Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease have agreed to take anonymous questions from photographers and not only give their expert advice but put it out to a wide range of photographers, reps and art buyers
via A Photo Editor: http://www.aphotoeditor.com/2010/03/05/ask-anything-–-does-a-photographer-need-a-rep-and-do-they-really-get-you-work/
Shoot for Haiti is comprised of local Philadelphia, PA photographers and makeup artists looking to use their skills to earn relief funds for Haiti.
Tyler Hicks of The Times accompanied Company K, Third Battalion, Sixth Marines into Marja. Patrick Witty annotates Mr. Hicks’s firsthand account.
via Lens Blog: http://lens.blogs.nytimes.com/2010/03/05/assignment-28/
Our ethical position is that we will take every step we can alongside the people we cover in combat, but never ask them to take a step for us, or to take us somewhere they would not go on their own. If they were to get hurt doing something we asked them to do, it would weigh on us personally forever. Chris and I follow this code. We believe in it and do not deviate from it.
Gaza journalists hopeful that press freedoms will persist
via Columbia Journalism Review: http://www.cjr.org/behind_the_news/the_perils_of_reporting_from_g.php
On February 14 in the Gaza Strip, Hamas arrested Paul Martin, a British documentary filmmaker, on suspicions that Martin had “committed offenses against Palestinian law… that harms the security of the country.” Martin was about to testify on behalf of a Palestinian militant who had been accused of collaborating with Israel.
Last April, San Francisco was home to the sort of ethical controversy that occasionally erupts when the priorities of journalists and cops collide. A San…
via SF Weekly: http://www.sfweekly.com/2010-03-03/news/s-f-state-student-who-invoked-shield-law-reveals-murder-scene-photo-in-national-contest/
The trickier question is whether Welsh made the right decision — choosing to use a photograph of the gunned-down Bennett to advance his career, but not to advance police officers’ efforts to solve Bennett’s murder. Edward Wasserman, the Knight professor of journalism ethics at Washington and Lee University in Virginia, said journalists’ conflicting obligations to the criminal-justice system and their own methods and sources have “always been very problematic” and not prone to simple moral calculus. “Is there some kind of moral rule you can apply? Probably not,” he said.
Update: this banner was taken from Nikon Service Center in Munich, Germany: “I am Nikon” will be a massive campaign that is suppose to start on Monday, March 8th, 2010 and will involve all aspect of photography: it will include a new portal (see previous
via Nikon Rumors: http://nikonrumors.com/2010/03/04/i-am-nikon-campaign-to-start-on-monday.aspx
Take fresh art. Season with food. That’s the Slideluck Potshow formula. Kerri MacDonald describes what happened when it was tried in Kenya.
via Lens Blog: http://lens.blogs.nytimes.com/2010/03/04/showcase-133/
Take a generous serving of fresh art. Season liberally with food.
That was the unusual formula devised 10 years ago in Seattle by the photographer Casey Kelbaugh to create communities around art projects. The format, known as a Slideluck Potshow, involves a potluck-style dinner followed by slide shows of work by new and established artists.
So let me understand this: its the tiny shoe that was erased that is the problem here and not the fact that nearly 90% of the original image was simply cropped, a small area of focus was then enlarged, color converted, burned and dodged and a completely ‘new’ image created for submission.
In Rudik’s case, for instance, he was disqualified for removing the smallest element, but I would argue that all his other manipulation to the image in question did much more to change the meaning.
I received this question from a reader: Hey Rob, I hope this finds you well. Look I have a question that might be interesting for the other photographers following your blog. The other day I was on on 6th ave when I saw smoke coming out of a building. I p
via A Photo Editor: http://www.aphotoeditor.com/2010/03/04/the-value-of-a-news-photograph/
In the following minutes, many newspapers and TV stations who had seen my picture on the NYTimes website starting going through every media they could (even my husband’s facebook) to reach me to buy it. Of course I had signed with the NYTimes so I went along the lines of the exclusivity agreement.
The manipulation of digital imagery has — briefly — claimed another important victim: the World Press Photo Contest.
via Lens Blog: http://lens.blogs.nytimes.com/2010/03/03/behind-35/
The manipulation of digital imagery has — briefly — claimed another important victim: the World Press Photo Contest.
Internet users are hunting down and punishing people who have attracted their wrath.
Link: http://www.nytimes.com/2010/03/07/magazine/07Human-t.html?partner=rss&emc=rss&pagewanted=all
“This is not a human,” wrote BrokenGlasses, a user on Mop, a Chinese online forum. “I have no interest in spreading this video nor can I remain silent. I just hope justice can be done.” That first post elicited thousands of responses. “Find her and kick her to death like she did to the kitten,” one user wrote. Then the inquiries started to become more practical: “Is there a front-facing photo so we can see her more clearly?” The human-flesh search had begun.
Enwezor said a remarkable aspect of Mthethwa’s work, and one of his major accomplishments, was his ability to use portraiture, “a device common to photography, to do something substantial.”
Link: PDNPulse: South Africa’s Zwelethu Mthethwa in Converastion at Aperture
Born in New Jersey in 1978, Michael Massaia Is a fine art photographer and printmaker whose work focuses on New York City, and New Jersey life and landscape. Massaia specializes in large format black & white photography and large format Platinum/Palladium printing.
“The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy…” remarks John Le Carré in the foreword to this book. His words contain the indignation of a man who despairs at the state of humanity that allows the history of Congo to unfold unchallenged as the West looks on. “We must never turn away our gaze,” he implores. With this collection of photographs, made over more than five years, Marcus Bleasdale directs us to look.
Link: The Rape of a Nation
The phrase “Nikon prepares for PowerShot G11 battle” comes from the latest issue of AmateurPhotographer that is out today. In the last few hours I was trying to find somebody that could tell me more about this article. Sorry about the delay. Nikon’s UK Se
Lubell, who joined Magnum in 2004 and assumed his post in 2006, came from a background in private equity. He describes his idea to sell the prints as “the 101 of business.” Magnum, he says, was a strong brand but had limited funds, and the changing media landscape — which involved dwindling photo assignments and a diminished licensing business, once Magnum’s traditional revenue streams — spelled “a perfect storm” for the organization. So Lubell looked around the co-op, he says, and asked himself, “What are the opportunities here?”
Now that the Olympic haze is starting to clear and I am going through post-event depression, it’s time for me to reminisce on my experiences, and widdle through over 38,000 images (over 100GB…
Link: http://donaldmiralle.wordpress.com/2010/03/03/best-of-the-vancouver-winter-olympics/
Now that the Olympic haze is starting to clear and I am going through post-event depression, it’s time for me to reminisce on my experiences, and widdle through over 38,000 images (over 100GBs!) shot during the course of 16 days.
Contact Press Images photographer David Burnett spent 44 days in Iran in early 1979 covering the Iranian Revolution for Time magazine. In an exclusive CPN film interview he reveals the full story of photographing the Revolution.