Guardian media awards

I won Guardian Student Photographer of the Year!

NYT Lens Blog: If Photojournalism Is Dead, What’s Luceo?

If Photojournalism Is Dead, What’s Luceo?

By JAMES ESTRIN

I was about to write two very different posts on the future of photojournalism when I realized that I should write only one.

The first was about the photo cooperative Luceo Images, whose young members are excellent photographers with a smart business model. An easy enough post. The other was to be a response to Neil Burgess, who recently pronounced photojournalism dead (“For God’s Sake, Somebody Call It!” EPUK, Aug. 1). This was going to be the more difficult post. He wrote:

Magazines and newspapers are no longer putting any money into photojournalism. They will commission a portrait or two. They might send a photographer off with a writer to illustrate the writer’s story, but they no longer fund photojournalism. They no longer fund photo-reportage. They only fund photo illustration.

Mr. Burgess likened his role to that of witnessing someone in death throes in the hospital. “And someone sobs, ‘We’ve got to save him — we cannot let him die.’ And his best friend steps forward, grim and stressed and says: ‘It’s no good. For God’s sake, somebody call it!’ O.K., I’m that friend and I’m stepping forward and calling it. ‘Photojournalism. Time of death, 11.12 (G.M.T.), 1st August 2010.’ Amen.”

That’s decades of experience talking. Mr. Burgess is the founder of NB Pictures; was the first bureau chief of Magnum Pictures, in its London office, beginning in 1986; and has served several times as jury chairman for World Press Photo.

There’s no doubt that there are dire economic changes in the photography business and fewer assignments to cover news.

Kendrick Brinson/LuceoThomasville, Ga.: Chris Connors, ringmaster of the Cole Brothers Circus.

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Continue reading article here:

http://lens.blogs.nytimes.com/2010/09/14/if-photojournalism-is-dead-whats-luceo/

MediaMash Meet Up: Mulled Wine & Minced Pies

Punch and Pie? close enough. Come join us for another Mediamash Meet up with Mulled wine and Mince Pies.

Media Storm: A Darkness Visible

A Darkness Visible: Afghanistan by Seamus Murphy

Based on 14 trips to Afghanistan between 1994 and 2010, A Darkness Visible: Afghanistan is the work of photojournalist Seamus Murphy. His work chronicles a people caught time-and-again in political turmoil, struggling to find their way.

Blog Watch

Check out Firefly friend, Kate Nolan's, new artist residency blog from Bad Doberan, Mecklenburg

Interview: Paul Jeffers

Check out the interview with Firefly member Paul Jeffers with Michaels in Melbourne.

FBC: New Documentary & Interactive Multimedia

09 November 2011 The Van Doos in Afghanistan Mark Remembrance Day with the FBC's brand-new doc The Van Doos in Afghanistan, which follows soldiers serving with the Royal 22e Régiment into the heart of the action. This week, a new clip from the film will be released online each day until Friday, Nov. 11, when the full film will exceptionally be available for free streaming for 24 hours. Read more

Also check out their new interactive multimedia

Life goes on, even with a brother at war

What is it like for Canadian families coping in contemporary wartime? Toronto artist Kaitlin Jones delves into the issue with this interactive doc exploring her brother's possessions and shared text messages. (Read an interview with Jones here.)

Getting Started in Multimedia

If want a hand making the transition into multimedia but don't have the funds to go on a course or workshop, give these guys a look:

They are a free resource providing videos and DVD's to help you get started.

Here's a little more info:

What is Shutha?

Shutha (pronounced: shoota) is a free online resource aimed at enabling those in the Majority World who are producing professional photography and multimedia content to:

understand photography markets and sell to them

conduct themselves professionally

deliver a professional product

build a long-term archive of their work that brings increasing returns over time

In short, Shutha empowers photo entrepreneurs in the Majority World!

