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By Wired, on May 16th, 2012
The winner of this year’s Webby for best use of photography, “God’s Lake Narrows,” is a multimedia project that takes viewers inside a Canadian Indian reservation and tells director Kevin Lee Burton’s personal story of growing up there. Burton left Gods Lake when he was 15 because the reservation’s school only goes through the 9th grade. But Burton says he was secretly happy to get away because people on the reservation often bullied him for being queer and half white. “It was complicated and it was shitty,” he says about life in Gods Lake. “I had to walk away and reassess my judgment, my self hate, my perspective.” Moving beyond any bitterness, Burton demonstrates an affection for the town and allows outsiders to understand the community in a deep and nuanced way. “People can argue until they are blue in the face about stereotypes, but I generally find that very tired,” he says. “I like to make my political points very subtly and to allow the viewer to come to their own conclusions.” Much like in the United States, he says, native peoples in Canada have long been viewed as either the logos we see on baseball hats or drunks on the local news. “People don’t see us as very complicated,” says Burton, 32, who is now based in Winnipeg. “Instead they see us as clichés.” Many photo projects about impoverished communities can fall flat because they are told from a distance. Burton’s personal approach does away with journalistic neutrality, and instead gains an intimacy necessary for doing the story justice. In an attempt to make the experience personal for audiences as well, the piece opens by tracking the viewer’s geographic location and calculating the distance from Gods Lake Narrows — which for most people is hundreds, if not thousands of miles away. “All things considered I’m going to bet you’ve never visited,” Burton writes in the opening text piece. In picture after picture, rundown homes generate assumptions in the viewer about the people who live there. Those assumptions are bent as the photos move inside the homes, face-to-face with the residents — many of whom are members of Burton’s family. Feeding off what Burton acknowledges is probably a voyeuristic curiosity, the photos confirm some prejudices and refute others. There are holes in walls and mismatched wallpapers, but also flatscreens and laptops. No matter what impression the viewer comes away with, it’s more nuanced than the one he or she started with . “I’m not trying to badger people who are non-native,” he says. “It’s more like ‘come in for tea and get to know us.’ To me it feels a little bit grandmotherly in terms of its tone.” Burton hired photographer Scott Benesiinaabanda to shoot the photos back in 2010. Burton didn’t want to take the photos himself because he felt like hiding his face behind the camera would have created a barrier between him and the family and community members he would’ve been photographing. The photos were originally displayed that year as a part of a gallery exhibit in Winnipeg. At the show, the photos were hung in a circle, and from the outside viewers could only see the exteriors of the houses. To see the interior photos, viewers had to enter the circle. Alicia Smith, a producer with the National Film Board of Canada — a nationally funded organization that helps artists and filmmakers with their projects — saw that exhibit and says she was immediately taken by the experience of passing from outside in. “It’s hard for me to admit, but it challenged my own assumptions about reserve life,” she says. “And to experience those interiors was really moving.” Afterwards, Smith spoke with Burton about turning the project into a multimedia piece. They spoke about their own differences in understanding and ended up using the conversation as a kind of guide for how to shuttle an audience through a similar experience online. “It wasn’t an easy dialogue,” Smith says. “You feel like you’re walking on eggshells when you deal with that subject in general. But Kevin is really inclusive and our conversation just worked.” Burton says he feels like the dialogue was key to the piece’s success. “I feel very close to her now because we were able to come from two different worlds and ask each other questions and create something out of it,” he says. Supported by the Film Board, Burton, Smith and a team of people including Benesiinaabanda and a sound person spent months recording and producing the piece, which was originally released in 2011. For Burton, the project was a homecoming of sorts. After more than 15 years, he says, it was time to come back. His family knew that he had become a film director, but didn’t know exactly what he did. By choosing Gods Lake Narrows for this project, Burton says he was able to bring his new life back home and share it in a way that made sense. His family and community were able to see how he works, creating a much needed bridge. “I wanted to reverse the flow and also show them my world,” he says. “And I wanted my family back and my community back.”
