Why I Quit Instagram
I quit Instagram today. Not only that, I nuked my account. It’s gone; deleted. Can’t get it back. No more.
via WIRED: http://www.wired.com/gadgetlab/2012/12/opinion_instagram-quit-users/
I quit Instagram today. Not only that, I nuked my account. It’s gone; deleted. Can’t get it back. No more.
via WIRED: http://www.wired.com/gadgetlab/2012/12/opinion_instagram-quit-users/
Link: Instagram Clearly Hates You, So Quit | Motherboard
Be honest with yourself: Even if you’re a power Instagrammer, the social aspect of the network really sucks. (You can’t re-share photos? What the hell is that?) If you’re going to use a third-party photo app just to share onto your other, more powerful networks, you might as well make it one that doesn’t have a complete disdain for its users.
Photographer Chase Jarvis outlines a simple and direct analysis of Instagram’s assault on your creativity and urges you to take a stance against the new Terms of Service.
via Chase Jarvis Photography: http://blog.chasejarvis.com/blog/2012/12/new-terms-of-use-for-instagram-selling-your-photos-against-your-will/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ChaseJarvis+%28Chase+Jarvis+Blog%29
Earlier this year, I wrote an article entitled “Why Instagram is Terrible for Photographers, and You Should Use It.” Today, I’d like to fully retract that statement because, screw those guys for ruining something fun. First, no one should be surprised tha
via PhotoShelter Blog: http://blog.photoshelter.com/2012/12/why-instagram-is-great-for-photographers-and-why-you-shouldnt-use-it/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
Link: Photojournalism in 2012: A year of excellence, ethical challenges and errors | Poynter.
As 2012 nears its end, we look back at the major trends and memorable events that defined photography and photojournalism this year.
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2012/12/18/unfiltered-photographers-react-to-instagrams-new-terms/#1
Instagram issued a new Terms of Service yesterday (here) that will allow the company to use your photos commercially without any compensation to you: Some or all of the Service may be supported by advertising revenue. To help us deliver interesting paid o
via A Photo Editor: http://www.aphotoeditor.com/2012/12/18/instagram-plans-to-sell-your-photos-commercially-without-paying-you/
Gideon Mendel doesn’t have a Facebook account. He “never really found a voice on Twitter” and his website doesn’t have a bio. But his use of Instagram to cover the Nigerian floods that were being largely overlooked by (American) media has been brilliant.
via WIRED: http://www.wired.com/rawfile/2012/12/gideon-mendel-nigerian-floods/?pid=4416&viewall=true
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2012/12/18/2012-a-year-of-deja-vu/#1
Link: New York City Panoramas | Le Journal de la Photographie
“Sylvia Plachy seeks and finds her images wherever she goes. She captures fleeting moments in time with her roaming eye. She says the panoramic frame intensifies her perceptions. It allows her to get close to her subjects, to be inside their space, and to be surrounded by it — unorthodox, whimsical, and close”
Link: Lise Sarfati talks to Elizabeth Avedon | Le Journal de la Photographie
“I have an inner sense of color. I do not even think about it. I do believe color gives a special meaning to my work. The color gives balance or imbalance to an image or sets a mood if the image is monochrome.
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Link: Jon Lowenstein’s Photos of Mexican and Central American Migrants’ Stories – NYTimes.com
“‘Ultimately, you want something to happen from your pictures,’ said Mr. Lowenstein, 42. ‘What’s great about photography is that it can be amorphous. It can be different to each person, and you can use it many different ways, both for good and for bad. You can use it for propaganda that really hurts people or for profit — or you can use it in positive ways and build bridges between communities.’
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This is probably the most interesting Nikon patent since I started my coverage in 2008: last year Nikon filed a patent (2012-242615) in Japan for a digital back that will transform a 35mm film SLR camera into a DSLR. The sensor is attached to the camera’s
Link: Why You Should Want to Pay for Software, Instagram Edition – Alexis C. Madrigal – The Atlantic
“Note the key parenthetical — ‘(along with any associated metadata)’ — which you could read as ‘location data.’ In essence, if you go to the Palms in Las Vegas and snap a pic… Facebook Instagram may use that photograph in an advertisement for the Palms that reaches your friends.
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Richard Engel and his production crew were freed in a firefight between his captors and Syrian rebels.
via Washington Post: http://www.washingtonpost.com/world/nbc-correspondent-richard-engel-and-crew-freed-in-syria/2012/12/18/93d53c7e-48ff-11e2-b6f0-e851e741d196_story.html?wprss=rss_world
By Jim Colton
via NPPA: https://www.nppa.org/page/photo-journal-focus-shining-star
Today Instagram unleashed brand-new terms of service that has rubbed many of its loyal users the wrong way. Instagram can sell your photos to third parties for ads without telling you.
via WIRED: http://www.wired.com/gadgetlab/2012/12/how-to-download-your-instagram-photos-and-kill-your-account/
Moments after a brutal attack began at an elementary school in Newtown, Conn., Friday, Newtown Bee associate editor Shannon Hicks sped to the scene. Before the day was over, she would act in two capacities: as a journalist, and as a volunteer firefighter.
via NPR.org: http://www.npr.org/blogs/thetwo-way/2012/12/16/167395779/the-story-behind-a-striking-image-of-the-scene-at-sandy-hook
David Guttenfelder, Tomas van Houtryve, Ari Hatsuzawa, Seung Woo Back and Joao Rocha are among the photographers in “North Korean Perspectives” at Museum of Contemporary Photography.
via PDN Photo of the Day: http://pdnphotooftheday.com/2012/12/18179
Link: Portraits of Russian Prisoners ‘Locked Up in a World Devoid of Hope’ | Feature Shoot
Israeli born and based photographer Michal Chelbin fostered connections along the way that gained her rare access to the prisoners. Her portrait sittings sometimes lasted for hours, Chelbin never asking about the crime committed until after the portrait was finished