In at least six recent cases, according to a memo from the general counsel, the independent federal agency that investigates unfair labor practices has found provisions of employer social media policies to be unlawful.
Feature Shoot is pleased to present the group exhibition, Underage, at this year’s Photoville Festival in Brooklyn, featuring work by six young photographers who document the joys and travails of growing up: a time of first loves, experimentation, and the search for belonging.
Photographers include Olivia Bee, Aiden Morse, Claire Oring, Violet Forest, Charlie Brophy and Lissy Laricchia.
Barrett Tryon, a Gazette multimedia journalist, was told at 3:30 p.m. Tuesday afternoon that his Facebook wall post — a link to this Los Angeles Times story — was in violation of Freedom Communications’ social media policy.
A couple weeks ago at Review Santa Fe I had the opportunity to see APE contributor Jonathan Blaustein’s new body of work hanging on the wall and decided to conduct a quick interview. I think this is a unique opportunity for all of us, because we know Jona
A couple weeks ago at Review Santa Fe I had the opportunity to see APE contributor Jonathan Blaustein’s new body of work hanging on the wall and decided to conduct a quick interview. I think this is a unique opportunity for all of us, because we know Jonathan and can follow and learn from his career. I know you will find his honesty refreshing and revealing.
Photographer and professional skateboarder Ed Templeton uses his Leica M6 to capture images of skateboarding life. In this portrait, he gives us a clearer picture…
My photography has not changed very much over the years. I’ve been resisting technology and sticking to the same thing. The biggest change for me would be adding a 28mm lens into the mix because I’ve been mostly a straight black and white 50 mm lens photographer since the beginning. That’s the classic street setup. I was just out today shooting with a 50mm with no filters, no bells and whistles, no frills — just a straight Leica M6, 50mm lens, and black-and-white film, Tri-X. I hope they keep making it!
While the conflict in Syria has made it increasingly difficult for journalists and photographers to gain access, Robert King is frustrated with the flagging interest of his media clients.
For one shot of an infant injured by shrapnel, Mr. King zeroed in on the soles of the feet, which he said reminded him of the feet of his son and daughter. The toes were drenched with blood like tiny red peas.
“I’m not going to give the viewer a way out of my frame,” Robert King said. “If it’s graphic, I’m going to make it graphic. I’m not here to make art.”
Yan Morvan was, of course, a war correspondent. He even won the World Press Photo award in the “Spot News” category for his coverage of the war in Beirut. Not to mention the Robert Capa Gold Medal. “He’s the only one who had the nerve to take studio portraits on the frontline,” one of his colleagues and competitors told me.
Michael von Graffenried’s works realized in Algeria and Cairo represented a further development in his desire as an artist to get inside these particular societies where photographers were viewed with great suspicion, which itself demanded solutions enabling him to take photographs unnoticed. In order to do this, Graffenried began using a small panoramic Widelux camera, that he could hold discreetly on his chest, operating it without his subjects being aware of his actions. Functioning in this way allowed the artist the great advantage of creating images that totally removed the relation between the photographer and people being photographed.
Highlights from the conversation between Geoff Dyer and the photographer Alex Webb at the LOOK3 Festival of the Photograph, which took place last weekend in Charlottesville, Va.
Alex Webb, one of the most influential color photographers of the last four decades — and whose photographs accompanied an article in the magazine on Treece, Kan. — was interviewed by Geoff Dyer on Saturday afternoon during the final “Insight Conversation” at the Paramount Theater
Now that we’ve done all that stuff that you can see in history-of-photography books, now that we’ve become obsessed with re-creating that past over and over again – how can we turn around, to look at and move into the future?
Multimedia production company MediaStorm says it will start charging viewers $1.99 for access to each of its stories under a new system it calls Pay Per Story. “We have decided it is time to try a new model that transfers a minimal cost to the viewer,” co
“We’ve earned the right to do this,” Storm told PDN of his decision to charge viewers. “We’ve put a lot of [stories] out there for a long time, and built a great audience.”
we are very excited to announce the recipient of the 2012 LUCEO Student Project Award. This year’s winner is Alena Zhandarova of Russia. She will receive $1,000 and mentorship from a LUCEO member of her choosing
A few weeks ago, a great underwater picture from the Olympic Games Synchronized Swimming qualifications in London really caught our eye. Artfully composed and perfectly timed, it was shot in April by veteran Getty Images photographer Clive Rose at the London Aquatics Centre, which will be one of the main venues for the 2012 Summer Olympic Games, starting in July. When we got in touch with him, Rose agreed to give us the lowdown on how he did it.
Nyani Quarmyne and Nii Obodai, Ghanaian photographers, have set out to document climate change, photograph West Africa and beyond, undo stereotypes and upend expectations, with a subtle eye and nuanced view.
The two men are well suited to presenting a view of Africa to Africans and others beyond the continent. Their work — now at “We Face Forward,” a series of art exhibitions on display through Sept. 16 in Manchester, England — is part of a burgeoning effort to challenge the conventional, Western understanding of Africa as helpless, diseased and war-addled: a continent of victims.
“We’re documenting for ourselves what life is and where it’s going,” Mr. Obodai said. “It’s documentation of Africa by Africans. “
If you’ve followed the story, mountaintop mining activist Maria Gunnoe was set to testify to Congress side-by-side with the photo of a naked girl in a bathtub filled with orange gunk. Then, the the GOP barred the use of the photo going so far as accusing Gunnoe after her testimony of being a child pornographer. That’s the political story (the matter pending now with the US Attorney).
Then we have the story of the photograph and the fact that this powerful image, which the family of the girl in the bath gave permission to accompany Ms. Gunnoe’s presentation in front of a Congressional committee (not to mention, a phalanx of DC photojournalists), is now next-to-nowhere to be seen.
Last week, a few of us from PhotoShelter headed down to Charlottesville, Virginia for the LOOK3 Festival of the Photograph. What started in 2008 as a group of photographers gathering on Nick Nichols‘ farm to watch slideshows of each other’s images has tod
LOOK3 is energetic, lively, and remains intimate despite its fast-paced growth over in the last few years. Yet, because the majority of featured work is based in photojournalism and documentary photography, there’s a very serious and sometimes emotionally taxing undertone to some of the talks and exhibitions
She had prepared a slideshow presentation that included a photograph by the photojournalist Katie Falkenberg depicting a nude young girl sitting in a bathtub filled with murky brown water. The photo was meant as a salient statement to legislators on the impact of coal mining on society’s most vulnerable. ‘We are forced to bathe our children in polluted water,’ she said. ‘Or not bathe them.’”
