The guards refused to let Walker leave immediately. The incident, he writes, ended after the security guards “called police, who also asked to see the video footage, citing the Terrorism Act. The reporter was allowed to leave after neither he nor the police could properly operate the camera to replay the footage.”
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Link: Korean Central News Agency
The Associated Press collaborated with North Korea’s state media outlet (KCNA) for a photo exhibition in New York City that opened last month. I tracked down the video on the KCNA page here: http://www.kcna.kp/kcnadata/graphics/emedia.flv
Here’s some information on the Media of North Korea page at wikipedia:
Kim Jong-il’s book, Guidance for Journalists, advises that “newspapers carry articles in which they unfailingly hold the president in high esteem, adore him and praise him as the great revolutionary leader”.[5] Media reports in North Korea are often one-sided and exaggerated, playing “little or no role in gathering and disseminating vital information true to facts” and providing propaganda for the regime.[6]
Wikipedia page on KCNA: http://en.wikipedia.org/wiki/Korean_Central_News_Agency
Photo by KCNAHere’s the AP story on the exhibit:
Link: N.Y. show captures snapshots of North Korean life (SFGate)
“Windows on North Korea: Photographs From the DPRK,” is a joint exhibition by the Associated Press and the state-run Korean Central News Agency, and features a mix of archival and contemporary images.
It’s an appropriate question to ask— why is the Associated Press putting its work alongside that of the KCNA, an unethical “news outlet” run by a government who keeps a reported 150,000 to 200,000 of its own starving citizens in prison labor camps?
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Link: La Lettre de la Photographie
Crying Meri | Violence against women in Papua New Guinea is a finalist award in this year’s 2012 Fotoevidence Bookawards. The FotoEvidence Book Award recognises photo projects documenting the evidence of violations of human rights.
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We all like to think that the photographer’s intention inform the image and that when we look at a photograph we can see those intention. But if we ignore the simple fact that we have no way of knowing what the photographer’s intentions were (How would we know? All we have is a photograph), especially in a news context, we don’t just look at photographs, we look at them with our own sets of expectations (as Colin notes) and biases.
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You don’t look like a victim
Colin Pantall’s blog about photography, writing, art and politics
Link: http://colinpantall.blogspot.com/2012/04/you-dont-look-like-victim.html
The idea is that one should look a certain way in the face of tragedy, part of the simplistic narrative that is expected of people when they are part of a photograph – a simplistic narrative that does not have an equivalence in writing. Here it is easy to explain the contrast between the glorious sky and the casual dress, the trappings of the picnic and the relaxed poses. These are all allowed to happen, but when it comes to a photograph, God forbid if anybody is caught doing anything that lies outside a very narrow band of expected responses
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Moving Past a Haunting Image
An Agence France-Presse photographer met with Tarana Akbari, the 11-year-old subject of Massoud Hossaini’s Pulitzer Prize-winning photograph.
via Lens Blog: http://lens.blogs.nytimes.com/2012/04/17/a-smile-from-tarana-akbari/?pagewanted=all
in Contests
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LightBox | Time
Read the latest stories about LightBox on Time
Twenty-five years old with a single camera body and lens in hand, Steven Rubin hitched a ride in 1982 to rural Somerset County in northwestern Maine and embarked on a project that would continue for more than 30 years.
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Alejandro Chaskielberg’s powerful nocturnal pictures of Kenyan villages
“I’ve always been attracted by the night, because it is the time when the most fascinating things can happen,” Alejandro said and that fascination is certainly evident in the cinematic feel of the final photos.
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in Equipment
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Richard Zakia
Dick Zakia in the summer of 2011. Photo by Willie Osterman. I was just reached with the news that Richard Zakia has died, last March 12th. Richard (born Rashid Elisha) Zakia was one of the great photography teachers of his…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2012/04/richard-zakia.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
Richard (born Rashid Elisha) Zakia was one of the great photography teachers of his era in the United States. A member of the stellar 1956 graduating class at the Rochester Institute of Technology that included Carl Chiarenza, Peter Bunnell, Bruce Davidson, Ken Josephson, Pete Turner and Jerry Uelsmann
in Obituaries
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Link: British Journal of Photography
The Bayeux-Calvados Award for War Correspondents is calling for entries, with photographers invited to submit their work for a chance to win a €7000 cash prize.
in Contests
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The NEX-7 has been a huge success for Sony. Delayed by the events in Thailand and Japan last year, and only now entering full-scale world-wide distribution, this 24 Megapixel APS-C camera is small enough to fit in a pocket (at least with pancake lens) yet able enough to produce large exhibition quality prints. But, it’s not without its flaws.
in Equipment
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TIME of course paid more. They always had more budget than Newsweek. As my friend Jimmy Colton, then an editor at NW and now at SI, was fond of saying, “TIME is a hospital. Newsweek’s a MASH unit.” Below is the first cover I shot for TIME, and if I recall, they paid about 3 grand. Other shooters, the real premier cover guys, got more dough, for sure. I was definitely not in that group. If I got a cover, it was either an accident or a last ditch phone call by a desperate editor.
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“He’s like a lot of the guys I met overseas. He had a great way of building a friendship fast at first, then he took two giant steps back and disappeared against the wall. He became a fly. Him being there, it got rid of a lot of ambivalence.”
in Contests
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Pulitzer Prizes: The Effects of War at Home
The Denver Post photographer Craig F. Walker and the Agence France-Presse photographer Massoud Hossaini won the 2012 Pulitzer Prizes for photography.
via Lens Blog: http://lens.blogs.nytimes.com/2012/04/16/pulitzer-prizes-the-effects-of-war-at-home/?pagewanted=all
Craig F. Walker of The Denver Post was awarded his second Pulitzer Prize on Monday afternoon for “Welcome Home: The Story of Scott Ostrom,” which won in the feature category
in Contests
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Drew Friedman interview in Ink magazine (Spring 2012)
One of our favorite illustrators, Drew Friedman, is reviewed in this exceptionally fine magazine about comics called Ink, which is produced by students at New York’s School of Visual Arts Ink…
One of our favorite illustrators, Drew Friedman, is reviewed in this exceptionally fine magazine about comics called Ink, which is produced by students at New York’s School of Visual Arts
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Link: British Journal of Photography
Magnum Photos is now accepting portfolios as part of its annual submission process – which could lead to the addition of new members this July
in Photography
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I had my M8 stolen in a mugging a couple of years ago, a drug user once pulled a knife on me in an alleyway behind Chungking Mansions, and three pimps chased me down the road once, and another drug user punched me last year, but Hong Kong is generally very law abiding and people are very friendly too
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Announcing Luminance 2012: A Very Different Photography Event – PhotoShelter Blog
We love photography. And although taking a picture is still as simple as pressing a button, the creation and consumption of images at all levels has changed drastically in the past decade, year, and even months. Most photo conferences focus on gear and te
via PhotoShelter Blog: http://blog.photoshelter.com/2012/04/announcing-luminance-2012-a-very-different-photography-event/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
September 12-13, 2012 in New York City. An optional, limited attendance photography workshop will also be held on September 11, 2012 at Root Drive-In Studios, with renowned pro photographers Zack Arias, Corey Rich, and Robert Seale (learn more).
in Photography
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Link: British Journal of Photography
Photographers have less two weeks to enter this year’s Getty Images’ Grants for Editorial Photography, worth $20,000
in Contests
