The New York Post sparked a firestorm of controversy last week after publishing a photo of a man about to be struck by a subway train. People around the world were outraged that a photographer decided to photograph what had occurred, that he had sold (or, in the photographer’s words, licensed) the photo to a newspaper, and that the paper decided to publish it with a sensationalist front page story.
The New York Times found an eerily similar story on its hands this week, but its handling of the situation — and the subsequent public reaction to the article — has been drastically different.
New York Times staff photographer Fred R. Conrad was recently tasked with shooting a portrait of acclaimed color photography pioneer Joel Meyerowitz. Freelance videographer Elaisha Stokes went along to shadow Conrad, and captured this interesting behind-the-scenes video in which Conrad shares some thoughts on the experience of pointing a lens at a master of pointing lenses.
Digital and mobile phone photography have made it easy for parents to document every waking (and non-waking) moment of a child’s life, but what effect is this constant picture-taking having on kids? David Zweig has written up an article over at the New York Times arguing that our culture of photography is intruding on the preciousness of youth, and that parents should take fewer photographs of their children.
On Tuesday, the U.S. consulate in Benghazi, Libya was attacked by militants, resulting in the deaths of ambassador J. Christopher Stevens and three members of his staff. In an article reporting on the attack, The New York Times included a photograph that reportedly showed a bloody and unconscious Stevens, moments away from death. The image caused outrage with some readers, and soon attracted the attention of the United States government, which asked the Times to pull the photo. The Times said no.
This fascinating behind-the-scenes video shows what it’s like to work as a sports photographer for the New York Times. It follows around Barton Silverman, a photographer who has been working at the Times since March of 1962. Over the past 50 years, he has covered many a championship game and has photographed many a legendary athlete. The New York Times writes,
When he started at The New York Times 50 years ago, [Silverman] worked as a lab assistant, a title he would hold for four years. But he wanted to be a photographer. So he volunteered to carry Larry Morris‘s camera bag to Madison Square Garden.
“As I was taking notes,” he said, “I basically figured out how to shoot a hockey game.”
In the meantime, he volunteered to shoot for the team, earning the program credit “Photos by Barton.”
Here’s a short interview he gave after photographing his 39th Super Bowl back in 2010. Also, be sure to check out this New York Times Lens piece that sheds some more like on the epic photograph of a leaping Joe Namath mentioned in the video.
(via ISO 1200)
The New York Times has published a great interview with Michael H. Osterreicher, the general counsel for the National Press Photographers Association and the editor of the organization’s advocacy blog. In it, NYT Lens Blog co-editor James Estrin asks Osterreicher about photographers’ rights and the trend of people being stopped while shooting public locations.
It’s like “déjà vu all over again”: New York Times freelance photographer Robert Stolarik was arrested this past Saturday while on assignment in the Bronx. As he was taking photographs of a developing street fight, Stolarik was confronted by officers, ordered to stop, and then allegedly assaulted.
A photographer’s worst nightmare happened to YouTube filmmaker Casey Neistat recently. After taking a taxi after a long 18-hour work day and flight, Neistat accidentally forgot all of his luggage — and $13,238.86 worth of camera gear — in the back of a New York City taxi cab. Among the equipment lost was a Canon 5D Mark III kit ($4300), a 24-70mm lens ($1600), and about $550 worth of memory cards — equipment necessary for Neistat to make a living.
Remember the mysterious camera NYTimes columnist David Pogue was gushing over earlier this month? Turns out it’s the Sony RX100. In his review of the camera published yesterday, Pogue calls it “best pocket camera ever made” and writes,
It will be sold out everywhere. I’ll skip to the punch line: No photos this good have ever come from a camera this small.
[…] the RX100 has single-handedly smashed the rule that said, “You need a big camera for pro-quality photos.”
And if you care at all about your photography, you’ll thank Sony for giving the camera industry a good hard shove into the future.
Tiny Camera to Rival the Pros [New York Times]
New York Times gadget columnist David Pogue knows something we don’t. In this year’s list of personal electronic recommendations, he has some glowing words for a soon-to-be-announced digital camera:
I bought the amazing Canon S100, a tiny pocket camera with the biggest sensor on the market. I wrote about my reasons here. But in two weeks, I’ll be switching my allegiance. You cannot believe what’s about to come down the photographic pike. Trust me: If you’re in the market for a small camera with astonishing photographic results, hold off for a few weeks.
Could he be talking about the Canon mirrorless camera that will reportedly be announced later this month?
What Pogue Actually Bought [NYT]
Image credit: David Pogue by eschipul