During the Vietnam War, there were no “embeds,” journalists implanted with well-armed troops, like those who cover wars today from Iraq to Afghanistan. But neither were there snipers, police or troops targeting journalists — who are being killed today at a far greater rate
Link: wn_020711a.html
The World Press Photo of the Year (WPPh) selections have been announced, and – just like every year – there is considerable debate about some of them.
Facebook announced and new photo viewer that they’re rolling out for all their users in the next couple weeks that allows you to upload 2048 pixel wide images to your page. That’s an 8 time increase over the old 720 pixel limit and seems like a boon to pr
via A Photo Editor: http://www.aphotoeditor.com/2011/02/14/recent-facebook-changes-are-bad-for-professional-photographers/
Facebook announced and new photo viewer that they’re rolling out for all their users in the next couple weeks that allows you to upload 2048 pixel wide images to your page. That’s an 8 time increase over the old 720 pixel limit
Facebook, Twitter and The Huffington Post have done well for themselves using unpaid contributors. It’s enough to make a professional writer nervous.
Link: http://www.nytimes.com/2011/02/14/business/media/14carr.html
at the beginning of last week, The Huffington Post agreed to be sold for $315 million to AOL.
The funny thing about all these frothy millions and billions piling up? Most of the value was created by people working free.
Skirting the legal protections for satire, Koch Industries is suing to find out who created a fake news release purported to be from the company.
Link: http://www.nytimes.com/2011/02/14/business/media/14link.html?_r=1
“We assumed they would be upset about it,” said one of the anonymous pranksters in a telephone interview arranged by Mr. Gupta. “But we had no guess that they would go to the level of a lawsuit. It’s ridiculous and overblown. What we did is completely acceptable, as parody.”
The arguments against the work, or at least against awarding them in the World Press contest, are familiar to anyone who’s followed 20th century art (Duchamp’s Readymades, Warhol’s Brillo Box, Richard Prince, et al) but now it’s photojournalism on the block. The thrust of these arguments can be boiled down to these: He didn’t take the pictures, Google did.
Link: Some thoughts on Google Street View and World Press Photo | dvafoto
I just came across his latest project “Ponte City” on his new website. He has thrown me around again, and I believe (and hope) it will for many others too. He has photographed every Door, Window and Television in an iconic and infamous 54-story apartment building in Johannesburg.
Link: Worth a Look: Mikhael Subotzky’s Ponte City Project | dvafoto
Damon Winter, a New York Times staff photographer, on the validity of an iPhone image.
via Lens Blog: http://lens.blogs.nytimes.com/2011/02/11/through-my-eye-not-hipstamatics/
I have stayed away from much of the online discussion of the use of camera phones and apps in photojournalism largely because I have not wanted to be seen as an advocate for their use and because I have wanted to avoid any appearance of endorsing any particular product or technique — which I absolutely do not. It was never my intention for these photos to be seen only in the context of the tool by which they were made.
Having said that, I will always stand behind these photographs and am confident in my decision that this was the right tool to tell this particular story.
Any discussion about the validity of these images comes down to two basic fundamentals: aesthetics and content.
The New York Times has just reported that British freelance photographer Giles Duley lost both legs and an arm after stepping on an improvised explosive in the Kandahar Province of Afghanistan. The incident occurred February 7 while Duley was on a foot pa
via PDNPulse: http://pdnpulse.com/2011/02/photojournalist-giles-duley-gravely-injured-in-afghanistan.html
I have stayed away from much of the online discussion of the use of camera phones and apps in photojournalism largely because I have not wanted to be seen as an advocate for their use and because I have wanted to avoid any appearance of endorsing any particular product or technique — which I absolutely do not. It was never my intention for these photos to be seen only in the context of the tool by which they were made.
Having said that, I will always stand behind these photographs and am confident in my decision that this was the right tool to tell this particular story.
Any discussion about the validity of these images comes down to two basic fundamentals: aesthetics and content.
I love the slap in the face given to AFP and Getty by attributing Daniel Morel Haiti’s images a well deserved award. I am sure they considered the little girl image as a first prize for a long time.
Link: Thoughts of a Bohemian » Blog Archive » A visual banquet
German artist and photographer Michael Wolf received an honorable mention in this year’s World Press Photo for his work A Series of Unfortunate Events based on Google Street View. He speaks with BJP
Link: World Press Photo: Is Google Street View photojournalism? – British Journal of Photography
Jodi Bieber wins the World Press Photo of the Year for her portrait of an Afghan woman who was disfigured by her husband on authority of the Taliban.
via Lens Blog: http://lens.blogs.nytimes.com/2011/02/11/is-this-the-best-news-picture-in-the-world/
“This could become one of those pictures — and we have maybe just 10 in our lifetime — where if somebody says, ‘You know, that picture of a girl’ — you know exactly which one they’re talking about,” said David Burnett, the chairman of the general jury, in a statement released by World Press Photo.
POYi jurors will decide today who wins the coveted Newspaper Photographer of the Year award. And while that winner will be announced, contest organizers will continue to withholding the names of winners of lesser awards until the judging for all contest c
via PDNPulse: http://pdnpulse.com/2011/02/poyi-spoiler-alert-the-winners-so-far-are.html
POYi jurors will decide today who wins the coveted Newspaper Photographer of the Year award. And while that winner will be announced, contest organizers will continue to withholding the names of winners of lesser awards until the judging for all contest categories wraps up. That won’t happen until February 22 this year.
World Press Photo 2011 makes for grim viewing, including shocking images of torture and suffering. Are these images semi pornographic? Three jurors defend their choice
Link: World Press Photo: Torture porn? – British Journal of Photography
Independent photographers have been heavily recognised in this year’s World Press Photo contest, ahead of agencies such as Getty Images, Associated Press and Reuters
In the introductory text by artistic director Annie-Laure Wanaverbecq, the exhibition’s title can be understood by explaining that the photographer, above all known for his collaboration with the architect Le Corbusier from 1949 until his death in 1965, “was one of those unclassifiable photographers whose creativity went well beyond his technical skills.”
WikiLeaks founder Julian Assange lost control of his site’s submission system in an internal revolt last fall, and has never regained it, according to a tell-all book penned by the organization’s top defector, who accuses Assange of routinely exaggerating
Last August, in the wake of rape allegations against Assange as well as criticism that the site had mishandled the names of informants in Afghan documents the site published with media partners, Domscheit-Berg and two WikiLeaks programmers fed up with the way things were being run, staged a half-hearted mutiny. They disabled the WikiLeaks wiki and changed the passwords to the Twitter and e-mail accounts. In response, Assange shut down the whole system, causing the mutineers to cave in. But within weeks, Domscheit-Berg and one of the programmers had left WikiLeaks for good and taken the submission system with them.
They seized the system because they had doubts Assange would handle the documents securely, due to lack of care he had allegedly shown for submissions in the past.
Hengki Koentjoro was born in Semarang, Central Java, Indonesia, in 1963. He is a graduate of the Brooks Institute of Photography in Santa Barbara, California where he majored in film. He now lives in Jakarta where he specializes in fine art photography both underwater and on land.
A celebrated photographer makes a passage to India—and marks the end of an era.
via Vanity Fair: http://www.vanityfair.com/culture/features/2011/02/last-kodachrome-slide-show-201102#intro
McCurry—most famous for his National Geographic cover of an Afghan girl in a refugee camp, shot on Kodachrome—loaded his Nikon F6 with the 36-exposure spool and headed east, intending to concentrate on visual artists like himself, relying on his typical mix of portraiture, photojournalism, and street photography.
Herewith, presented for the first time in their entirety, are the frames from that historic final roll,
