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waderoush writes "In November, Lytro, the maker of the first light field camera for consumers, upgraded its viewer software to enable a feature called 'Perspective Shift.' In addition to refocusing pictures after they've been taken, Lytro audiences can now pivot between different virtual points of view, within a narrow baseline. This 3-D capability was baked into Lytro's technology from the start: 'The light field itself is inherently multidimensional [and] the 2-D refocusable picture that we launched with was just one way to represent that,' says Eric Cheng, Lytro's director of photography. But while Perspective Shift is currently little more than a novelty, the possibilities for future 3-D imaging are startling, especially as Lytro develops future devices with larger sensors — and therefore larger baselines, allowing more dramatic 3-D effects. Cheng says the company is already exploring future versions of its viewer software that would work on 3-D televisions. 'We are moving the power of photography from optics to computation,' he says. 'So when the public really demands 3-D content, we will be ready for it.'"

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Twenty-three years ago today, Jeff Widener ran out of film during the most important assignment of his life.

The brutal crackdown at Tiananmen Square was underway and Widener, a photographer for the Associated Press, was sent to the square to capture the scene. “I rode a bicycle to the Beijing Hotel,” Widener says. “Upon my arrival, I had to get past several Chinese security police in the lobby. If they stopped and searched me, they would have found all my gear and film hidden in my clothes.” But there, in the shadows of the hotel entrance, he saw a long-haired college kid wearing a dirty Rambo t-shirt, shorts and sandals. “I yelled out, ‘Hi Joe! Where you been?’ and then whispered that I was from AP.” Widener remembers. He asked to go to the young man’s room. “He picked up on it,” says Widener, “and out of the corner of my eye I could see the approaching security men turn away, thinking I was a hotel guest.”

The young man was an American. His name was Kirk Martsen.

Martsen told Widener that he was lucky to arrive when he did. Just a few minutes earlier, some hotel guests had been shot by a passing military truck full of Chinese soldiers. Martsen said hotel staff members had dragged the bodies back in the hotel and that he had barely escaped with his life. From a hotel balcony, Widener was able to take pictures with a long lens—but then he ran out of film. So he sent Martsen on a desperate hunt for more, and Martsen returned with one single roll of Fuji color negative. It was on this film that Widener captured one of the most iconic images in history, the lone protester facing down a row of Chinese tanks.

“After I made the image, I asked Kirk if he could smuggle my film out of the hotel on his bicycle to the AP office at the Diplomatic Compound,” Widener says. “He agreed to do this for me as I had to stay in the hotel and wait for more supplies and could not risk being found out. I watched Kirk from my balcony, which was right over the area where the security was. In what seemed to be an eternity, Kirk unlocked his bike and started to pedal off, although a bit awkwardly because all my film was stashed in his underwear. Five hours later, a call to Mark Avery at the AP office in Beijing confirmed that the film had arrived and been transmitted world-wide. What I did not know until 20 years later was what actually transpired after Kirk pedaled the bicycle away.”

On the 20th anniversary of Tiananmen Square, I wrote an article detailing each story behind the four different versions of the iconic scene on the Lens blog of the New York Times. At the time of publication, Widener wasn’t sure if the young man’s name was Kirk or Kurt. Soon after, Widener says, that changed: “I was on the computer and that familiar ‘You’ve Got Mail’ rang out on AOL. I could not believe who it was from. After 20 years, Kirk had found me because of the article in the New York Times.”

Widener discovered that Martsen encountered gunfire and more soldiers after he left with the precious film and that he became lost trying to navigate back streets to find the Associated Press office. Martsen went to the U.S. embassy and handed over the film to a U.S. Marine at the entrance, and told the embassy to forward the film to the AP office.

“Kirk risked his life,” Widener says. “If not for all of his efforts, my pictures may never have been seen.”

The next day, the image appeared on the front pages of newspapers around the world.

Courtesy Jeff Widener

Jeff Widener and his wife Corinna, whom he met while revisiting Tiananmen 20 years after he made the now-iconic photograph.

