Thought film was dead? Far from it. In an interview with the British Journal of Photography, Kodak’s US marketing manager of pro film Scott DiSabato said that sales of color film are steady, and that black and white is “doing extremely well.” He sees it a
DiSabato and the Kodak techs realized that most film is scanned at some stage in a photographer’s workflow, so they made it scanner friendly. Contrast was lowered to better allow the scan to capture the full range of tones, and the color gamut “is not pumped up so much that it begins to compete with some of that tonal information.”
Earlier this month, a concerted denial of service attack by 4chan members against the UK law firm ACS:Law resulted in the disclosure of an enormous trove of internal emails from the firm. The mail …
The best analysis of the ACS emails to date comes from this long, investigative piece by Ars Technica’s Nate Anderson, who assembles the huge corpus of emails into a coherent narrative explaining how ACS operates, with emphasis on the unethical behavior that made it the most hated law firm in the UK. If you only read one story about “anti-piracy” operations, read this one.
A domino chain of resignations at the secret-spilling site WikiLeaks followed a unilateral decision by autocratic founder Julian Assange to schedule an October release of 392,000 classified U.S. documents from the war in Iraq, according to former WikiLeak
Key members of WikiLeaks were angered to learn last month that Assange had secretly provided media outlets with embargoed access to the vast database, under an arrangement similar to the one WikiLeaks made with three newspapers that released documents from the Afghanistan war in July. WikiLeaks is set to release the Iraq trove on Oct. 18, according to ex-staffers — far too early, in the view of some of them, to properly redact the names of U.S. collaborators and informants in Iraq.
The 52 minute documentary film by director Thomas Nordanstad is almost exclusively based on raw footage, rushes and DV tapes from the reporter’s camera, building up narrative stories with elements that could represent “a day at work” for a war reporter. Adler spent nearly 20 years of traveling around the world, covering wars and conflicts in more than 30 countries.
Balog compares his drive to document this conflict to the one combat photographers feel. “The biggest [motivation] is the sense of being at this decisive moment of earth history and human history, and having the capabilities to bear witness to that. I’m very much motivated by that same ‘I’m here to bear witness’ impulse that moves guys like James Nachtwey.”
In a New York Times article today by Charlie Savage, news that the Obama administration is proposing new legislation that would provide the U.S. Government with direct access to all forms of digita…
As eight musicians perform works by Bach on Wednesday at John Jay College, there will be a ninth man in the shadows, tapping away at a keyboard, keeping time. That man will be the photographer Chris Hondros, who will be accompanying the musicians on his computer, projecting 900 of his images of the wars in Iraq and Afghanistan.
Thank you for your response to my post yesterday critisizing the way way certain photo agencies seem content to abuse the rights of indvidual photographers. I am sorry that we misunderstood you. Might that have something to do with upholding a logic that many people find is at odds with your self stated remit of ‘defending professional photographers’?
The 52 minute documentary film by director Thomas Nordanstad is almost exclusively based on raw footage, rushes and DV tapes from the reporter’s camera, building up narrative stories with elements that could represent “a day at work” for a war reporter. Adler spent nearly 20 years of traveling around the world, covering wars and conflicts in more than 30 countries.
For two exhausting months, he had been asking military advisers to give him a range of options for the war in Afghanistan. Instead, he felt that they were steering him toward one outcome and thwarting his search for an exit plan. He would later tell his White House aides that military leaders were “really cooking this thing in the direction they wanted.”
Yesterday duckrabbit published a post criticizing the photo industry for selling a set of pictures of the aftermath of the Haitian Earthquake but refusing to compensate the photographer because he had shared them on a twitpic. Much of my criticism was aimed at JF Leroy, the Director of Visa Pour L’Image (a photojournalism festival). You can read the full post here. Today we are printing Leroy’s response in full
Reinhard Krause has spent much of his photojournalism career in some of the most tumultuous and critical places on the planet — including North Korea, Kosovo, Tibet and, most recently, the flooded regions of Pakistan. Beginning in November, all the hot spots in the world will constitute his beat, as the global pictures editor of Reuters, leading 400 staff and freelance photographers.
I once took a picture in 1962 of a very poor black girl in Shelby County, Tennessee, holding a big white doll,” said Bruce Davidson, who is white. “And I didn’t publish it for many years even though it was a powerful image and something I thought told the story. I didn’t put the doll there. I didn’t even say to the little girl, ‘Can you hold it a little higher?’ It was a true moment, but I didn’t know if people would believe it because it almost seemed too good to be true.
Update: Today (Monday) Leica published the last video from their Photokina coverage: Megapixel website interview with Stefan Daniel at Photokina. Recap: no plans for other DSLR solution below the S2 line, no plans for a new M film camera. Leica V-Lux 2 ha
Thank you for your response to my post yesterday critisizing the way way certain photo agencies seem content to abuse the rights of indvidual photographers. I am sorry that we misunderstood you. Might that have something to do with upholding a logic that many people find is at odds with your self stated remit of ‘defending professional photographers’?
