I told the Geekfest gathering last week that I think photojournalism is stronger than it ever has been. What is dead is the business model that has supported good, but mostly bad, photojournalism for several decades.
Link: Nearly departed? – Blog – Picture Editor : Photography Consultant : Mentor : Mike Davis
It must be deeply comforting for JF Leroy that he has been joined in his attack on Daniel Morel by…
via duckrabbit: http://duckrabbit.info/blog/2010/10/john-harrington-v-morel/
It must be deeply comforting for JF Leroy that he has been joined in his attack on Daniel Morel by John Harrington
The new Nikon instant rebates are pretty much unchanged from last month: Nikon D300s rebates: 70-300mm VR lens kit: $200 instant rebate 18-200mm VR lens kit: $250 instant rebate 16-35mm lens kit: $300 instant rebate 24-70mm lens kit: $300 instant rebate 1
Tim Hetherington’s “Infidel” (Chris Boot Ltd., 2010) is more of a family album than a traditional photojournalism book. There are of course powerful images of life for a platoon in the Korengal valley in Afghanistan that Hetherington and Sebastian Junger documented in the film “Restrepo.” But there are also thorough catalogs of the soldiers’ tattoos, their official Army ID photos and the magazine centerfolds in their barracks, and remarkably revealing interviews with seven of the soldiers. The book stands on its own, separate from the movie.
A digicam for serious photographers? Purchase the Canon S95 from: B&H Photo Amazon U.S. Amazon U.K. Text and photos by Edward Taylor I thought that when the Micro 4/3 systems came out, small-sensor cameras would no longer be of interest…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2010/10/canon-s95-review.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
recently, some of my photographer friends have been carrying around a Canon S90 or S95. Why?
Here is a picture of the new Leica M9 Neiman Marcus limited edition: The price will be $17,500.00 (including a Summicron-M 35mm f2.0 ASPH lens, ostrich leather strap, a personal letter from Leica CEO Alfred Schopf and a private training and orientation se
recently, some of my photographer friends have been carrying around a Canon S90 or S95. Why?
Photography has always been associated with death. The French painter Paul Delaroche is supposed to have proclaimed, “From today, painting is dead” after he saw his first daguerreotype. Whatever the provenance of that quote, miniature portrait painting wa
via David Campbell: http://www.david-campbell.org/2010/10/05/dead-or-alive-the-state-of-photojournalism/
That fact that as a practice, as a mode of information, photojournalism and documentary photography is very much alive is because over the last fifty years it has not tied its entire future to modes of distribution that are now undergoing revolutionary changes. That future has many challenges, but it is a future that has already moved well beyond the fortunes of newspapers and magazines.
While established photo sharing sites already exist, Yogile is different because it lets multiple people contribute with ease. Once you create an album, you get a customizable URL and e-mail address to share with anyone who wants to add photos, either as e-mail attachments or uploads through the site. There’s no need for these users to register, keeping the process simple and hassle-free.
A question recently was posted on the SportsShooter.com message board of “How has technology affected photojournalism” with the theory being that technology has removed some of the limitations giving photographers more time to work a scenario and focus on their images before deadline.
As always, a question such as this starts the “back in the day” thoughts and comments from those old enough to remember.
Link: Ask Sports Shooter: How has technology affected photojournalism?
I don’t want a job as a photographer. I want a career in visual storytelling. The University of Florida’s college of journalism, a summer fellowship at Poynter and numerous wonderful workshops have cemented into my brain a solid core of journalistic and technical principles. But I wasn’t comfortable regarding when to be literal and when to be figurative in my photography.
Link: Intern Diaries
As the joint photo/multimedia intern at the Newark Star-Ledger, I was presented with a front row seat to the advancing decline of the traditional newspaper industry. I also received a hopeful glimpse as to what the future of journalism may hold.
Morel, and many like him, use social media as a means to inform the world. Morel posted pictures on Twitter/Twitpic for the world to see. AFP does not beleive that Twitter/Twitpic can do that properly. They still think that, in order for the world to see these images, they had to go on the AFP wire.
Link: Thoughts of a Bohemian » Blog Archive » Bring in the clowns
Zoom’s Q3HD is a little like a pro version of the Flip camcorder: it’s quick to use, records to solid-state memory and has a flip-out USB-plug to transfer footage. There, though, the similarities end. From its looks, you can tell the Q3HD is a pro-tool: i
via WIRED: http://www.wired.com/gadgetlab/2010/10/ugly-flip-like-camcorder-records-beautiful-sound/
Zoom’s Q3HD is a little like a pro version of the Flip camcorder: it’s quick to use, records to solid-state memory and has a flip-out USB-plug to transfer footage. There, though, the similarities end.
What did Agence France Presse know when it distributed without permission freelance photographer Daniel Morel’s images? What was Getty Images’ role? And why isn’t TwitPic in court?
Link: AFP v. Morel: The Important Questions – British Journal of Photography
Tonight I have received a copy of the transcript of the court proceeding in the case of AFP, Getty, CNN and…
It’s no exaggeration to say that the arguments presented in court mean that this case, if it goes AFP’s way, could affect all photographers who use the web.
via Wooster Collective: http://www.woostercollective.com/2010/10/fresh_stuff_from_prankster_in_slovakia.html
What did Agence France Presse know when it distributed without permission freelance photographer Daniel Morel’s images? What was Getty Images’ role? And why isn’t TwitPic in court?
A seminar at the House of Commons on Thursday, October 28 will examine the persistent problem of police hindrance of photographers, as well the wider issue of encroaching privacy law.
Link: Editorial Photographers UK | Who’s afraid of photographers? seminar
Remember Aisha? The poster girl of how great our invasion of Afghanistan has been. The girl who has her ears…
an excerpt from an interesting interview with the journalist Ann Jones who also interviewed Aisha several weeks before Time got there
Some of you will have been following the debate about why JF Leroy (Director of the Visa Pour L’Image Festival) has…
via duckrabbit: http://duckrabbit.info/blog/2010/10/jf-leroy-i-am-listening/
Mr Leroy complains that duckrabbit has ‘slandered‘ both himself and the photographers who appeared at the festival. Of course technically it’s not possible to ‘slander’ Mr Leroy because slander is spoken, not written, but I think we can all get his point. You can be the judge of whether this debate was worth having and whether, given the evidence and opinion presented both by duckrabbit and Mr Leroy, our response to the attack on Morel was justified.
Journalism is dependent on asking questions. It was not duckrabbit but William Klein who suggested that Visa resembles ‘a festival of shanty towns without context.’
Link: http://www.washingtonpost.com/wp-dyn/content/article/2010/10/01/AR2010100103519.html?wprss=rss_world
Abdollah Momeni, a former student leader, described in vivid detail in a recent letter how he was brutally beaten dozens of times by his interrogators, kept for weeks in a tomb-like cell and forced to confess to crimes he says he did not commit.
“All this treatment is carried out in the framework of a religious regime, justified by claims of protecting the state,”