35 Magnum Photographers Give Their Advice to Aspiring Photographers

by ERIC KIM on SEPTEMBER 26, 2011

(Above image copyrighted by Alex Majoli) Bill Reeves, a passionate photographer who is fortunate enough to have Magnum photographers Eli Reed and Paolo Pellegrin as his mentors, told me about a blog post that Magnum had a while back regarding advice to young photographers. It was put together by Alec Soth, who has done a series of fascinating projects such as his most popular, “Sleeping by the Missisippi” which was done on a 8×10 view camera. An interesting excerpt that Bill put together about Alec is below:

Alec writes up lists of things to shoot. Some normal objects, like suitcases, and others more weird, like unusually tall people. He would tape this list to his steering wheel, and be reminded to shoot those things when he saw them. When he found someone to shoot, he would talk to them, and from that conversation find the next thing to go looking for. An example is he did a portrait of a guy who built model airplanes, and then a portrait of a hooker. The link? She had airplanes painted on her nails. He then went to photograph Charles Lindberg’s childhood home, which led him to photograph Johnny Cash’s boyhood home and so on and so forth.

I found the advice that these Magnum photographers is golden–and have shared it here to spread the love and knowledge. Keep reading to see their inspirational images and advice. You can alsodownload the free PDF here.  

Abbas

Copyright: Abbas

What advice would you give young photographers? Get a good pair of walking shoes and…fall in love » Abbas’ Magnum Portfolio

Read the rest here:

http://erickimphotography.com/blog/2011/09/26/35-magnum-photographers-give-their-advice-to-aspiring-photographers/

Audio in Photography

Listening in: The use of audio in photography

Sebastian Meyer shot this image in Ras Lanuf, Libya. While his photograph doesn’t necessarily convey the destructive effect of the explosion, the audio is “genuinely terrifying,” he says. Image © Sebastian Meyer.

Some photographers believe audio is a better partner for still images, adding depth to their multimedia presentations, despite video getting all the attention right now. Olivier Laurent talks with photographers and picture editors about the benefits and pitfalls of producing audio slideshows.

Author: Olivier Laurent

30 Aug 2011

Photographers have often combined images and audio to bring more depth to their stories. But with the development of high-speed internet and the democratisation of new media outlets such as Apple's iPad, they can now reach larger audiences with more sophisticated audio slideshows at a fraction of yesterday's cost. And while the use of video is on the rise, some believe that still images and audio is all you need for powerful narratives.

"The main reason I record audio is simple - because I work in Africa," says Peter DiCampo, winner of BJP's International Photography Award 2010 (#7782). "I have, basically, one ideal in my work, which is to make issue-based stories without making them into ‘poverty porn'. I could easily get some facts and figures from experts, put them into a story description, and then make photographs that illustrate the problem - but I don't feel like the story is complete without hearing what the local people have to say about how an issue impacts their lives. Audio and video interviews allow me to share those opinions, and, based on the feedback I've received, it's been a successful way of making the viewer feel more connected."

Feel the noise

In fact, audio can, at times, be the only thing that gives power to a photographer's images. Sebastian Meyer was embedded with US troops in Afghanistan last year, when his patrol came under heavy fire. "When I came back and I looked at the images, I thought they were okay. But then I went back to them a week or two later, and I thought, ‘These suck. They're terrible. They're a lie.'

"The lie for me," he explains, "is that photographs are inherently silent. They don't make any noise. They also don't exist in time. They're frozen moments. For example, combat is extremely loud. The noise itself is essential in understanding what it's like to be there. As a journalist, you're telling that story - so it's misleading for these images to be quiet because they give a false impression of what it's like to be there."

Meyer adds that his images did not end up looking as nearly as scary as they should have done. "They're not as loud as they should be, or as disorienting. Sound is really an essential part in showing that aspect."

When Meyer found himself in Libya earlier this year, he chose to start recording audio. "The frontlines were pretty hairy there," he recalls. "I had a [Samson] H4 recorder and I found a way to fix it to one of my side pouches with a microphone sticking out." It was very basic, he admits, but it did the job. "You can hear bullets going past you. All of it sounds a lot like a video game."

But then came the bombs. While in Ras Lanuf, Meyer photographed the explosion of a bomb dropped from a pro-Gaddafi warplane. The image [top] in itself isn't very scary, but says Meyer, "Somehow, the sound - that gets me upset. That takes me to a place that is genuinely terrifying. And I hope this recording of it gives the audience a better impression of what it was like." [Listen to the recording here]

Of course, audio doesn't have to be used in tense situations, such as in warzones. For DiCampo, ambient sound is very important. "With the Life Without Lights project, audio has been key because I'm dealing so much with darkness and nighttime imagery," he says. "I like to think that people watch these pieces in a dark room with all the lights turned off - so the sounds of crickets, and the nightly activities of the villagers, hopefully make the viewer feel more like they are a part of the scene and helps them understand the issue."

