Friends and colleagues of Anton Hammerl, the South African photojournalist who was killed in Libya in April, have launched an online benefit in aid of his children
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in Obituaries
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Photographers…fight for your moral rights. That means you. — duckrabbit
As the snippet on the EPUK news bulletin put it: “Hargreaves ignored our proposals re moral rights, denying us basic…
via duckrabbit: http://duckrabbit.info/blog/2011/09/photographers-fight-for-your-moral-rights-that-means-you/
“Hargreaves ignored our proposals re moral rights, denying us basic protection against our work being orphaned. It’s as if there was a law allowing you to take any car without a number plate but no law preventing number plate removal.”
in Copyright
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La Lettre:
Eight years ago sixty families occupied the “Galpao da Araujo Barreto”, an abandoned chocolate factory in Salvador de Bahia, Brazil. Prior to establishing in this place, these families lived throughout the dangerous streets of the city. In 2003, these families came together to seize this deserted factory, which lay in ruins, and they transformed it into a home.
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Noor photographer Yuri Kozyrev has won the Visa d’Or News award, worth €8000, for his coverage of the Arab Spring for Time Magazine
in Contests
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via dvafoto
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I’m a photographer. I don’t feel welcome at Burning Man anymore.
The primary reason I don’t feel welcome is found in the terms and conditions that come with the purchase of a ticket in a contract of adhesion. In short, if you want to show a photograph you’ve made at Burning Man in public, the contract stipulates that you have to get permission not only from people in the photograph, but from Black Rock City LLC. Furthermore, if your camera can capture video—and what camera these days doesn’t—you have to register it and have it tagged. Finally, in a rights grab that’s usually associated with the kind of clueless big companies that burners love to hate, Burning Man also grants itself rights to your photos.
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Violence Against Women: Walter Astrada’s Global View of A Global Problem
A Getty Grant will enable Walter Astrada to complete his Global Photo essay on the effects of violence against women.
via Lens Blog: http://lens.blogs.nytimes.com/2011/09/03/violence-against-women-walter-astradas-global-view-of-a-global-problem/
“It’s not a woman’s problem. It’s a societal problem” said Mr. Astrada. “If 50 percent of a country can be beaten, raped, killed or tortured, then it’s not a free country, it’s not a democracy, no matter how developed it is.”
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The World Press Photo organisation and Human Rights Watch have announced, at the Visa Pour l’Image photojournalism festival, the launch of the Tim Hetherington Grant, in memory of the late photojournalist killed in Libya earlier this year
in Contests
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Fred Ritchin Redefines Digital Photography
Fred Ritchin says that we are obsessed with ourselves and images of the unreal. That we are escaping from very real photos of destruction into visions of idyllic fantasies, and that this escapism is being branded by governments and corporations for their
via WIRED: http://www.wired.com/rawfile/2011/09/fred-ritchin/
Fred Ritchin says that we are obsessed with ourselves and images of the unreal. That we are escaping from very real photos of destruction into visions of idyllic fantasies, and that this escapism is being branded by governments and corporations for their own ends. We are being sold products and social scenarios that appeal to our fantasies but ultimately fail us.
in Photography
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Connect your iOS camera right to Photoshop
Check out this beautifully simple app: Acquire is a simple, powerful utility for instantly ingesting images from your camera-equipped iOS device into Adobe Photoshop CS5. Using Adobe’s Remote Conne…
via John Nack on Adobe: http://blogs.adobe.com/jnack/2011/09/connect-your-ios-camera-right-to-photoshop.html
Acquire is a simple, powerful utility for instantly ingesting images from your camera-equipped iOS device into Adobe Photoshop CS5. Using Adobe’s Remote Connect feature, an image shot with your device’s camera is instantly, wirelessly transmitted into Photoshop so you can work with it without delay.
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LightBox | Time
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2011/09/02/patrick-smith/#1
Patrick Smith is represented in New York by James Danziger Projects, and will be present at the Paris Photo next November. Here he writes for LightBox on his latest project Leisure Territories.
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Haiti – the Aftermath
Visa pour l’image – Perpignan
Couvent des minimes
From august 27th to september 11th
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The group was just initiated and we’re curious to see what other Leica tattoos exist! If you or someone you know has or is looking to get Leica body art, visit our new Leica Tattoos group on Flickr to share photos or to find inspiration.
in Leica
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Travel photographer? Don’t bother with Burning Man
Picture for a moment being in Europe and pulling into a quaint mountain village called Schwarzefelsenstadt, which has particularly photogenic people and attractions. But there’s a gate, and a…
via Bad Latitude: http://www.sfgate.com/cgi-bin/blogs/travel/detail?entry_id=96365
From a photographer’s standpoint, Black Rock City is about as close to a fascist regime you can find. And while I fully understand there are those photographers and videographers who tried to exploit and profit from the, er, um, free-wheeling dress code at Burning Man (thank you, “Girls Gone Wild”), this is about control.
The rationale of “protecting the people” has often been used to restrict and control information so that the public sees and hears only what officials want them to see and hear — although, frankly, that particular tool has nearly always been associated in history with swell folks such as Stalin, Pinochet and the Khmer Rouge. Interesting role models.
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Good Riddance to Burning Man? | PDNPulse
Organizers of the Burning Man festival at Black Rock City have effectively shut down photography at this year’s event, according to a lament on the San Francisco Chronicle web site. Rules for this year’s festival prohibit photographs of any people without
via PDNPulse: http://pdnpulse.com/2011/09/good-riddance-to-burning-man.html
Rules for this year’s festival prohibit photographs of any people without signed model release forms, or pictures of the outlandish structures at the festival without the written consent of the artists. If you take pictures, you have to surrender all rights to the organizers of the festival, and refrain from distributing the pictures in any media–including Facebook–without their written permission.
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The dishonesty/deception argument is, I believe, based on the view that image editing distorts reality. We pretty-up the picture to make it more eye-catching. The finished product doesn’t “really look like” the scene that was in front of the camera. The breaking-the-rules argument is based on the related idea that the role of the photographer – especially a landscape photographer – is to present subject matter exactly as it really looked.
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Photographer #370: Liu Bolin
Liu Bolin, 1973, China, is a sculptor and conceptual photographer. He received a B.A. from Shandong University of Arts in Jinan and an M.F.A…
Link: http://500photographers.blogspot.com/2011/09/photographer-370-liu-bolin.html
When in 2005 the Chinese government ordered the demolition of the Beijing International Art Camp which housed Liu’s studio he created an image as a response. He painted his body against the rubble of the demolished building. It was the first image of the extended body of work entitled Hiding in the City. His entire body is painted to create an effect that makes him fade away into the background
in Photography
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Stanley Norman Greene, one of this year’s winners of the Getty Images Grants for Editorial Photography and a celebrated photojournalist, speaks with BJP about his “E-Waste Trail” project and how film remains an important medium for him.
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Ten Photojournalists Win the $10K 2016 Yunghi Grant
Ten photojournalists have been awarded $1,000 each for the Yunghi Kim grant—a grant meant to bring awareness of the importance of copyright registration.
via PDNPulse: http://pdnpulse.pdnonline.com/2016/12/16476.html