(H/t to AK for spotting this.) UPDATE 12:08PM Eastern 7/20/10: BP has faked yet another oil crisis response photo on its Web site. UPDATE: 11:14PM Eastern: BP has now posted the “original” photo, they claim. Except – surprise – they are refusing to post t
Our guardians of public safety often have the idea that shooting pictures in public places might be a precursor to some sort of terrorism. It’s an understandable concern, but misguided. I believe there is a good case to be made that having lots of cameras in the hands of citizens makes us more, rather than less, safe.
One of the most frequent questions we’re asked is “what gear do I need to do multimedia?” While there’s no quick and easy answer, we’ve put together a revised M
This is the official statement from Nikon USA on the Nikon 24-70mm f/2.8 light leak problem, previously described here: “We have received indications that when extremely bright light strikes the lens while shooting at high sensitivities, light other than
“So I showed them how easy I could do that. I thought I just saved it to the desktop, not to the send folder,” he said. “I certainly did not mean to send both of them to Getty.”
Stanley Green began his career as a painter and segued to photography in the course of taking photos to catalog his work. After studying the craft, the NY native held various jobs, including at Newsday and as a Paris fashion photographer, before turning his attention to devastation in Rwanda, Somalia, Iraq and other locales. Acclaimed for his book Open Wound on the conflict in Chechnya, Greene documents U.S. Gulf Coast residents’ struggle to rebuild their lives after Katrina in the exhibition “Those Who Fell Through the Cracks.”
[slidepress gallery=’kerrypayne_leftbehind’] Hover over the image for navigation controls Kerry Payne Left Behind play multimedia In a small Australian town on June 12th 2001, my…
In a small Australian town on June 12th 2001, my father, Myles Hilton Bean took his own life, aged 60. It was a decision I had no say in, but one which would alter me and the way I viewed the world forever. In the years that followed I encountered many social stigmas and outdated taboos associated with suicide. Whilst outwardly I functioned brilliantly, inwardly I was broken. I felt completely alone; haunted by emotions common in suicide bereavement — guilt, regret, anger, a sense of failure, shame, abandonment and utter confusion all hung in heavy layers over the expected feelings of grief and mourning.
Because I never spoke of what had happened, I prolonged my healing unnecessarily. Each year, 1 million people worldwide die by suicide — more than in war, terrorist activities and homicides — making it the tenth leading cause of death in the world. For every person that dies by suicide at least 20 more will attempt to do so, yet despite the high rate, little attention is paid to the phenomenon.
It’s tempting to call this information a leak, but when Panasonic posts a new camera in full on its store, and then leaves it there, its more of a “stealth launch” than a leak. The camera in question is the LX5, the successor to the well-regarded LX3. The
The LX3 is Panasonic’s high-end point and shoot, characterized by a high-ISO, low-noise sensor and a fast, wide Leica lens, opening to ƒ2.0 and 24mm. The new LX5 keeps the same 10.1 MP sensor (although adds a wishful ISO 12,800 to the top end of sensitivity) and the same fast and wide maximum lens settings, but makes a lot of tweaks to an already very good camera.
Mr. Bower didn’t plan to spend 15 years photographing beauty queens. But he discovered that the role the pageants play in Colombia is more complex than what swimsuit contests might suggest. In a third-world country that has endured civil war since the 1960s, as well as widespread drug trafficking, an event that shines a light on the aesthetics of high heels becomes cathartic.
Such is the state of the media business these days: frantic and fatigued. Young journalists who once dreamed of trotting the globe in pursuit of a story are instead shackled to their computers, where they try to eke out a fresh thought or be first to report even the smallest nugget of news — anything that will impress Google algorithms and draw readers their way.
Sebastian Liste has won the prestigious Ian Parry Scholarship for what judges described as a “sensitive” story on 60 homeless families living in an abandoned chocolate factory in Salvador de Bahia, Brazil. Liste wins £3000 towards an assignment and his work, Urban Quilombo, will be published in the Spectrum section of The Sunday Times Magazine this month.
So I started to chat up soldiers. Just as I had finished the formalities of name, age, rank and hometown with a young private from Michigan, I was interrupted by an officer who explained that a handful of soldiers had been chosen to speak to the press, and that the remainder of the group was off limits.
Daniele Edburg was born in Houston, Texas but grew up in San Miguel Allende, Mexico. She studied Visual Arts in the National University San Carlos Academy in Mexico City and in 2001 she started making photographs.
On Photography as the Art of Anxiety – Introduction to The Lucid Eye
By Alain Bergala
In the year 2000, a man collected the photos he had taken in the course of the last 46 years. This man is internationally known today as one of the greatest docume
Nothing in Van der Keuken’s photographic work ever tries to absorb his permanent anxiety, to freeze his ceaseless meditation on the themes which preoccupy him, to offer any hope of one day attaining the serenity of even a temporary stability. The collection of these photos, taken by the same man between the ages of 15 and 60, finally separated from the stills from his films, provides for the first time striking evidence in book form of this permanent ontological anxiety, the spiral track of which is reflected in his successive photographic projects.
I think most people will agree that if photojournalism is to survive the media revolution the innovations will need to come from the photographers and agencies, because the magazines that used to support them have run out of gas. The only hope really is e
I think in some very important ways VII The Magazine is a reaction to what has happened to our industry over the last few years. Photographers have always been seen as “suppliers” (the traditional role of editorial photographers, one or two rungs up the ladder from stationers and utilities but suppliers nonetheless) to the print world. A big question now seems to be who is left to supply and why should we remain dependent on the whims of a dinosaur industry. The question VII asked is why not become publishers and control their own destiny? Obviously the answer to that is VII The Magazine. This is a huge shift in the role of the photographers and the agency that opens up a whole new world with all the possibilities of originating and distributing.