In fact, says Meaghan Looram, a deputy picture editor at The New York Times, audio should only be used when it "makes sense" and adds to the narrative. "For example, I had a conversation with James Hill, [the newspaper's European contract photographer] when he was assigned to shoot the week leading up to the Royal Wedding. He was going out to shoot features and portraits in anticipation of the big day. He has quite a witty eye and he and I discussed the idea of trying to capture some audio that could be paired with this kind of images. Quotes from the people he was doing portraits of, or some sort of textural ambient noise."

However, Looram admits, it doesn't necessarily work every time. "This particular idea could be great, or might not work out once you have the piece in front of you, and to be totally honest, what ended up happening with Hill is that it was a very busy news week. A few days later we talked again and decided that, not only could he not really find defining texture audiowise, but I could tell him from our opinion that we weren't going to have the bandwidth to [justify] an audio producer put it together."

But when it's appropriate, and "when we think we have a good chance of making a strong piece, we'd do it." Of course, she's quick to add, it's not always easy to add audio to photographs. "It's extremely work-intensive and it's not always a slam-dunk in terms of its effectiveness," she tells BJP. "We are working on a handful of projects that combine audio, stills and video, and I tend to think that the times when it works out the best are when one of two things have happened. This might be a bit counter-intuitive, but either the audio exists first before any shooting has taken place or the audio and the photographs are being gathered at the same time."

As an example, she cites the Emmy-award-winning One in 8 Million project. "Todd Heisler [a contract photographer for The New York Times] didn't go out and shoot anything until we had a draft of the audio," she explains. "Some people have said that this seems a little bit counter-intuitive and corners you in to what sort of imagery you can get, but I'm of the mind that it actually creates a much better marriage of the stills and the audio. He would get a sense of the kind of theme of the piece, the tone of voice, a feeling that would let him focus on certain things."

Multi-tasking

Then comes another problem. "Many people underestimate just how much photographic material you need [to produce an effective audio slideshow], says Looram. "I think it's very easy for audio slideshows to get very slow. It's a real challenge for the photography, because you need far more variety that a regular slideshow would demand."

Also, adds DiCampo, producing an audio slideshow requires a lot of different skills. "It takes a lot of time that is often unpaid to build photography, audio, and video into one story," he says. "What I've learnt in the past year is that I've tried too much to be a one-man show with all of this. I'm always asking dozens of people questions on the piece and the software, but I'm not actually partnering with anyone. The whole process takes an absurd amount of time and is never worth the money, but I want to see the piece finished. I want the idea I have in my head to be something I can watch and share with people."

Even at The New York Times, the workload can be too daunting. "Many of our photographers are equipped to do their own audio gathering, but it's a lot of demands for one person," says Looram. "It's a lot of pressure to put on them. One thing might suffer if you try to do everything at once. I think it's better if you try to pair a photographer with a reporter or an audio producer - everyone can focus on what they're best at." But, she adds, "we decide on a case-by-case basis. We have to assess whether or not we have the resources to produce it in the first place."

But, especially in cases when people have become blasé about images - "they see the pictures of an explosion and barely react to it," says Meyer - the use of audio, and to a greater extent video, can help bring back engagement from audiences. "I think it's important in an age where we've become numb to a lot of visual images to find another sensory level to tell stories at," he says. "We have to keep surprising our audiences so they don't fall in a state of lethargy."

For more information, visit www.nytimes.com, www.peterdicampo.com and www.sebmeyer.com.

Read more: http://www.bjp-online.com/british-journal-of-photography/report/2105095/listening-audio-photography#ixzz1ZGc3bYY9

Once Magazine: A new revenue stream for photographers?

Once Magazine isn't really a photography magazine - it's more a showcase for long-term photographic projects. Available as an app for the iPad, Once Magazine presents, each month, the work of three selected photographers. For each one, the magazine publishes around 20 images, with background information, interviews and audio files.

