Why do we adhere to notions of objectivity in photography? Especially when it crushes creative storytelling from those that hold the camera? Photographers choose where their frame goes. They selectively choose what the audience will see, will believe. Right off the bat, any individual image is deceptive, because there is no peripheral vision. Peripheries provide the greater context. Storytellers may be interested in the periphery, but technical image makers (and the news feeds they keep buzzing) are not.
World Press Photo juror and VII photographer Donald Weber has interesting thoughts on the state of photojournalism.
Photographer Ian Willms reflects on what photography meant to him after his father was paralyzed in a motorcycle accident:
“[…] the photographs had grown into something much more than a visual diary. They had become a pivotal moment for my craft. As a documentary photographer, I was used to expressing the pain of others through my work. Never before had I been so emotionally connected to the subject matter that I was photographing. I did not concern myself with the purpose or meaning behind my photographs. I was acting solely on emotional impulse. If I felt it, I shot it and published it. There was no editor, curator, art director to answer to, except myself. The audience was anyone who cared to watch.”
Kodak is banking its future on a variety of 21st-century technologies, such as its Prosper digital printing presses and its push into using printing-related technologies for making such products as computer touchscreen films. But the company also has huge infrastructure and hundreds of local workers still dedicated to its 19th-century origins in making film […]
And while the business side of Kodak continues to try to find ways to keep the company’s movie film business profitable even as it shrinks, its manufacturing personnel deal with much the same problem — how to keep machines and operations that were built for vastly bigger volumes still going.
As Kodak struggles to adapt in a drastically changing market for film, its employees are having to wear all kinds of different hats.
According to The Verge, Shenzhen, China-based drone maker DJI is on track to do $1 billion in sales this year, double its 2014 revenue and eight times what it pulled in in 2013. It now dominates the consumer drone industry, and the Wall Street Journal says it “has become the first Chinese brand to pioneer a major new global consumer-product category.”
The company now has over 2,800 employees, offices in multiple countries around the world, and is reportedly raising funding from top venture capital firms in Silicon Valley — likely at multi-billion-dollar valuations.
More and more touristy attractions around the world are banning the selfie stick. The latest famous places to hop on the banning bandwagon include: the Palace of Versailles outside Paris, the National Gallery in London, and the Colosseum in Rome.
A look behind the scenes at the food department of the New York Times, where photographer Andrew Scrivani creates photographs of edibles for the newspaper. The photographer offers a glimpse into his studio and talks about his thought process in making food photos look delicious and desirable.
“Images of tortured, bloodied and bruised bodies go on display in the glittering halls of the UN in New York for the next 10 days, to remind staff ‘not to look away’ from the humanitarian crisis in Syria.”
“The photographs were part of a cache of 55,000 smuggled out of Syria on flash drives last year by ‘Caesar’, the code name given to a former Syrian military photographer who defected.”
“A documentary project about social issues is worth nothing if it doesn’t improve the lives of its subjects,” says photojournalist Tim Matsui.
“A redesign of the EF 50mm f/1.2L is under way we’re told. The new design will include a floating element like the EF 85 f/1.2L II and get rid of the focus shift problem that many experience with the current version of the lens.
The aim is also to make the lens lighter and speed up autofocus performance as well.”