If all Naughty Dog did in bringing The Last of Us Remastered to the PlayStation 4 was upgrade the post-apocalyptic PS3 hit’s graphics and boost the frame rate, a lot of people would have been satisfied enough. But there’s another way that the game looks better than ever: its photo mode, which lets you freeze the action at any time to compose and share beautiful still pictures. The mode is the work of Jason Gregory and Artem Kovalovs, who were tasked by the studio’s co-presidents with building upon the photo tools found in fellow Sony PS4 title Infamous: Second Son.
We Are All Glassholes Now —The Verge
Some would say that we’ve crossed the threshold of photos being too abundant,” says Jurgenson, who’s now a researcher at Snapchat. “[Years ago] if you saw someone taking a photo you’d stop and say ‘That must be important.’ Now, you convey respect and importance by not taking a photo.
[...]The smartphone is to photography what streaming services are to the music industry. Whatever you want is available wherever you want it and for free. Consumers rule while artists, the makers of creative content try to pull as much of their creative work from the Internet as they can. Because it’s not them making money. Domination and monopoly is the name of the game in the Web marketplace.
When you’ve captured as many photographs as renowned photographer Annie Leibovitz has, it’s not exactly a simple task to pick and choose your best work. Shooting for over four decades for the likes of Rolling Stone and Vanity Fair, her collection of work is as vast as it is rich.
And so, when it came time to create her latest book, rather than selecting just a few dozen of her photographs, she decided to step it up… a lot. Her latest book is a $2,500, 476-page visual journey through every single step of Leibovitz career. Read more…
Screams, smiles and selfies —DuckRabbit
Truth is, photography’s strength is also its greatest weakness. A photograph can tell you where someone was, it can tell you when they were there, it may reveal what they did, it may show their face (or it may not). But although it – a ‘selfie’ – may appear to make comment, in truth it tells us absolutely nothing about the motives of the person who took it. And perversely these images and our responses to them, actually reveal more about us, and our prejudices, than they do about the taker.
This past March Leica announced the opening of a new flagship store. It sits on Hanamikoji Street in the Gion district of Kyoto, Japan.
A few people thinking a drone is spying on them is one thing, but if you look at how so many people want to use drones–farmers, police, pizza parlors, UPS, etc.–you see that this is really a popular new technology, and will soon be ubiquitous; and we’ll have to adjust to it, as we always do with our heedless acceptance of new technologies.”
There are a lot of behaviors that are not entirely illegal that are profoundly destructive to an individual’s life, or to society’s fabric. Relying on legalistic definitions of “public” would only make sense if our legal system were thoughtful and current in its definition of the concept.
His subjects hold the photographer in high esteem, telling him these images could prompt their bosses to improve conditions or pay. That’s unlikely, Asif, says: “I don’t think photography can change everything. I’m not that kind of dreamer.” But, he admits, “I see that you can make an impact on public consciousness.”