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Flickr Pro, which had allowed users to pay for more storage space, is going away. “There’s no such thing as Flickr Pro today because [with so many people taking photographs] there’s really no such thing as professional photographers anymore,” Mayer said (though she acknowledged that there are “different skill levels”).
via @zarias more: Tech News and Analysis.
they questioned why she did not report her problems sooner. But she knew that if she had reported them, should would lose the job she loved so much. “The military had trained me this way — to suck it up,” she said.
“The one thing about PTSD is it’s the war that never ends” she said. “Suicide might seem like a viable option. It’s a permanent solution to a temporary problem.”
Someone asked when we would see at Perpignan the likes of Instagram, Twitter and Facebook. Jean-François Leroy thought it was some kind of joke.
citing his “fierce commitment to photojournalism and endless drive to tell a story.” Munita’s portfolio of work, shot in a wide variety of settings and locales, reflects a strong and nuanced grasp of the human condition. His photographs of refugees in Afghanistan, prisoners in El Salvador and daily life in Cuba all demonstrate just how in touch Munita is with the currents (and undercurrents) of life.
via Time- LightBox.
All you have to do is reproduce the effect that a scratch on the lens would have created in a photo, and purist jurors will praise the photographer for not having gone too far with enhancement, Palmisano says with a chuckle.
via Enhanced Reality: Exploring the Boundaries of Photo Editing - ABC News.
At the height of its power, the photography company Kodak employed more than 14,000 people and was worth $28 billion. But today Kodak is bankrupt, and the new face of digital photography has become Instagram. When Instagram was sold to Facebook for a billion dollars in 2012, it employed only 13 people.
via Jaron Lanier: The Internet destroyed the middle class - Salon.com.
I’ve got a couple of young assistants in my studio, and I say look, you’re future is very vibrant…a lot of people are saying doomsday stuff right now, but I think the future is vibrant, it’s just going to be very different from mine. Talk about multitasking! They have to be good on the web, they are going to have to know video, audio, all that stuff. They’ll have to be kind of their own multifaceted entertainment-information package. They are going to have to bring lots of skills to the party. We learned how to do one thing well, and that was how to tell a good story with a camera in our hands.
--Joe McNally
After 25 years, the enthusiasm and excitement are still palpable when Rosenheim discusses his latest exhibition, and the future of the field. “I think we’re going to continue to have breakthroughs and new bodies of work,” he says. “I think there are photographers who are right before our eyes who we don’t even know about yet.”
-- Jeff L. Rosenheim, curator of Photographs at the Metropolitan Museum of Art
via photographmag.com.
One of my clients is on the committee of a museum, and other committee members were calling him crazy for buying outside of the zone they deemed safe. ‘Why’d you buy that?’ they’d demand. I told him what to say the next time they ask — and it’s the only answer I think is valid. ‘Because I like it.
--Paul Kopeikin
via photographmag.com.
I love Instagram. It’s my go to app when I need to kill some time and want to see what’s happening in the world beyond my sad windowless office.
One of my favorite things to do it creep on photographers.
You probably think I’m pretty weird now, but I really do love to see what inspires some of my favorite photographers on a regular basis.
For me, its just another way to see what they’re up to and what they’re shooting. I can’t always keep up with all the promos, but I always make time for Insta Creepin’.
-- another fantastic Art Producer
A Photo Editor (APE) is edited by Rob Haggart, the former Director of Photography for Men's Journal and Outside Magazine. Contributors include fine art photographer Jonathan Blaustein (@jblauphoto), Creative Director Heidi Volpe, photography consultant Suzanne Sease and Production Director Jess Dudley of Wonderful Machine.