Author: Olivier Laurent

26 Sep 2011

A few days after it launched in August, John Knight and Jackson Solway, respectively executive editor and CEO of Once Magazine, boarded a plane for Perpignan, France. Their goal was to meet with photographers, editors and agencies at the Visa Pour l'Image photojournalism festival. And most of these potential clients listened with interest, as the magazine's managers plan to share their revenues with the featured photographers - "after Apple takes its 30% cut, of course," says Knight. "We will cut photographers a check every six months for two years, depending on how their work sell."

The idea for Once Magazine came to Solway even before Apple had announced the release of its iPad. "There were rumours that such a tablet would be coming," he tells BJP. "I think people like storytelling. So we thought about doing stories on the iPad." With a couple of friends, Solway started working on the concept for Once Magazine, and that's when Knight came into the fold. "We knew each other from college," says Solway, and "he had moved to San Francisco and heard us talking about the magazine. He said: ‘I have to be part of this.'" As with most new enterprises in California, Once Magazine was first built out of someone's bedroom - in this case, Solway's. Of course, now, the team has moved to new offices in San Francisco. "The great thing about being in this city is the enormous support network that exists there," says Solway. "Also, when people find out that we're not in New York, it opens-up the collective imagination of photographers. They think that we must be tech-savvy." To develop the app, Knight, Solway and the team behind Once Magazine had different options. "We could have outsourced the development, tied ourselves to an app-building firm, build it ourselves or buy into an existing platform." In the end, they chose the latter. "We selected Woodwing, because it's great for what we wanted to do, and also because we didn't think we would have been able to handle the development of the app in addition to gathering all the editorial content." Now, the creators have formed a team of editors, researchers and contributors to help sustain the app. "Each issue will have three stories," says Knight. "The idea was to keep it to three because that means we won't have to split the revenues between 20 people - we wanted the photographers to get a sizable return." And, so far, the industry's reaction has been very positive, says Solway. "Photographers look at us as a possible new revenue stream. The only hesitation we've encountered came from agencies, which are concerned or unfamiliar with our business model. But in most cases, after lengthy discussions, they came around." Of course, Once Magazine's first real test will come in early October when it releases its paid app. "A satisfying number of downloads would be 10,000," says Knight. "It would make enough money for it to be considered seriously by the industry. Of course, 15,000 to 20,000 downloads would be great." Already, a group of young photographers have embraced the initiative with Matt Eich, Munem Wasif, Anastasia Taylor-Lind and Guillaume Herbaut lined up to appear in upcoming issues of the app, which could be available via a subscription once Apple unveils its Newsstands platform. For more information, visit oncemagazine.com. Click here for more articles on photography-related apps and how photographers are using the iPad to share their projects. http://vimeo.com/24908045  

Firefly: New Photofilm

New Photofilm: The Holy Land Experience by Paul Jeffers

 The Holy Land Experience is set in tropical Orlando under characteristic palm trees and typical Florida sunshine, a stone throw away from notable world famous destinations such as Universal Studios, Walt Disney World and Sea World. The Holy Land Experience attracts 250,000 to 300,000 visitors per year.

There is no fairy floss or rides, nor are there cartoon characters or clowns. At the Holy Land there are Bible stories, replica souks from Jerusalem, Dead Sea scroll stories, prayer gardens and Saviors and Messiahs preaching and walking about. In case visitors get hungry, they can eat with Jesus at the Last Supper scheduled twelve times daily. Guests can be seen taking opportunity to talk with Jesus and costumed staff members all over the park, posing for photos and walking around the various exhibits that attempt to give an impression of ancient Jerusalem.

Multimedia photostories: the key to reach new audiences?

Stills photography is no longer the basic format for documentary photographers. Over the past few years, new technology has brought them an array of new possibilities, helping redefine their concept of storytelling and offering new ways to share and publish their work.

"Photostories - where photography meets multimedia storytelling" is an international conference in Rotterdam from 19-21 May, which gathered prominent pioneers to review the changes. They discussed key questions such as how to tell stories in this new environment, how to cope with the publishing industry's new needs and how to handle new technology.

In short, it gave a guide to surviving the media revolution, although it wasn't meant to evangelise about the best way to use new technology or which direction to take it in. Instead the audience was shown the options, told what worked best for the world's leading photographers and multimedia producers and left to make their own minds up.