Years later, the BBC flew Widener back to China to revisit the Square where he made the iconic photo. While walking down Changan Avenue toward the square, Widener met a German teacher sitting on the sidewalk smoking. Widener introduced himself and they had lunch. They were married in July 2010. “If anyone had told me that I would return from that bullet-riddled street 20 years later to meet my future wife, I would have thought them nuts,” Widener says. “Fate has a strange sense of humor.”

Jeff Widener is an award-winning American photographer. See more of his work here.

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Name- Franklin Obregon
Age- 24
Where are you from?- Born in Caracas, Venezuela. Raised in Richmond, VA.
Your equipment- Olympus Stylus Epic for the most. Nikon dlsrs, Mamiya c330, Fuji Instax, Canon p&s other times.

Influences and photographers you like- Influenced by everything that I consume. All that I see, eat, hear has an effect on what I shoot and how I shoot it. It's all an attempt to encapsulate the feeling of the moment as to not forget. I have really bad memory so being able to look at a photograph and remembering how happy/sad/etc I felt at the time is key.
Photographers that I enjoy are Patrick Tobin, Noah Kalina, Jonathan Leder, Ana Kras, Lina Scheynius, Pierre Wayser, Martin Parr, Chad Moore, Chip Willis, Dimitri Karakostas, Lukasz Wierzbowski, and Michel Comte.
A little about you- There is a divide in the work that I produce, film vs. digital, the look and the overall effect. The film stuff has a narrative because it's essentially my life. I like film more because of the grain, the tonal range, and the fact that I won't really know what a photo will look like until I get it developed.
The digital is a once-in-a-while type of thing nowadays. The digital stuff that I shoot I feel is more clean, creamy. It's a whole different monster. Usually it's mostly used when I'm shooting models.
I am in the process of putting together a couple of new zines. I have one out now thru PogoBooks. Go check it out.
















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AKB48 took the top five slots on the Oricon singles charts this year, and its sister unit SKE48 took the #9 slot. Compared to the last few years, the AKB48 phenomenon has massively raised the number of records sold within the Top 10 — moving from a low in 2007 of only 4.3 million copies to now 9.5 million. And that growth was all AKB48. The “AKB48 Marketing Method” of encouraging fans to buy more than one copy each — known as AKB商法 in Japanese — evidently works!

The two other cult acts to take over the charts came from Johnny’s & Associates: boy band veteran Arashi (嵐) and brand new Kiss-My-Ft2, whose name sounds eerily like the broken part of an URL despite Johnny Kitagawa’s personal vendetta against this entire “Internet fad” that has been sweeping global culture.

The only other act on the singles charts is the kids behind the hit “Maru Maru Mori Mori!” — a novelty song that plays under the ending of a Fuji TV show. (Hear it here.) Children’s TV shows, such as moe-inspired “Cookin’ Idol I! My! Main!”, now all have this kind of digitized bubblegum sound that might as well be a sub-Nakata Perfume B-side. This particular song gets bonus points for existing outside of the relatively narrow idol-groupie world, but loses them immediately for sounding not so far from it.

While the music industry is probably patting itself on the back for strong singles sales from its top acts, notice that no one with a semblance of “musicality” can manage to sell singles in any meaningful numbers. Admittedly the album chart looks a bit better. Sure, Arashi and AKB48 took the top two spots, but there’s at least there’s some diversity beyond homegrown idol pop: two K-Pop entries Girls’ Generation and Kara, as well as people who write their own songs like Lady Gaga, Kuwata Keisuke, and non-threatening Sony group Ikimono Gakari.

If we time travel back to the distant year 2008, we can locate on the singles chart actual “bands” (apparently this is an old term for groups of musicians who wrote their own tunes and played “gigs” in “live houses,” sometimes with their own instruments) like Southern All-Stars or Mr. Children. This is no longer possible. The discrepancy here likely means that the singles market has become 100% dedicated to bands whose fans are either willing to pay whatever it takes for as few songs as possible (i.e., nerds, Johnny’s-obsessives) or too poor to buy albums (i.e., elementary school kids).

