Pinterest puts all legal risk squarely in the lap of its users, while reaping the rewards of their free labor, the free content they upload and their growing appeal to potential advertisers
via PDN Online.
Pinterest puts all legal risk squarely in the lap of its users, while reaping the rewards of their free labor, the free content they upload and their growing appeal to potential advertisers
via PDN Online.
Assignment photography is a hot-dog factory where the end results are images rather than sausages. If people saw what went into some of this stuff there’s no way they’d want anything to do with it. The sad reality is that there are all kinds of reasons you’re brought in on projects, some of them more edifying than others. Sometimes you’re exactly the right person for the job, other times you’re just a camera monkey. My favourite is the “wouldn’t-it-be-cool-if” call, where everyone gets all excited about an idea that turns out to be completely impractical.
Read more on planet shapton.
“If you make an image look different enough, peculiar enough, I think that’s that hook,” he said. “I think that if you create a different aesthetic than people are used to seeing, you can attract the public — you can bring them in and then all of a sudden that is when the content is delivered.”
Ben Lowy: Virtually Unfiltered, via NYTimes Lens Blog
Morel, in his memorandum of law, says that AFP’s defense would fail even its own policies. On the Getty Images’ website, according to Morel’s representatives, a document titled Copyright 101 states that one of the common misconceptions about copyright is that if “an image is on the internet, it’s in the public domain and I don’t need permission to use it.”
“Practice doesn’t make perfect. Only perfect practice makes perfect. What if you’re practicing it wrong?”
I think that Hetherington’s images from Afghanistan will end up being THE images from this particular war; put them on the shelf with icons by Capa and Smith and the rest of pantheon of great war photographers.
via DLK COLLECTION.
…photos that accompanied the article — of Asma al-Assad, her husband and two of their children at home in Damascus — were facilitated by an American public-relations firm working for the Syrian government. The firm, Brown Lloyd James, was paid $25,000 to set up a photo session with James Nachtwey, the famed war photographer…
via The Washington Post.
Five and ten years ago we were wondering whether people would ever pay for digital media. But now the question isn’t whether people, young and old, will pay — it’s how the hell to figure out how much to charge them…
“Although journalism is struggling, conferences on the future of journalism are thriving.” -David Boardman, Seattle Time
Clients are always eager for new talent, and it’s a blessing when that “new” talent has 15 years of work behind them. With the market the way it is, it’s better to have somebody with a great big body of work to present upfront.
…the ‘decisive experience’ is now as meaningful as the ‘decisive moment.’
A Postcard From Rochester via « LITTLE BROWN MUSHROOM BLOG.
Sally Mann said something about all photographs being at the expense of somebody. I think that is more the way that we see them. We are still not very sophisticated in our visual way of experiencing the world and want to reduce things to black and white and right and wrong dualities.
via Conscientious. Read more on Colin Pantall’s blog: You don’t look like a victim.
No matter how fast you shovel digital dirt into the chasm of print loss, you can’t recreate the past; you can’t fill the hole. Now, though, we see new foundations being set and fresher building — with more realistic expectations — begun. The change is a huge one. Where once top newspaper company execs eschewed new initiatives as too small with which to bother, the awareness that the old business simply is never coming back has almost sunk in.
…people hold onto the creaky, dusty notion of photographs as some sort of reality; this only increases the potential for complexity through the many different possible readings of work that challenges or contradicts this restrictive perception of what a photograph is or what it can do. I consider this a wonderful gift to me as an artist, or any artist making work that disregards this concern with the real.
Read more on Conscientious Extended | A Conversation with Christian Patterson.
Like all artists, Tim Hetherington’s work outlives him. For that I am grateful, but the loss is even more keen because of the unique way in which he viewed the world, and because of his fierce desire to peel back the obvious to show us the base from which the actions and emotions sprang.
Read more at Stellazine: Tim Hetherington at Yossi Milo.
All technology has done for me is allowed me to adapt my portfolio to more platforms, i.e. web, iPad, etc. I used to have 12 printed portfolios, now I use less than half that. A magazine hasn’t called in a “book” in over three years now, but agencies sometimes still want them. And my agent, Big Leo, takes them to portfolio meetings where having a tangible thing to touch still has value. And to be honest, printed portfolios are really nice when done well.
read the whole post on Less Is More.
“I don’t think there’s anything magazine-like out there that’s really resonating or working,” said Khoi Vinh, former design director for The New York Times. “Ultimately, the concept of a magazine feels like an uncomfortable fit for this platform. It shouldn’t be a packaged slate of content; it’s an awkward fit for a connected device that can be up to the minute.”
By shooting all those redundant, useless digital images I’m simply passing the buck to my future self, the one sitting despairingly in front of the computer.
via planet shapton.