By Ctein I was catching up on some of my photonics journals last week and they reminded me that I still haven’t answered for myself the question of just how fast digital cameras can get. What is the ultimate limiting…
“Negatives filed in drawers clamor for attention and light,” Sylvia Plachy wrote. “I seem to hear them. As in the streets of New York I look for what once was and still is and if it speaks to me.”
With those words on March 9, 2005, Ms. Plachy inaugurated the Lens series in the Metro Section
Both Matt and myself have been covering the tragic events surrounding the Tsunami in Japan. I have left Japan now but Matt is still there and headed back into the disaster zone to do more reports. I’m sure both of us will talk more about what it was like later on, but for now the story is the priority.
Elisabeth Biondi has been the visuals editor at The New Yorker for fifteen years almost to the day. It is with both heavy hearts and high hopes that we say…
When I am practicing the art of street photography there are certain things that are sure to catch my attention.
With apologies to Julie Andrews, here is a list of some of my favorite things-
We have all seen the footage, the web galleries and YouTube videos of the tragic events unfolding in Japan. Below is an ongoing list of photographers and photojournalists selling prints to raise money for relief efforts.
photo-eye has this to say about her work:
Using a hybrid of film and digital processes, Campbell-Jones has created a cultural and psychological document of the vanishing coal mining communities of Southern Wales in her series Stories from Underground. Calling her images “a fairy-tale reconstructed from an unbroken lineage of oral histories,” Campbell-Jones’s work is well-researched, taking into account historical legacy and modern global changes, but pushes further than basic documentation. These are complicated images — dense in their visual symbolism and deeply thoughtful.
It’s hard to say for which image Brian Lanker may have been most renowned. Was it the Pulitzer-winning photo of an ebullient Lynda Coburn with her couldn’t-be-more-newly born upon her belly? Or was it the elegant portrait of Septima Poinsette Clark, looking every bit the “queen mother” of the civil rights movement, that graced the cover of his book, “I Dream a World: Portraits of Black Women Who Changed America”?
Michael Rubenstein is a commercial and editorial photographer who has recently returned to a lovely apartment in Brooklyn after spending two and a half years photographing South Asia. Michael’s work has appeared in Mother Jones, BusinessWeek, Time, Time Asia, The New York Times and the Wall Street Journal.
Fortunately, none of the workers at the Taiwa-Cho factory are reported injured but inevitably some damage has occurred to the factory building, causing a temporary halt in production for the FinePix X100. To this end, Fujifilm is expecting a delay to market for the X100.
Yeah, it was cold. And ugly. And unbeknownst to me, I had lost an hour driving from Denver to Liberal. (Thanks iPhone!) So I was really running an hour late for the early morning activities of the 62nd Annual International Pancake Day races.
Sometimes you meet someone whose person and work is filled with grace and dignity. Michael Kirchoff is one of those people–kind, enthusiastic, talented, capable, and shows up prepared. And more importantly, just plain shows up. On the eve of his first solo exhibition, An Enduring Grace: Exploring the Cultural Landscape of Russia, I thought that this was indeed, a success story.
[slidepress gallery=’michaelchristopherbrown_lybia’] Hover over the image for navigation and full screen controls ESSAY CONTAINS EXPLICIT CONTENT Michael Christopher Brown Libya play th…