Since Oricon still plays the official role in society for determining what is “popular” despite the fact that purchasing music itself has become a slightly less-than-mainstream activity, J-Pop appears to be the complete dominion of idol groups and similarly infantile-sounding things. The only viable non-idol options are artists who have literally been around for decades — Kuwata, Amuro Namie, SMAP, B’z — powered by an army of ever grayer ex-young people.

This in part goes back to my “Great Shift” thesis, that “normal people” who used to like “music” stopped buying so-called “music,” so that only the loyal group fanatics are willing to shell out the money. Honestly if you don’t buy the group’s CD or two, you’re a terrible, horrible, sinful fan. And think about it: a decent, honest, devoted fan certainly doesn’t make a decision to buy the CD based on the quality of the music held within. That’s, I guess, for cynical people.

(And by the way, when I say CD here, I mean “compact disc.” The Japanese music market is still majority physical sales rather than digital downloads, and in general the industry remains very bent out of shape about the decline in CD sales. I suspect some of this stems from the fact that the record labels often don’t own master rights, which means they only make money from distributing and selling plastic. Whatever the case, selling a CD is possibly the most anti-consumer thing happening today. How many people you see every day walking around with a Discman? Yes, you must buy a physical object from which you can’t directly enjoy the audio on your own 21st century audio device.)

Anyway — had one of J-Pop’s non idol groups put out a song that captured the heart of ~1% of the nation, that entity would have dominated the charts. This did not happen. None of the non-idol groups or individuals managed to break the half-million mark, even with their albums. Kuwata managed to squeeze over 400K with MUSICMAN. Think about it: only .33% of the Japanese public needs to support a music group that formed in order to create original music, rather than because their status and money starved parents signed them up for indentured servitude at a local jimusho. Yet none of these “hey we are serious musicians!”-type groups can even win the hearts of 1/3 of a percent of the population anymore.

Not that “bands” are really having a moment in the rest of the universe either. The Billboard chart in the U.S. is filled with Katy Perry and LMFAO (although many Top 40 songs do show up on snobby critics’ best lists). I don’t necessarily pay attention to American radio pop, yet I did know that Cee Lo Green track “Fuck You” because it’s made so that no one could possibly dislike it and everyone’s seen that video of the girls singing Nicki Minaj’s “Super Bass.” Both of those songs are pretty decent singles from my narrow subjective point of view, but moreover, they seemed to have made a dent in wider society.

Meanwhile AKB48 is everywhere — and we mean everywhere — yet the musical component of this bikini collective is much more obscure. Sure the tracks are karaoke fodder, but the actual musical content of the top Oricon hits is otherwise confined to the rooms and headspace of hardcore fans. You can easily live an active life in Tokyo and never once hear any of these songs. Walk into a Tokyo store and sometimes you’ll hear AKB48, but you’re more likely to hear American Top 40 or some Usen station of 1980s power hits (“Private Eyes” etc.). Tsumari: The records with the “highest sales” don’t have “the most mindshare in the Zeitgeist.” Well, actually and sadly, these songs are the ones with the most mindshare, and today that means near nil in impact outside of the superfans.

But that’s what you get though when idol music — a promotional vehicle in audio format for a heart-warming young woman or 48 — is law of the land, and why it’s probably not worth paying attention to the Oricon singles charts as anything other than a measure of entertainers rather than musicians. This isn’t really an elitist argument. Again, go back a few years and you’ll find musicians who used to chart such as GReeeeN, Orange Range, and Kobukuro, who were far from being critical darlings but were non-idol music groups. Yet even these groups have faded into memory, enjoyed by only a tiny subset of human beings in Japan who like musical music enough to buy it.

I had the opportunity a few weeks ago to hear an actual live band play AKB48′s mega-hit “Heavy Rotation,” and stripped of the key video visuals of its diminutive singers in Frederick’s of Hollywood lingerie kissing each other (which I am led to believe by the commenters here that this is what Japanese girls get up to all the time), I had a chance to listen to the song as a song. Certainly one barrier to liking AKB48 is the otaku-pleasing aesthetics, which by their nature, should surely churn the stomach of someone in my snobby taste culture. (Arama They Didn’t readers, this is a good time to note that we exist in parallel “taste cultures” and you shouldn’t be offended that I don’t like the music of your world, as you most certainly would not like most of the stuff habitating my iPod. You would think that Faust is “weird,” and you’d be half-correct, but I wouldn’t get all “butthurt” and spam your comment filter if you weren’t into that Rustie album.)