Read more: http://www.bjp-online.com/british-journal-of-photography/report/2105006/multimedia-photostories-key-reach-audiences#ixzz1YoXzvi7W

Nikon 1 mirrorless cameras

We have all had the ‘which is better Canon or Nikon’ argument before. It usually always boils down to what you picked up first. The sentimental attachement and loyalty to that first camera and its brand. For me its always been Canon, so when ever I see news of a new Nikon camera coming out I usually don’t read about it, ignorantly assuming that a better canon version is already out or just about to be released. I did however come across the below nikon review from the BJP today, and for a change actually read it. My verdict? Holy Mother of God Nikon 1 mirrorless cameras Nikon has announced the release of what it calls a “revolutionary digital camera system,” entering the mirrorless market with the Nikon 1 V1 and Nikon 1 J1 compact cameras

Author: Olivier Laurent

21 Sep 2011Tags:NikonMirrorless

The Nikon 1 system has been built from scratch, says Nikon, with the goal of offering still image and movie recording capabilities “without compromise,” according to the firm. “This next generation pioneers amazing photography features such as pre and post capture technology that starts before you – enabling groundbreaking new shooting modes that mean you’ll never miss a thing – even the most fleeting of moments, bringing shots to life to help you to capture images you didn’t think possible.”

And that might be Nikon 1′s most important feature, setting it apart from the other camera manufacturers that have entered the mirrorless camera market more than three years ago now.

The Nikon 1 V1 and Nikon 1 J1 feature a Motion Snapshot (MSS) option, which “brings a photo to life in just one click.” By selecting MSS, users simultaneously record a slow motion movie and still image that are then combined to create “a photo that moves and captures the story of a moment as never before – a living picture.”

Speaking at an exclusive press conference this morning, Simon Iddon explained that the Motion Snapshot can be saved as a .mov file. “Going forward, as this develops, it’s something that we want to build-on – the way you can share these, for example, is being looked at as we speak.”

Both cameras also have a Smart Photo Selector feature, which, when selected, will shoot 20 full-resolution images in less than a few seconds. “You just press the shutter once and, utilising the pre and post capture technology, the camera starts to take the pictures before you’ve even fully depressed the button.” The camera then automatically selects the best five shots, which are saved based on facial expression, composition and focus.

“This is Nikon’s most significant announcement since we introduced our first digital camera 14 years ago” says Nikon Europe’s president Takami Tsuchida of the two new cameras. “With the launch of Nikon 1, we’re unveiling two groundbreaking interchangeable lens cameras that are packed with revolutionary technology.”

Also speaking at today’s press conference, Michio Miwa, Nikon UK’s managing director, explained why the new system was created. “Over the last 15 years, the world of photography and videography has developed to such an extent that people not only have the [products] to shoot creatively, but are now able to explore new ways of enjoying their digital creations,” he said. “We wanted to take the next step [in this development]. Instead of jumping the mirrorless bandwagon, our engineers decided to go back to the drawing board; to start from scratch; and to create a new device from the ground-up.”

He added: “Focussing on usability and design, Nikon began creating a camera for the future with no compromises – a device that would lay the groundwork for new ways of capturing, sharing and experiencing still and moving images. Today, we’re not just announcing a new camera system, we’re introducing a new category. The Nikon 1 is an Advanced Camera with Interchangeable Lens.

The Nikon 1 V1 and Nikon 1 J1 feature a new type of CMOS image sensor called CX. “Taking its place alongside Nikon’s existing DX and FX-format sensors, the all-new Nikon 1 CX-format CMOS sensor is designed for Nikon 1 cameras and the 1-mount,” says the firm. It offers a resolution of 10.1 megapixels and has a sensitivity range of ISO 100 to ISO 6400.

However, Nikon has been criticised for using a 13.2×8.8m sensor, which is smaller than traditional Micro Four Thirds sensors used by Olympus and Panasonic in their mirrorless cameras. But, according to Jeremy Gilbert, Nikon UK’s group marketing manager, the choice was deliberate. “[This sensor] allows us to have a small, compact system.”

