When today’s deadly shooting occurred in the heart of Manhattan, thousands of witnesses were nearby and many used cameras to quickly document the scene. Some of the images posted to Twitter, Instagram and Flickr included graphic photos of the shooting victims.
News organizations scrambled to curate these images, and then had to make difficult decisions about how to verify and handle them. Should they run them prominently on the home page or submerge them in an article? Link to them instead? And how to warn readers?
The Magnum photojournalist Paolo Pellegrin has documented many of this generation’s major conflicts and disasters, from wars to revolutions to tsunamis. …
The Magnum photojournalist Paolo Pellegrin has documented many of this generation’s major conflicts and disasters, from wars to revolutions to tsunamis. “I am trying—as I do in all my work—to create a bridge,” he said in a recent interview. “To use photography to say something that goes beyond the surface, that vibrates, that resonates, that speaks about a form of psychological portraiture, if you will. To make a connection.”
And Now Some Meaningless Speculation These are simply my observations and speculations. I have absolutely no real information about any manufacturer’s plans. If I did I would have to sign a nondisclosure agreement and couldn’t write this stuff. But I like
I’m going to split this up by the various players. To me the most impressive and enjoyable thing in this entire area is that there is a LOT of variation. The companies are really trying different things. Not all of them are going to work out, of course, but some of them may provide us some really new and different tools to work with.
Eastman Kodak plans to sell off its film and photographic paper businesses in an effort to emerge from bankruptcy, the Wall Street Journal reports. In an announcement on Thursday, Kodak chief executive officer Antonio Perez said the company is seeking bu
In the professional film market, Kodak’s U.S. professional film revenues rose 20 percent in 2011. However, as demand for consumer and motion picture film continued to decline worldwide, the company faced challenges taking advantage of economies of scale
Rodrigo Abd, whose haunting photo from Syria appeared on the front pages of the Wall Street Journal, New York Times and Washington Post on March 9, is one of the $10,000 AP Gramling Award winners
Benedicte Kurzen, a French photographer who has been based in Johannesburg since 2005, came to Nigeria last year with a Pulitzer Center grant and a sense of the roiling tensions there: long-seeded resentments, rooted in the breathtaking disparity of wealth, widespread corruption and a pervasive, implacable fear.
Henri Cartier-Bresson travelled the world for four decades, both documenting and participating in the art, political, and social movements that would move …
In the world of photography, innovation has a shelf life. By 2008, some 60 years after Edwin Land’s invention of the Polaroid camera, analog photography had been usurped by the power of the digital age. The shuttering of instant film production left a community of Polaroid enthusiasts and professional photographers with uncertain futures: Would instant film ever be produced again? Could Polaroid be resurrected?
Four years after the end of that era, a passionate group of instant film fans — under the title of the Impossible Project — have worked hard to create another era. On Thursday, Impossible will take the next step toward reclaiming the photography of the analog age, exhibiting the first images of a new large-format line of instant film in the group’s New York City space. After more than four years, the world of photography will get their first look at the new 8-by-10.
Today’s post is one of those exercises in randomness that I just have to do every so often. I’ve been working with mirrorless cameras lately. That led to several people reminding me that two years ago I predicted mirrorless cameras would largely replace entry level SLRs.
After careful evaluation I have to admit I was only 62.5% correct. While mirrorless is the fastest growing segment of the non-cellphone camera market, it hasn’t replaced entry level SLRs by any means.. So I thought I’d look at why I was, uhm, less correct than I would like to have been (that’s male for wrong)
Grayson: On the opposite side of the spectrum from being subject-proof, do you have photo shoots that fail from time to time?
Gregory: I think they all suck. The picture I was hoping for is never the picture I get, but yeah, I think they fail all the time. Fortunately my clients don’t think they do, so I can continue to have a career. But I just look at them and think, ugh.
a photo project he has worked on for the past decade, crystallized in a new book, The Quest for the Man on the White Donkey. Israel’s pictures are the product of years of wanderings in Israel, in the Occupied Territories and in the spaces in-between, seeking to document a vision of its people and landscapes away from the noise of an intractable political conflict and the rumbling news media that watches it.
Honestly, I didn’t have any expectations. I didn’t know how the urban environment would look, but I wasn’t surprised by the things I saw. I knew there was going to be some destruction because of the scale of bombardment. I also knew there would be guys running around with Kalashnikovs and RPGs. I was just focused on the things happening around me.
For more than five decades, the Charles A. Hulcher Co. filled an important niche in the camera world. Their cameras, which shot up to 100 frames per second, were used to make photos of everything from Space Shuttle launches to Major League Baseball games.
Part of me thinks that at some stage, more and more photographers will realize that spending all that time on/with social media to try to get some piece of the cake might not be the best thing to do. Here is another reason why the obsession with self-promotion that has large parts of photoland in its clutches eventually only leads into a dead end
In the fifth installment of the “Smoke-Filled Rooms” series, Stephen Crowley, a staff photographer at The New York Times, continues to look beyond the restrictions, spin and control of the contemporary American political process. With an unorthodox presentation of photographs and text, Mr. Crowley examines the forces that influence the presidential campaign.
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