Corrine Vionnet’s “Photo Opportunities” | DVAFOTO

25/02/2011 Comments Off on Corrine Vionnet’s “Photo Opportunities” | DVAFOTO

The 5 billionth photo was uploaded to Flickr last September and users upload half that many to facebook every month. Projects that mine these photos always intrigue me (here are two that we’ve written about previously: photographic behavior in major cities and cultural buzz). Corrine Vionnet’s Photo Opportunities is one such. She’s taken hundreds of tourist snapshots found online of well-known locations and landmarks and created new photos by combining these snapshots. The new photos work as sort of impressionist ideals of the places in question. Reminds me of Jason Salavon’s work (Every Playboy Centerfold,
The Decades, 76 Blowjobs, and Homes For Sale, for instance).

SORCE: Corrine Vionnet’s “Photo Opportunities” | DVAFOTO

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The CIA’s Historic Spy Kit | WIRED

25/02/2011 Comments Off on The CIA’s Historic Spy Kit | WIRED

Whenever James Bond needed a nifty device to snap a surreptitious surveillance picture or escape the gilded clutches of Auric Goldfinger, he could count on the ingenious minds in the Secret Service’s Q Division to devise a solution. Real-world Bonds working for the U.S. Central Intelligence Agency, and its precursor the Office of Strategic Services, could turn to the Office of Research and Development for similar tradecraft tools.

From mosquito drones to couture cameras, the CIA had its agents’ needs covered. Some of these devices are now displayed in the CIA’s museum, located at the agency’s Langley, Virginia, headquarters.

SOURCE: The CIA’s Historic Spy Kit | WIRED

How do you avoid making a cliché? | MIKE DAVIS

25/02/2011 Comments Off on How do you avoid making a cliché? | MIKE DAVIS

How do you avoid making photographs that are clichés? Chances are that you can’t, at least not completely.

Let’s start with a list of THE TOP 10 CLICHéS*

1. People with an illness, especially children
2. Twofer: Portraits of people with their arms crossed; portraits of people holding portraits of people who are most likely dead.
3. Photos of the odd person out (Anyone who is outside the norm. I realize that this puts most journalistic photography into cliché land. And it is.)
4. Cowboys or Native Americans
5. Twofer #2: Photos of strippers or the homeless
6. Photos of famous people
7. Photos not made in your home country
8. Photos of anyone in any type of uniform
9. Twofer #3: Silhouettes or photos of the backs of people
10. Photographs that include window reflections

SOURCE: How do you avoid making a cliché? | MIKE DAVIS

Brett Leica M Photographer Part 2 | The Leica Camera Blog

25/02/2011 Comments Off on Brett Leica M Photographer Part 2 | The Leica Camera Blog

Articulate and thoughtful, he brings a street shooter’s sensibility to the demanding genre of wedding photography. He also teaches other Leica M users how to transcend their mind-set and get into “Leica think.” Rather than paraphrase his biography, let’s let Brett (who doesn’t use his last name) do it himself and then go on to give us fascinating and thought-provoking answers to our follow-up questions in his own inimitable style.

“My passion for photography started when I was five years old and was given a plastic camera and darkroom kit. I would spend hours developing prints in the bathroom at home. After leaving school, I was offered an apprenticeship at the Birmingham Post and bought a Leica M2 with my first month’s wages. I went on to set up my own wedding and portrait studio in the West Midlands, at the age of twenty-one. I now work as an independent photographer, with a thriving wedding photography business. Alongside my wedding photography, my practice also encompasses, travel, PR and bespoke commissions and projects. Since purchasing that M2, I have been a lifelong Leica enthusiast. I now act as a consultant for Leica Camera UK and lead M9 workshops at the Leica Akademie in Mayfair. I am passionate about passing on knowledge of how to get the best from these unique rangefinder cameras and I have developed bespoke workshops for both my peers and non-professional Leica enthusiasts. Workshops are created around the individual photographer’s needs, working with them to offer advice, tips and techniques to expand and develop their knowledge and skills.”