Anyway, stripped of the AKB48 aesthetics that make AKB48 AKB48, “Heavy Rotation” mostly just sounds like a set of textbook J-Pop musical conventions stacked up against each other. The semi-anonymous songwriter Yamazaki Yo (山崎燿) apparently spends his non-AKB48 time working on anime themes and such, and I guess for the Akihabara millieu, total stability in melodic and production convention are key. The audience demands as such.

For the longest time though, pop music was the place in society you always looked for innovation. That’s the paradox of pop: You want what you know but with a slight twist so you feel like you are enjoying novelty and social change. This held pretty consistently in J-Pop as well. There was a time when all idol music was orchestrated. Then suddenly it was all synthesized. The melodies in the 1990s also drastically moved away from demi-”Oriental” kayokyoku and took on hints of R&B. J-Pop changed.

And this is what makes J-Pop now so disappointing to people who like “music.” Sure it’s sufficiently entertaining and shocking that the kids are into something so overly and openly otaku-esque, but the music itself is a little too familiar. It’s not even really “retro” and fighting against modern convention. We’ve not just heard these songs before — we’ve heard them recently. The otaku took over culture, and it turns out they are the arch-conservatives of pop, who want everything to hark back to a more simple age… of three years ago.

The Internet’s J-Pop true believers have a good point though — why waste time thinking about this music that I clearly don’t like. We should spend our energy cheering on the underground or the talented or the talented underground. But think about it — I like music, I live in Japan — I should therefore be interested in the nature of “music most popular in Japan.” What’s interesting, however, is that it’s not just fussy music fans like me that are disappointed not to find their own reflection in the mass culture mirror — it’s anyone who’s not an idol fan nor someone who got into their favorite band 10-30 years ago. I want to give the otaku a thumbs up for effort and go find some other artistic field to show interest in, but honestly-speaking, I’d like it even more if the Japanese music industry offered something for the rest of us too.

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Features and Essays 

Egypt, Cairo, Tahrir….

Moises Saman has been kicking ass with his Cairo work…NYT front page pics on several occasions during the last two weeks…This is the slideshow a lot of people were talking about over the weekend…

Moises Saman: Cairo Undone (NYT) Cairo Undone on Magnum site.

Saman hit the front page also today (November 29) with an image  (to-me maybe not so obvious choice) seen below, which can be found online in the NYT’s Egypt Turmoil slideshow…featuring work by various photographers.

photo: Moises Saman

Below image ran on the front page of the International Herald Tribune last week….You can see it in black and white in this Saman’s tweet…The colour version is up on Magnum Photos site…

Moises Saman: Unrest in Cairo: Egypt’s Revolution Continues (Magnum)

Miguel Angel Sanchez: Egyptians (NYT Lens) Angel Sanchez’s website

Davide Monteleone: Egypt Waiting (VII)

Espen Rasmussen: Beyond Tahrir Square (Panos)

Guy Martin: The Egyptian Revolution (Panos)

Trevor Snapp: Revolution Round Two? (Global Post) Full edit on photographer’s archive

NB. See later in this post regarding the latest TIME cover on Egypt that ran on all markets except the US. Filed under Articles.

Tim Hetherington’s last images on Magnum Photos…

Credit: Tim Hetherington. LIBYA. Misurata. April 20, 2011. Tim’s last photograph.

