Looking at portfolios from Critical Mass 2011…I am a long time fan of Susan Worsham’s photographs. Her color palette, her ability to combine still life and portraiture, and her quiet realism of things past and present always feel genuine and true. Of th
I am a long time fan of Susan Worsham’s photographs. Her color pallette, her ability to combine still life and portraiture, and her quiet realism of things past and present always feel genuine and true. Of the many artist’s statements (200) that I read for the Critical Mass jury process, hers was the one that stood out to me. A statement is a critical component to a photographer’s project, and Susan’s sets a tone, tells a story, draws us in, and makes us realize we are all here, but for the Grace of God.
Beginning today, we’re releasing all Wired.com staff-produced photos under a Creative Commons (CC BY-NC) license and making them available in high-res format on a newly launched public Flickr stream. To mark our new licensing policy, we’ve compiled this g
Wired.com photographers have the enviable job of shooting the coolest stuff and most intriguing people in the technology world. Now we’re giving away many of those photos to you, the public, for free.
Once again, police officers have arrested a photographer doing her job–this time in Milwaukee–only to let her go a few hours later without charges. The summary round-up of journalists at street demonstrations is a form of intimidation, and rough injustice
looking at the pictures taken by others of the arrest, one has to wonder: Do Milwaukee police officers need to get their eyes checked? Wentz-Graff had her press ID badge clearly visible, as an image by Lita Medinger in the Journal Sentinel shows
The annual grant of €20.000 was given for Ferry’s project “’Violentology: A Manual of the Colombian Conflict,” chosen by a selection committee from among 222 applications by photographers of 56 nationalities.
While in China for two weeks and because I may not have access to my blog, I am writing posts in advance. Beginning today and continuing through next week, I will be looking at portfolios that caught my eye in the Critical Mass jurying process. A number o
The fragile state of our environment has been a continuous thread throughout my work. For this series, I spent two months in the Gulf on assignment for Greenpeace photographing the Deepwater Horizon oil spill. These photographs explore the tenseness of the situation in the Gulf of Mexico as the oil seeps into an already challenged and complex ocean ecosystem. Though tragic, it is a fitting example of the vast scale of transformation our world is under from man-made stresses.
There is a statement often repeated about zoom lenses, which I have assumed to be generally true, or at least historically true. “All zooms are sharper at one end than the other.” I also hear a lot of people saying they bought Zoom A because it’s sharper
Like most photographers, I understand things better when I can see them, rather than just read about them. So I thought I’d use some of our Imatest data to look at this well-known truth (which isn’t as true as people seem to think). I’ll also provide you some links where you can find more specific data concerning how much zoom resolution varies with focal length.
The X10 fits beautifully in ones hand, in large measure because it isn’t too small. I started this report with a discussion of how all camera designs are based on a series of trade-offs by their maker; sensor size vs image quality being paramount. Fujifilm has taken a path with the X-10 that calls for the largest possible sensor in a sort-of-pocketable camera, along with a fast lens of moderate range and a usable optical finder.
I am a 26 free-lance photographer, filmmaker and journalist based between Rome and Sarajevo. In 2007 I started working on long-term documentary projects, focusing mainly on social issues and post war consequences in the Balkans.
As more news photographers get swept up in police action at Occupy Wall Street-type protests around the nation, those covering Washington D.C. protests just learned of a decades-old law that gives the cops even more power to clear out pesky photogs.
by Jonathan Blaustein A few weeks ago, I outed myself for having created a male-centric photo-book review column. Rather than embracing the gender bias, I sought to rectify the problem, good feminist that I am. (My wife went to Vassar and Smith, so my cre
A few weeks ago, I outed myself for having created a male-centric photo-book review column. Rather than embracing the gender bias, I sought to rectify the problem, good feminist that I am. (My wife went to Vassar and Smith, so my credentials are solid.) So of course, this week, just to keep you guessing, I’m offering up a week of guy books. Most men, as we all know, like cars, sports, and blowing stuff up. With that in mind…
(Image above copyrighted by Emilio Morenatti) Emilio Morenatti is a photo journalist who has covered various events in Spain, Afghanistan, as well as the Middle East. Not only has he covered the wa…
Emilio Morenatti is a photo journalist who has covered various events in Spain, Afghanistan, as well as the Middle East. Not only has he covered the war and the fall of the Taliban, but he has also been kidnapped by gunman, and lost his left foot after being struck by a roadside bomb on assignment. In 2008 he was named Newspaper Photographer of the Year by Pictures of the Year International. See some of his images below.
Sixty years ago this week, the Photo League closed its doors after being labelled a subversive group. But in its 15-year life, the group transformed documentary photography in ways that went beyond the political. An exhibition in New York shows how.
Sixty years ago this week, the Photo League fell victim to Cold War witch hunts and blacklists, closing its doors after 15 intense years of trailblazing – and sometimes hell-raising – documentary photography. From unabashedly leftist roots, the group influenced a generation of photographers who transformed the documentary tradition, elevating it to heady aesthetic heights.
Canon Inc. today announced that the company is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series lineup, the new camera will be ideally suited for cinematographic and other digital high-resolution production applications. The model will be equipped with a 35 mm full-frame CMOS sensor and, enabling the recording of 4K video (at a frame rate of 24P, with Motion-JPEG compression), will make possible the type of exceptional image quality and sublime imaging expression to be expected from the next generation of “EOS Movies.”
There are two versions of the camera – one with an EOS mount and the other with a cinema PL mount – the two are otherwise identical. There is no autofocus, autoexposure or auto white balance on either version. The body itself is quite compact and features a detachable grip and LCD monitor/XLR audio pack.
Along with the camera several new Cine style lenses were launched – a 14.5-60mm T2.6 and 30-300 T2.95-3.7 in both PL an EOS mounts, along with a set of three primes (24, 50 and 85mm) in EOS mount only
A Star Is Born: Canon Launches New Digital Cinema Camera For High-Resolution Motion Picture Production HOLLYWOOD, California, November 3, 2011/TOKYO, Novembe
Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry
Researcher Jon Brandt demos a potential new feature for searching through a large library of images by identifying images that contain the same people, backgrounds, landmarks, etc.:
The latest news from Leica Camera on the S system: A new website from LFI offers professional photographers a platform to show off their work to a large international audience. The website “S-League.net” presents current ad campaigns and editorial photo s
In the first issue of S-Magazine, the renowned fashion photographers Joachim Baldauf, Straulino and Manuel Pandalis present powerful images, unusual angles and surprising perspectives.