Read the original:
Director’s Homecoming Spawns Award-Winning Photo Project
By Photography Blog, on May 15th, 2012
Fujifilm has released half a dozen sample images taken with the Fujfilm X100 large-sensor compact camera and the new WCL-X100 wide-angle conversion lens. Read more and comment
By Wired, on May 15th, 2012
Using tiny props, the Carmichael Collective has built a series of small remembrances for dead bugs they found around their office and on the street. The “Bug Memorials” project documents these shrines in photos and a short YouTube video. Dave Damman, the driving force behind the collective, says the project is all about perspective. “We live in this world where we feel like it’s big news if Kim Kardashian changes her pants, so why in that same world can’t we take a moment to acknowledge the death of a moth,” he says. While ad agencies are known for their creative output, few people would refer to their mercenary creations as art. The Carmichael Collective is hoping to change that. Comprised of employees from Carmichael Lynch , a Minneapolis-based ad agency, the group has become a creative outlet for those at the company who want to make art but not worry about coming up with the catchiest hook or most client-pleasing video clip. “I’ve always wanted to be in a position to provide an environment where we could let the horses loose,” says Damman, who is also the chief creative officer. He just wants employees to have fun. “There is no over-think here,” he says. Changing our conception from “a fly’s death” to “ this fly’s death,” and making it personal, is a clever premise. Does that fly you just swatted have a personality? Is that cockroach you just squashed a unique snowflake? The Mother Teresa of cockroaches? “The more we don’t answer people’s questions the better it gets,” Damman says.
Read more here:
Photo Project Memorializes Fallen Insects
By Photography Blog, on May 15th, 2012
PromarkBRANDS is celebrating National Photography Month during May on the company’s Facebook and Twitter pages. Read more and comment
By Photography Blog, on May 15th, 2012
Data recovery, file repair and PC optimisation software utility company, Yodot Software, has released its latest software to recover lost and involuntarily deleted photos on Mac OS X. Read more and comment
By Photography Blog, on May 15th, 2012
Fujifilm has launched the Fujifilm WCL-X100, a 0.8x wide-angle converter for the Fujifilm X100 large-sensor compact camera. Read more and comment
By Photography Blog, on May 14th, 2012
Olympus have expanded their Micro Four Thirds family with the launch of the OM-D E-M5. Boasting the World’s fastest autofocus system, the E-M5 brings the original design ethos of the 1970′s film OM series kicking and screaming into the 21st century. Read our expert Olympus E-M5 review to find out if it’s the best compact system camera on the market. Read the review
By Wired, on May 14th, 2012
> In recent years, the photo collective has emerged as a clear and strategic response by photographers who’ve reasoned that – in uncertain times – there is strength in numbers. “In an industry that has become increasingly disjointed and often predatory upon its contributors, the collective has become a final refuge and place of community,” reasons Justin Maxon, founding member of Razón collective. “The collective provides not only creative inspiration, but also a sense of support that can be lacking in this field.” Photo collectives differ in organization and intent, but tend to sprout from existing friendships. Some are little more than loose affiliations, other collectives are full-on business enterprises. On any given day, members of a collective may be brainstorming story ideas, editing others’ images, marketing, developing the brand, cranking social media or helping partners draft contracts and model releases. It is not uncommon for photographers in a collective to be geographically dispersed, some internationally. From serious discussions on branding and distribution to just chatting and catching up, regular video chats are the standard. Of course, photographers rallying together is not a new thing. Magnum Photos, founded in 1947, along with large, contemporary groups such as VII and Noor Images, operate along the cooperative/agency model. These three groups license images and employ administrative staff in central offices whereas the smaller collectives — featured here — tend to work with lower overheads. We contacted members of various emergent collectives to find out what they’ve learned during their infant years. In a collective of four, is the workload quartered or quadrupled? What sort of assistance do members provide one another? Do collectives advance careers and opportunities? What are the downsides? What are the tangible benefits of collectivism? Above: Collective: LUCEO Established : December, 2007 Members : Matt Slaby, Daryl Peveto, David Walter Banks, Kendrick Brinson, Matt Eich, Kevin German. The Name : Luceo is Latin for “sparkle; shine; become light; become visible.” Hotshots of collaboration, LUCEO have hustled a rock-solid