Tim Hetherington: The Libya Negs (Magnum)

Occupy Wall Street…

Christopher Anderson: OWS (New York Magazine)

Noticed that Ashley Gilbertson’s OWS series shot in October had sadly disappeared from VII site, but the reason turned out to be that New Yorker had put him on assignment (here’s a pic of him working)…I’m sure the series will reappear on VII in the future, but for now we can enjoy an edit on Photo Booth…good news: it includes new frames, such as the below one,  shot this month…

Ashley Gilbertson: Occupy Wall Street (Photo Booth)

Nina Berman: Occupy Wall Street (NOOR)

Related to OWS issues I would say… Great series on American poverty by Joakim Eskildsen…

Joakim Eskildsen: Photographs of American Poverty (Lightbox)

From the other side of the American political spectrum…

Jason Andrew: Tea Party: Under the banners of American Flags  (Reportage)

DRC and elections…

Finbarr O’Reilly: Deadly Election Violence in Congo (Reuters)

Jonathan Torgovnik: Rebuilding DRC (Reportage)

Pierre Gonnord: Relatos (Lightbox)

Liz Hingley: Under Gods (Lightbox)

Gillian Laub: Turkey Day (Lightbox)

Paul Fusco: DGI  29 (Magnum in Motion)

Alixandra Fazzina: The Flowers of Afghanistan: First Sea (Photographer’s archive)

Pep Bonet: Microcredit Peru (NOOR)

Chloe Dewe Mathews: Caspian (Foto8)

Saw and edit of this feature run in Time mag couple of weeks ago..

Xavier Zimbardo: Reconstruction of the Bolshoi Theatre (Reportage) Behind the scenes video with Xavier Zimbardo in French

Best of the year….

photo: Goran Tomasevic

Reuters : Best Photos of the Year 2011

photo: Lynsey Addario

VII – Best of 2011: Highlights of a Year in News   : VII photographers present their best images, shot or released in 2011

AFP: 2011 Pictures of the Year

Fan of David Cameron or not,these Tom Stoddart photos in Reportage Tumblr are worth seeing.Cameron by Stoddart for Sunday Times Magazine….

Tom Stoddart: David Cameron (Reportage Tumblr)

Andrew McConnell’s Gaza surfing series on Newsweek…Bummed I still haven’t received the first issue of my annual subscription… Would have loved to have seen this in print…

Andrew McConnell: Surf’s Up in Gaza (Newsweek)

McConnell from Gaza also, but very different…NGO piece…

Andrew McConnell: Regenerating Gaza (Guardian)


Giulio Di Sturco: Awash in Wrackage :  Japan (PDNPhotoaDay)

Kishin Shinoyama: After the Storm: Post-Tsunami Japan (Lightbox)

Donald Weber: Life After Zero Hour (VII) Japan

Davide Monteleone: Dusha: Russian Soul (VII)

Stefano di Luigi: Hidden China (VII)

Massimo Berruti: Lashkars in Pakistan (Lightbox) The series in Le Monde

Annie Leibovitz:  Pilgrimage (NYT)

Luceo Images: Few and Far Between (NYT Lens)

Joao Pina: Tracing the Shadows of Operation Condor (NYT Lens)

Andew Testa: Mind the Masterpiece (Panos)

Kacper Kowalski: Winter Photos from the Skies Above Poland (NYT Lens)

Jared Moossy: Mourning in Mogadishu (Foreign Policy)

Sebastian Liste: Urban Quilombo (Reportage)

Teun Voeten: Narco Estado (Magnum Emergency Fund)

Nick Cobbing: The Solid Sea (Photographer’s website)

Harvey Wang: A World of Change on the Lower East Side (NYT)

Robb Hill: Rural Home Town (NYT Lens)

Suzanne Opton: Soldier Down: Portraits (Lightbox)

Kirill Nikitenko: Russian Portraits of Defiance (Newsweek) Nikitenko’s website

Brian Van Der Brug: In Prison and Dying (LA Times Framework photo blog)

Lourdes Jeannette: Blood Ties (Lightbox)

Caged animals.

Asmita Parelkar: Not-So-Wild-Kingdom (NYT Lens)

Stuffed animals.