Simon added: “The key thing about this product was not to be like other people. This is the Nikon 1, the first camera of its kind. We spent four years working on what customers wanted and we built that camera based on that research. Customers wanted compactness, ease of use, speed and image quality as well. The sensor size and the amount of megapixels have been specifically chosen because they are the perfect combination to deliver what the customers were demanding.”

Both cameras are also equipped with a new high-speed autofocus system with 73 AF points. But, says Nikon, “if your subject is stationary, or poorly lit, it will opt for the 135-point Contrast Detect AF system.”

The Nikon 1 system also introduces, for the first time, the Expeed 3 image processor. “To be as fast as a Nikon 1 camera, you need an engine that can handle speed, and this newly developed processor is equipped with two powerful engines that can process images at an incredible 600 megapixels a second,” claims Nikon.

The Nikon 1 V1, the most advanced camera of the two, also features a 1,440,000-pixel electronic viewfinder that delivers 100% frame coverage. The camera boasts magnesium alloy panels (top and front, says Nikon) and a multi-accessory port.

Meanwhile, the Nikon 1 J1 camera is more compact, with a minimalist design, and features a built-in flash. It will be available in pink, red, silver, matte black and white.

Nikon has also introduced a new class of Nikkor lenses to fit the cameras “1-mount,” the first new lens mount launched since the introduction of the F-mount in 1959, says Nikon. To coincide with the launch of the new system, Nikon will release four 1-mount lenses.

The first is a compact Nikkor VR 10-30mm f/3.5-5.6 lens, which features Nikon’s Vibration Reduction technology and a retractable lens mechanism. Then comes the Nikkor VR 30-110mm f/3.8-5.6, which can also retract when not in use to ensure “superior portability,” says Nikon. The Nikkor 10mm f/2.8 and Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom will complete the range.

Of course, Nikon has also announced the release of the FT-1 mount adapter, which will also Nikon 1 owners to use any Nikkor digital SLR lenses, “offering limitless possibilities to match a lens to the shooting situation,” says the firm.

Nikon is also releasing a new “tiny” SB-N5 Speedlight flash and a GP-N100 GPS unit to be used with the Nikon 1 V1 camera.

Both cameras, which will be officially presented later today, will retail from 20 October in a variety of kit options and at prices starting at £550 (€638).

Read more: http://www.bjp-online.com/british-journal-of-photography/news/2110726/nikon-goes-drawing-board-releases-nikon-mirrorless-cameras#ixzz1Ymho7ST7

Duckrabbit: 3D photography and film exhibition at Spitalfields Market

A free six day exhibition in Spitalfields Market in London from 22nd to 27th September that lets you step into the life of a British midwife saving the lives of pregnant women and babies in an area of the Democratic Republic of Congo (DRC) mired in war.

Groundbreaking 3D

The groundbreaking exhibition uses a 3D photofilm of images taken in the North Kivu area of DRC earlier this year, produced by award-winning digital and broadcast production company duckrabbit.

The stunning 3D photographs and documentary audio will be shown on specially set up Panasonic screens with NVIDIA 3D Vision technology, dedicated 3D glasses and Sennheiser headphones.

Midwife Sam

The story centres around British midwife Samantha Perkins, 29, who returned this year from nine months delivering babies and saving lives in the MSF-supported Masisi hospital in the DRC.

Sam and her team delivered 3,451 babies there last year, a greater number than even the Royal Free Hospital in London.

Because most Congolese women give birth at home, they only come to the hospital if there are complications.

High risk pregnancies

As a result, almost all of those pregnancies were classified as high risk. Were it not for the work of Sam and her team, many of these women and their babies would have died.

“MSF has a long and illustrious history of strong photography but we've never seen or done anything as awesome as these 3D images," said Polly Markandya, Head of Communciations at MSF.

"They bring to life a world most British people only ever see on the news or in television appeals. And they show the positive side – the lives that are saved, the realities of a functioning maternity unit in a remote area where new lives begin every day.”

Peter Rudge, head of 3D at duckrabbit, said: “The 3D imagery in the film is rich, layered and incredibly engaging. The audiences that we’ve shown the material to have been very struck by the immersive and moving nature of the 3D experience.

"They say they’ve never seen anything quite like this before. “

The exhibition will last for six days and is free of charge at Brushfield Street, Spitalfields, London E1 6AA.