brand in a relatively short time frame. Networking and community building can go hand-in-hand; members host workshops, guest lecture at colleges and run their own student photography award. They don’t, however, refer to themselves as a collective. They feel their personal financial investment situates them differently to other photo cabals. “We go beyond gathering our work in a common space and that is why we identify as a cooperative, in the most traditional sense,” says member Kendrick Brinson. “We are a business that is run by our photographers who do work for the group as marketers, accountants, PR directors, designers, managers. Each of us focuses on our strengths…. Each of us does work for the others every day.” Luceo’s approach has been identified as pioneering. For the New York Times, James Estrin wrote, “the success of Luceo is a very good rebuttal to those who believe photojournalism is dead.” Luceo are proving that self-starter groups of photographers can partially replace the age-old newsroom. “I joined Luceo while I was on staff at a newspaper but looking for an out,” says Brinson. “I loved shooting daily for one community but in terms of my bank account and my happiness, I had to move on. Luceo offered a creative way of being and creating something bigger than anything I could have done on my own.” Out of dozens of submitted portfolios to Luceo, only that of newest member, Daryl Peveto, has ever secured an invite to join. “We take adding members very seriously. Luceo is built upon our members’ photos as well as the work each of us puts in to run the business,” says Brinson. Luceo has twice-annual business meetings in person and weekly hour-long business-planning meetings every week online. Members are expected to be present at every meeting. “I didn’t enter the life of a freelancer with a lot of business and marketing knowledge and have learned so much from Luceo in terms of running a business,” says Brinson. “I have a group of strong photographers who offer me help with ideas on photo projects, edit new and old work, read through a contract I don’t understand, and market my work. I can’t sit back and take a passive role in the business because if we all don’t fulfill our roles then the company can’t function properly. I have five people counting on me and holding me accountable.” Above photo: The Sun City Aqua Suns, a synchronized swim team made up of retirees, walk a red carpet at the Lakeview Recreation Center in Sun City, AZ, December 10, 2010. Sun City, America’s first and largest retirement city, with more than 40,000 residents 55 and older, marked its 50th anniversary in 2010. By Kendrick Brinson. > View all
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Continued here:
7 Budding Photo Collectives You Need to Know
By Wired, on May 14th, 2012
> In recent years, the photo collective has emerged as a clear and strategic response by photographers who’ve reasoned that – in uncertain times – there is strength in numbers. “In an industry that has become increasingly disjointed and often predatory upon its contributors, the collective has become a final refuge and place of community,” reasons Justin Maxon, founding member of Razón collective. “The collective provides not only creative inspiration, but also a sense of support that can be lacking in this field.” Photo collectives differ in organization and intent, but tend to sprout from existing friendships. Some are little more than loose affiliations, other collectives are full-on business enterprises. On any given day, members of a collective may be brainstorming story ideas, editing others’ images, marketing, developing the brand, cranking social media or helping partners draft contracts and model releases. It is not uncommon for photographers in a collective to be geographically dispersed, some internationally. From serious discussions on branding and distribution to just chatting and catching up, regular video chats are the standard. Of course, photographers rallying together is not a new thing. Magnum Photos, founded in 1947, along with large, contemporary groups such as VII and Noor Images, operate along the cooperative/agency model. These three groups license images and employ administrative staff in central offices whereas the smaller collectives — featured here — tend to work with lower overheads. We contacted members of various emergent collectives to find out what they’ve learned during their infant years. In a collective of four, is the workload quartered or quadrupled? What sort of assistance do members provide one another? Do collectives advance careers and opportunities? What are the downsides? What are the tangible benefits of collectivism? Above: Collective: LUCEO Established : December, 2007 Members : Matt Slaby, Daryl Peveto, David Walter Banks, Kendrick Brinson, Matt Eich, Kevin German. The Name : Luceo is Latin for “sparkle; shine; become light; become visible.” Hotshots of collaboration, LUCEO have hustled a rock-solid brand in a relatively short time frame. Networking and community building can go hand-in-hand; members host