Klaus Pichler: Behind the Scenes Photos of Natural History (NYT Lens)

Guillaume Herbaut: The Zone (Project website) Now in English

Guillermo Arias: Tijuana River City (zReportage)

Kate Holt: The Real Cost of War (zReportage)

Natalie Naccache Mourad: Madaneh Marriages (photographer’s website)

Marc Lester: Living with Breast Cancer (Anchorage Daily News)

Oli Scarff: Winners at the Poultry Club’s 2011 national show (Guardian)

 Interviews and Talks

David Douglas Duncan (Lightbox)

Seamus Murphy (Verve Photo)

David Alan Harvey (Develop photo Vimeo)

Steve McCurry’s One-Minute Masterclass #6 (Phaidon)

Giles Duley : Becoming the Story (Economist)

Jason Larkin (Frontline club)

Alissa Everett : Giving up finance for photojournalism (CNN)

Sebastian Liste pt.1 / pt.2 (Daylight Magazine)

Marco Grob : How I Got That Shot: The 3-Minute Portrait (PDN)

Is this Annie Leibovitz and Fuji X100?

Annie Leibovitz (NPR)

Annie Leibovitz ♥’s Her iPhone Camera (PDN)

Jodi Bieber talks about the reaction to her World Press Photo winning photograph on The Strand (BBC)

Anastasia Taylor-Lind (The Broad’s Sheet)

Useful advice by Rachel Palmer…

Rachel Palmer : How to get a photography commission for an NGO (photographer’s/photo editor’s website)

Kate Peters (IdeasTap)

Eric White (MSNBC photo blog)

Lisa Pritchard : Ask an Agent 5 (LPA blog)

Liz Hingley : Turning point (NYT Lens)

BagNewsSalon webinar, “The Visual Politics of Occupy Wall Street.” :  4 December


BBC: The ‘genius’ of Tim Hetherington killed in war


Time magazine does it again….’dummying-up’ (I might have just made up that word) the US edition I mean… My mate Tim Fadek has the TIME cover this week with a terrific image from Cairo in all markets expect the US….

Peek inside…This is how Tim’s two other photos ran…


Business Insider: These Time Magazine Covers Explain Why Americans Know Nothing About The World

PDN: Israel Apologizes to Lynsey Addario

Saw Lynsey Addario ( @lynseyaddario) tweet a link to this Marie Claire piece on female photojournalists…Featuring Addario herself, Agnes Dherbeys, Erin Trieb, Stephanie Sinclair, and Andrea Bruce

photo: Stephanie Sinclair

Marie Claire: Female Photojournalists | “Once thought of as too frail for the job, five award-winning women photojournalists share their most vivd memories from the field — and the images they will never forget.”


NYT: Arrests and Attacks on Women Covering Protests in Cairo 

NYT: Software to Rate How Dratically Photos Are Retouched

PDN: Inside the Bestseller List: Top Photo Books of 2011

NYT: Shooting for Global Change (NYT Lens)

I was in Istanbul over the weekend, but sadly had no time to check out any of these exhibitions…

photo: Bruno Barbey

NYT: A Whirling Document of Turkish Culture

PDN: Cartier-Bresson Photo Sets Record at Christie’s Auction in Paris

Yahoo: Camera lost at sea returned with the help of social networking

TimeOut: Photography galleries in London

Dvafoto: Find Copyright Violations of Your Pictures With src-img Bookmarklet

A Photo Editor: Real World Estimates – Flat Rate Magazine Contracts

BJP: Editorial photographers hit by latest Getty Images cuts

BJP: Photographer Jean-Christian Bourcart wins the 2011 Prix Nadar for his book Camden

BJP: Celebrated printer Gene Nocon dies

Joerg Colberg: What Photographs Can and Cannot Do (Conscientious)

Guardian: Jodi Bieber’s Best Shot

Guardian: Featured Photojournalist Tim Wimborne

Photoshelter Guide: Selling Stock Photography

Foto8: Book review – Ben Lowy: Iraq Perspectives


A Photo Editor: This Week In Photography Books

Looking into some  heavy duty camera ‘bags’… Saw Greg Funnell tweet this review he had done in 2008…

Greg Funnell: Gear Review : Think Tank Airport Security Vs Pelican Case 1510 (Photographer’s blog)

Verve Photo: Jake Price

Awards, Grants, and Competitions 

photo: Jan Grarup

Leica Oskar Barnack Award will be accepting entries from 16 January 

College Photographer of the Year : International picture story winning images & judges screencast are online

