[slidepress gallery=’williameckersleyalexandershields_u-s-80′] Hover over the image for navigation and full screen controls William Eckersley and Alexander Shields U.S.80 play this essa…
During three visits between 2008 and 2009, we travelled U.S.80 several times, building a collection of large and medium format photographs that document the road and its environs. We’ve always had a fascination with America and particularly with the travelogue genre of American film and literature. Through this prism, we wanted to explore our interests in forgotten worlds and slightly wild, inhospitable landscapes, as well as the often transient nature of America’s built environment – something that reflects the history of migration in U.S. culture.
In summary – this is a terrific, even a landmark camera, likely to be an instant classic. In my opinion it is kept from being truly exceptional by some easily fixed user interface issues. Hopefully a firmware update, which could correct all of them, is not too far off.
Pete says: I know my wife has this “AP Mobile” news app on her phone and receives text message alerts whenever something big is happening around the world, I decided to play a little pr…
This morning I changed my name in her contact list to “AP Mobile” and sent her a short and sweet message and waited for her to turn her phone on. Her mouth almost came down to the floor.
In 2011, 52 years after the signing of the UN Declaration of the Rights of the Child, millions of children around the globe continue to live in a state of constant emergency – their rights forgotten, their futures pre-written. Far removed from the UN offices that gave birth to the declaration, for these children protection, safety and a free, dignified childhood are but a distant dream.
This edition of the Australian PhotoJournalist is dedicated to them. Collectively, the children’s stories are the silent scream on the pages of this magazine.
No fooling: A couple of days ago, Adobe exec John Loiacono briefly demonstrated some tablet-based imaging technology from our labs. Here’s an audience member’s recording: [Update: Video…
While this likely won’t make it into a product for a while, it served to give Photoshop fans a glimpse of what we’re exploring… It’s equally exciting for us, as we’ve enjoyed playing with these devices and dreaming up new possibilities. What we showed at Photoshop World was an experiment with a visual representation of compositing that allows any user to understand Layers.
New legislation in Sweden designed to protect bystanders against acts of voyeurism mixes ambiguously broad language with commonsense edicts, prompting one photographer to test the laws’ limits with hidden-camera portraits.
New legislation in Sweden designed to protect bystanders against acts of voyeurism mixes ambiguously broad language with commonsense edicts, prompting one photographer to test the laws’ limits with hidden-camera portraits.
I’m shy. Many photographers will tell you that. And I think the camera is a reason to be some place, it’s a reason to talk to people, it’s a reason to be involved. And it gets me much closer to situations that I find interesting where I would never be there without the camera… I think people are fascinating. I’m always amazed how much they reveal to you. I’m an open person and treat people pretty openly and honestly and I’m amazed at the response I get… The camera always changes things, obviously, but my goals is to try to not let it. To be there long enough so that it isn’t really part of the mix.
Love it or hate it, when most people think of metal, they think of white dudes. Even if metal was born from the blues and there are growing scenes in places like Indonesia and Peru, metal’s founding fathers–Priest, Sabbath, Maiden–and most of those who’ve come after have been unmistakably Caucasian. Which is why I was pleasantly surprised to find out about a small but passionate collection of guys who dressed like doomsday cowboys and listened to Motorhead in the predominantly black, central African country of Botswana.
It required pictures, first published by Der Spiegel and then Rolling Stone, to really focus the world’s attention on the case. The photo of one smiling soldier holding the head of a recently killed Afghan up for the camera is so inflammatory—with a grinning American appearing to enjoy the death of another human being—that comparisons to some of the more shocking photos from the Abu Ghraib scandal (such as Army Spc. Sabrina Harman and Army Spc. Charles Graner Jr. giving a thumbs up next to refrigerated corpses) were immediate and obvious.
New York, March 29, 2011–The Committee to Protect Journalists deplores the shooting death of Mexican photographer Luis Emanuel Ruiz Carrillo on Friday and calls on Mexican authorities to launch a thorough investigation into his killing. …
The Committee to Protect Journalists deplores the shooting death of Mexican photographer Luis Emanuel Ruiz Carrillo on Friday and calls on Mexican authorities to launch a thorough investigation into his killing.
Judges Bert Fox, Sue Morrow, and Chris Wilkins will pore over the hundreds of entries during the next four days selecting the best of newspaper and magazine picture editing.
Looking through her site, I was struck by Gordon’s work from Harper, southeast Liberia. It’s a quiet and intimate portrait of a community, photographed beautifully and thoughtfully.
Central to LUCEO’s mission is our belief in the importance of long-term projects. We also understand that developing photographers need support. To advance both of these causes, LUCEO has created the LUCEO Student Project Award, which will be disbursed annually to a talented student photographer in support of a significant and developing body of work.
This year’s recipient will receive $1,000 and receive mentorship for the project from one LUCEO member.
Finalists will be announced in late May. A select panel of three judges presided over by moderator Michael Wichita, Director of Photography for AARP Bulletin, will narrow the decision to one winner who will be announced during LOOK3: The Festival of the Photograph.
The deadline for receipt of your application is 11:59pm EST May 15, 2011.
I began with black and white photography in 2002. May as well be yesterday. He covered Brussels, looking for funny shots, humanistic photography. He cut classes in order to make his own prints. A little bit Tintin, very much Capa, and quickly, he settled in Paris where he was bitten by News Fever.
Paraphrasing the introduction to Domestic Slavery: The cold and stark photographs of ordinary-looking buildings in and around Paris by Raphael Dallaporta are combined with Ondine Millot’s texts to …
Some of the stories in Domestic Slavery are harrowing, and in some cases not least because the abusers are women, or a collection of individuals from the same extended family. These are tales of evil made normal.
In 2009, Magnum Photographer Christopher Anderson released his beautiful photobook, Capitolio, capturing the tumultuous upheavals of Caracas, Venezuela under Hugo Chavez. Less than two years later,…
In 2009, Magnum Photographer Christopher Anderson released his beautiful photobook, Capitolio, capturing the tumultuous upheavals of Caracas, Venezuela under Hugo Chavez. Almost two years later, as first print run copies dwindle, the publishing world is a very different place. The digital age that has long since transformed music, video and media distribution and consumption is now dramatically sweeping into long form books, with media and tablet readers. The last bastion of physical media is still and was always destined to be high-quality image reproduction, embodied in the photobook. But as the march of digital overthrow prepares its final coup de grâce, Anderson asked himself what form this will take. How will audiences be consuming photobooks in the digital age? This week, he’s launching his answer to that question, with the first photobook reproduced as an iPad app. We recently interviewed Anderson on his thought process behind the book’s launch, and how he sees the future of high-end photography reproduction.
I was reading the feedback to the account that Anthony, Tyler, Steve and I wrote. (“Four Times Journalists Held Captive in Libya Faced Days of Brutality.”) Some comments said: “How dare a woman go to a war zone?” and “How could The New York Times let a woman go to the war zone?”
To me, that’s grossly offensive. This is my life, and I make my own decisions.
If a woman wants to be a war photographer, she should. It’s important. Women offer a different perspective. We have access to women on a different level than men have, just as male photographers have a different relationship with the men they’re covering.