workshops, guest lecture at colleges and run their own student photography award. They don’t, however, refer to themselves as a collective. They feel their personal financial investment situates them differently to other photo cabals. “We go beyond gathering our work in a common space and that is why we identify as a cooperative, in the most traditional sense,” says member Kendrick Brinson. “We are a business that is run by our photographers who do work for the group as marketers, accountants, PR directors, designers, managers. Each of us focuses on our strengths…. Each of us does work for the others every day.” Luceo’s approach has been identified as pioneering. Writing for the New York Times, James Estrin wrote, “the success of Luceo is a very good rebuttal to those who believe photojournalism is dead.” Luceo are proving that self-starter groups of photographers can partially replace the age-old newsroom. “I joined Luceo while I was on staff at a newspaper but looking for an out,” says Brinson. “I loved shooting daily for one community but in terms of my bank account and my happiness, I had to move on. Luceo offered a creative way of being and creating something bigger than anything I could have done on my own.” Out of dozens of submitted portfolios to Luceo, only that of newest member, Daryl Peveto, has ever secured an invite to join. “We take adding members very seriously. Luceo is built upon our members’ photos as well as the work each of us puts in to run the business,” says Brinson. Luceo has twice-annual business meetings in person and weekly hour-long business-planning meetings every week online. Members are expected to be present at every meeting. “I didn’t enter the life of a freelancer with a lot of business and marketing knowledge and have learned so much from Luceo in terms of running a business,” says Brinson. “I have a group of strong photographers who offer me help with ideas on photo projects, edit new and old work, read through a contract I don’t understand, and market my work. I can’t sit back and take a passive role in the business because if we all don’t fulfill our roles then the company can’t function properly. I have five people counting on me and holding me accountable.” Above photo: The Sun City Aqua Suns, a synchronized swim team made up of retirees, walk a red carpet at the Lakeview Recreation Center in Sun City, AZ, December 10, 2010. Sun City, America’s first and largest retirement city, with more than 40,000 residents 55 and older, marked its 50th anniversary in 2010. By Kendrick Brinson. > View all
Go here to see the original:
Forging New Paths? 7 Budding Photo Collectives Speak
By Photography Blog, on May 14th, 2012
Sigma has released a firmware update for the Sigma SD1 and Sigma SD1 Merrill digital SLR cameras. Read more and comment
By Photography Blog, on May 14th, 2012
DxO Labs have released an update to DxO FilmPack, which adds compatibility with Adobe Photoshop CS6. Read more and comment
By Photography Blog, on May 14th, 2012
BlueCam Free is a new camera app for the Apple iPad. Read more and comment
By Photography Blog, on May 14th, 2012
Akvis has released updates to Akvis Sketch, ArtWork and ArtSuite. Read more and comment
By Photography Blog, on May 14th, 2012
LPA Design has announced a firmware release plan for the PocketWizard MiniTT1 and FlexTT5 radios to address compatibility with several new Nikon and Canon cameras and flashes, as well as the new Sekonic RT-32CTL module. Read more and comment
By DPreview, on May 11th, 2012
Just posted: Sony Cyber-shot DSC-HX200V in-depth review. The second review expanded from Jeff Keller’s work at the Digital Camera Resource Page looks at Sony’s latest full-size superzoom camera. The Sony HX200V combines the company’s latest 18MP back-lit CMOS sensor with a 30x zoom lens giving a 27-810mm equivalent range. There’s image stabilization, as you’d expect for such a long zoom range and, as indicated by the ‘V’ in the model name, it also has built-in GPS. So does this add up to a perfect vacation camera or an unwieldy confection? Read the full review to find out.
Read more here:
Just Posted: Sony Cyber-shot DSC-HX200V review
By Photography Blog, on May 11th, 2012
Athentech Imaging has released updates to both the iPhone and iPad versions of its Perfectly Clear app. Read more and comment
By Photography Blog, on May 11th, 2012
Unified Color Technologies have announced an upcoming free webinar on architectural HDR photography to be hosted by professional photographer Michael James. Read more and comment
By Photography Blog, on May 11th, 2012
Darlings of Chelsea have announced a photography competition centred around the theme of “Environment”. Read more and comment
By Photography Blog, on May 11th, 2012
Adobe today announced the immediate availability of Adobe Creative Cloud. Read more and comment
By Photography Blog, on May 11th, 2012
Leica has launched the Leica S-Adapter H accesory, which allows all Hasselblad H-system lenses to be mounted on a Leica S2 camera body. Read more and comment
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