. I thought his methodical nature would provide good fodder and inspiration for other photographers trying to take it to the next level.

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    Once again we are talking about how ‘beautiful’ the photos are, or what a great device the iPhone is, but not about the war in Afghanistan (although many people do comment that the photos bring them close to the lives of the soldiers). Would we really be talking about these pictures if they hadn’t been processed by an app on the iPhone?

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    In this report by Franco Pagetti we present an overview of the situation in Afghanistan as it stands today. It is obvious that much work lies ahead and that this war now heading to it’s tenth year is far from over.

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    You might not believe this, but it’s true. In a desperate bid to become rich, a young man in Calabar, popularly known as Udo Mbakara, has sliced off the heads of two young girls who are his nieces.

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    Antoine D’Agata is a contentious character in the worlds of photography and art. Signed up by the Magnum photo agency in the period when they started to realise there was little money in photojournalism, his work’s brutal and self-destructive content has a habit of upsetting people.

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    I currently live in Moscow. It’s a huge metropolis. Living here you get used to people, speed, vanity, the subway… Do you know that the subway is a whole individual city of people inside Moscow? And when you come to any village in the north of Russia, like Kenozero, you meet the silence. There, you meet amazing people, you are surrounded by the beauty of nature, and you just shoot the first picture and that’s it. You see to it that you will come back there again and again. You listen to these people, their stories, their dreams and you need nothing else. For me, it just happened that way.

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    I currently live in Moscow. It’s a huge metropolis. Living here you get used to people, speed, vanity, the subway… Do you know that the subway is a whole individual city of people inside Moscow? And when you come to any village in the north of Russia, like Kenozero, you meet the silence. There, you meet amazing people, you are surrounded by the beauty of nature, and you just shoot the first picture and that’s it. You see to it that you will come back there again and again. You listen to these people, their stories, their dreams and you need nothing else. For me, it just happened that way.

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  • A Dozen Promising Photographers

    No one told 12 of the world’s most promising photographers that photojournalism was dead, so they gathered to chart their futures.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/11/18/a-dozen-promising-photographers/

    By editing one another’s work, we become connected. We are all vulnerable. I have to trust people with my images. They have to trust me.

    We debate all week. Do we photograph to inform the public or to create art? How much of our bias should be expressed in the photos we take?

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    In WDC, on assignment. Down-time. Check email. Friend request. Wander to Facebook. Oh, it’s someone from Baptist Town. Confirm. A post on her wall makes me stop. It says “RIP Butta”. Confused, but not yet alarmed, I go to another person’s page. A post on Nikki’s wall says the same. My blood runs cold. Find my phone, start dialing numbers. Sylvester Hoover, the man who owns the one business in Baptist Town, a convenience store and laundromat, is the first to answer. “Yeah, Butta’s dead” he tells me. “He was shot and killed yesterday.”

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    Dear Newspaper Photographer,

    If you think you are safe in your job, you aren’t.

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    They are identical mediums, sending different messages.

    By Antonin Kratochvil with Michael Persson

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    While the size of the Leica file is smaller than those of the medium format cameras, and therefore display smaller at 100% magnification on screen, we observe that the Leica files have the best sharpness and resolution of all compared here.

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  • Unhurt by Two Mines, but Not Untouched

    In the middle of photographing for the “Year at War” series, Damon Winter was confronted by choices that could have made the difference between life or death.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/12/27/unhurt-by-two-mines-but-not-untouched/

    It was probably the toughest situation I’ve ever been in as a photographer.

    When the first mine went off, it was surreal. I think I was just completely shocked. Petty Officer Kremer was maybe about 50 feet away from me.

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