Rory Peck Awards Winners

FotoEvidence Book Award open for submissions

Photo Lucida Critical Mass 2011 Winners

FotoVisura Grant

LPA Student Challenges 

Crowd Funding Crowdfunding photojournalism survey

Behind the smokescreen by Rocco Rorandelli ( featured on BJP

Grozny – Nine Cities by Kravets, Morina, Yushko ( project featured on NYT Lens in 2010

Agencies and Collectives

VII Newsletter

Panos Pictures newsletter

Statement Images submissions deadline extended


Look3 : Exhibits Coordinator

Saw these on Twitter…

New Yorker : spring multimedia intern (students only) : Contact kristina_budelis[at]

Redux is in need of an intern in NYC office : Adobe Creative Suite skills is necessary:  send an email to submissions[at] with Internship in the subject line

Intern for . Email with your CV

Desk Space

Roof Unit : London


Website relaunch…

Marcus Bleasdale

Benjamin Lowy : December 2011 Promo

Asmita Parelkar

Louis Quail

Caleb Ferguson

Marc Lester

Bruno Mancinelle

To finish off…

Very, very good Erroll Morris short… The Umbrella Man from NYT

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Brilliant street photography in NYT Lens by Matt Stuart yesterday…

Features and Essays - Matt Stuart: London, Very Dry, With a Twist (NYT Lens: November 2010)

Stuart’s website

Just in….

NEWS – World Press Photo 2011 Jury : “Nineteen recognized professionals in the field of press photography worldwide will judge the entries at the World Press Photo office in Amsterdam from 29 January until 10 February 2011.”

Some ‘polaroid’ work on the Reuters Full Focus blog…. Jim Young hasn’t gone the iPhone route as a lot of photographers lately, but chose the Fuji Instax as his tool…

Features and Essays - Jim Young: Presidential Polaroids (Reuters Full Focus blog: November 2010)

US mid-term elections coming up…Suau and Miller on TIME

Features and Essays - Anthony Suau: Scenes from the Stewart Colbert Rally (TIME: November 2010)

Features and Essays - Greg Miller: The Poll Workers (TIME: October 2010) The men and women charged with ensuring the integrity of the voting process

Features and Essays - Sven Torfinn: Proposed Road in Serengeti National Park (NYT: October 2010) Tanzania

Magnum Photos is now selling photos from Paolo Pellegrin’s first NatGeo assignment, Waters Wars,  published in National Geographic  Magazine in April this year…and which was also shown on NYT Lens and NPR Pictureshow… still worth checking this one out, as there are images which weren’t included on the three previous platforms…

Features and Essays – Paolo Pellegrin: Waters Wars (Magnum: 2010)

Features and Essays – Hossein Fatemi: The Surge (Panos: October 2010) Afghanistan

Features and Essays – Steve Pyke: Philosophers | article (NYT: October 2010)

InterviewsJR : Ted Prize (Ted: 2010)

Interviews - Christopher Morris : Mr President (VII Magazine: October 2010)

InterviewsAnastasia Taylor-Lind (Digital Photo Pro: 2010)

InterviewsLiz Hingley : A journey through Soho Road (Telegraph: October 2010)

I only recently discovered  - after having worked for the FT myself –  that the paper has a really good Life and Arts section on Saturday’s… The FT Magazine is great too…

Articles – Financial Times: Photographer Larry Clark’s muses (FT: October 2010)

TwitterGideon Mendel

Check this out!

EquipmentBlast Boxers

As a final note… 30,524 views in October… Thank you!

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Fuji’s Instax Mini camera creates credit card-size photos in a camera that comes in pink, blue, and white.
Polariod may be gone but Fuji has produced the Instax with permission from Polaroid. Though Fuji’s Instax Mini is no Polaroid, it is a great alternative for photographers who like instant gratification. The 5-inch by 5-inch by 2.5-inch camera sells for US$130, and film is about US$1 a photo.

Operation is easy - simply check the LED exposure indicator and press the shutter, a credit card-size instant color photo is ready in minutes - sharp and clear on Fuji instax film. Auto focus; auto flash; built-in lens cover; instructions included.

Extract from Urban Outfitters


Sponsored By: >Think>Draw>Make>

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