SOURCE: Brett Leica M Photographer Part 2 | The Leica Camera Blog

Interview with Oko | Inspiration Magazine

24/02/2011 Comments Off on Interview with Oko | Inspiration Magazine

 

In our first in a series of exclusive interviews we had talked with OKO. Although I am convinced that she does not need any special introduction, for all those who don’t know, OKO is one of the most famous street artists in our region.

Why OKO (OKO=eye in Croatian)?
Eye that sees everything, inner eye, Gods Eye, there is a lot of variants, closest to me is the eye that we carry inside, eye with which we emotionally see things and situations.

Why street-art as form of expression?
Because it allows an absolute and complete freedom, there is some connection between me and the energy this city feeds me with. Every city is different, Zagreb is my home, and because of it with him I have best conversation
….

SOURCE: Interview with Oko | Inspiration Magazine

11 Reasons To Shoot Film | I STILL SHOOT FILM

24/02/2011 Comments Off on 11 Reasons To Shoot Film | I STILL SHOOT FILM

1. Film is cool. Seriously. The scientific process of capturing an image on film, developing and then printing it on paper is one of the most awesome thing you can ever see. It’s like magic.

2. Film produces a tangible result. In the modern world, technology has allowed us to do everything digitally… in fact I haven’t seen what my resume actually looks like on printed paper in over 5 years. With digital photographs, you never have one tangible original, from which you can make infinite copies…

3. Photographic paper prints have a longer archival life. Say what you want, but even my most expensive fancy-pants digital prints still get yellowing on the corners after several years… which is why many professional labs still use cibachrome printing even for digital.

4. Film cameras are badass. They are not the light-weight, silent wimpy cameras of today. You can use a quality film camera to take great photographs or defend your life if necessary.

5. Most Photoshop effects applied to digital photos are designed to mimic effects achieved through film. Why not just do it that way in the first place?

6. Using film means that when you take a photograph, a chemical reaction absorbs the moment on a light-sensitized surface. That is somehow more powerful than a computer chip’s interpretation of an image.

7. Learning how to shoot film helps you understand light and shadow, which can also improve your digital photos.

8. Limited exposures means you have to actually think about your shot. Need I say more?

9. Unless you have a $30,000 digital camera, shooting film will always give you a higher resolution if scanned correctly. A 35mm negative has the equivalent of approximately 25.1 megapixels, so imagine a 6×9 negative. We’re talking murals in crisp detail.

10. Black and white. Yes. Removing color from a digital photograph is not the same as shooting in black and white film and it never, ever will be. Ever. The art of black and white film alone is reason enough to keep manufacturing film forever.

11. The darkroom is zen. It has soothing red lights, relaxing running water and the soft click of your timer. Take a deep breath and smell the stop bath. Yum.

SOURCE: 11 Reasons To Shoot Film | I Still Shoot Film

Tim Hetherington speaks to Jon Levy | PROFESIONAL PHOTOGRAPHER

24/02/2011 Comments Off on Tim Hetherington speaks to Jon Levy | PROFESIONAL PHOTOGRAPHER

Tim Hetherington is a British photographer who now lives in New York. I have known him from 1998, the time we shared an office together in Great Portland Street in central London. He was a photographer striving to negotiate his way between photo agencies and assignments and I, newly returned from the US, was in the process of setting up 8 Magazine and running the fledgling website Foto8.com. Together we would share ideas and points of view on the industry we found ourselves in, alongside our personal theories of what mattered and what counted in photography. Our little office was a safe haven for us to invent and test out our concepts and to this day I feel in the outside world we retain a lot of the independence and subversive ideology that we enjoyed so much at that time.

SOURCE: Tim Hetherington speaks to Jon Levy | PROFESIONAL PHOTOGRAPHER