Photojournalism & social photography, cinematography, foto-reportage & cinematografia
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Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ?

Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ? | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Ils ont une trentaine d’années, peu d’expérience, pas de magazines derrière eux, et pourtant, ils décident de partir photographier des conflits, en supportant tous les coûts et sans aucune garantie de vendre leurs images.

Via Mario Pires
Vittorio Daniele's insight:

Hanno 30 anni, poca esperienza, nessuna testata giornalistica dietro di loro,  nessun incarico ma decidono di partire per fotografare in guerra, sobbarcandosi tutti i costi e non hanno nessuna garanzia di vendere le loro immagini. Questi fotogiornalisti, designati come la nuova generazione, sono costretti ad autoprodursi per iniziare a mostrare il loro lavoro e farsi conoscere.

Le spese da sostenere per almeno tre settimane a Gaza o in Siria sono molto alte. Per iniziare il biglietto aereo di andata e ritorno, vitto e alloggio. Ma una volta arrivati sul campo, ci sono altri tipi di spese fisse: l'interprete, una guida indispensabile per la logistica e per i collegamenti sul posto, auto a noleggio, assicurazione, giubbotti antiproiettile, casco, etc etc. Tutto questo  facilmente supera i 3000 €. Questo investimento è enorme per chiunque, e specialmente per i fotogiornalisti non ancora affermati e che non hanno nessuna certezza di riuscire a "piazzare" il loro lavoro. Con la grande crisi della carta stampata sono ormai sempre di più i fotografi free-lance sui campi di battaglia.La crisi  non ha colpito  solo  i giovani, ormai anche noi, quasi cinquantenni,  pur non andando in guerra, siamo costretti ad autoprodurci senza nessuna garanzia di riuscire a "piazzare" i nostri lavori.

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Mario Pires's curator insight, September 1, 2014 11:21 AM

"Je n’ai pas réellement choisi d’autoproduire mes sujets. Je suis arrivé dans le milieu il y a deux ans maintenant. Je ne disposais pas encore d’assez de contacts mais je voulais témoigner et produire. Je suis donc forcément passé par l’autoproduction en attendant d’avoir peut être la chance d’obtenir des commandes. Peut être qu’un jour j’attirerais l’attention de quelqu’un."

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The Myth of the Professional Camera

The Myth of the Professional Camera | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
The Myth of the Professional Camera

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Prague: Finding Josef Sudek

Prague: Finding Josef Sudek | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

Josef Sudek’s studio is not far from the tourist center of Prague but without the address or Siri you must navigate there the old fashioned way; “Do you know where Josef Sudek’s studio is located?”


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Mario Pires's curator insight, December 2, 2014 4:16 AM

"But rather than going straight there I recommend you walk up the street, looking till you find it. Not having the exact address made it seem to me more of a discovery, a chance for intuition to play its part. It made the finding seem all the better. Josef Sudek’s photographs are like that too, beautiful and waiting for you to find them."

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Revolution of the Drums

Revolution of the Drums | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
November 14, 2014 in all of Italy was a day of general strike. Thousands of people protested in all Italian squares from north to south. Rome.
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Discover Afghanistan through the lens of Larry Towell - Toronto Life

Discover Afghanistan through the lens of Larry Towell - Toronto Life | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
A great Canadian photographer brings his war photos to the Stephen Bulger Gallery.
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Robert Frank at 90: the photographer who revealed America won't look back

Robert Frank at 90: the photographer who revealed America won't look back | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Filled with images of loneliness and shadow, Frank’s The Americans stands as one of photography’s greatest works, while later works personal loss

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Mario Pires's curator insight, November 11, 2014 4:46 AM

Robert Frank is 90 years old on Sunday. The great pioneer and iconoclast has become a survivor, celebrated and revered, but still resolutely an outsider. One thing we can be sure of: he won’t be looking back.

The kind of photography I did is gone. It’s old. [...] There’s no point in it any more for me, and I get no satisfaction from trying to do it. There are too many pictures now. It’s overwhelming. A flood of images that passes by, and says, ‘why should we remember anything?’ There is too much to remember now, too much to take in.” 

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Getty Grants for Personal Photo Projects

Getty Grants for Personal Photo Projects | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
This year’s winners have tackled themes from South Africa’s post-apartheid generation to the lives of Arab women.
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LIFE AFTER ZOG AND OTHER STORIES | Chiara Tocci

LIFE AFTER ZOG AND OTHER STORIES | Chiara Tocci | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

Early 90s. South of Italy. I witnessed streams of Albanians docking on the shores of my hometown, after a long and brutal journey. Running away from a future they couldn’t hope for, towards something equally obscure and complex, they spread all over Europe. Their stories, imagined and presumed, occupied my thoughts: whom did they leave behind and what were they longing for?

After many years, the fascination for this enigmatic land and its people became a photographic journey and took me to the remote areas of High Albania. For the people of these lands, time has almost stood still. It’s an enchanted place inhabited by those who share the land with their ancestors’ ghosts. A place with no time. It’s as if time and history have abruptly stopped, without being able to forget the blood feuds that spread melancholic disillusions.


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Giving Away Photos to Make a Profit - New York Times (blog)

Giving Away Photos to Make a Profit - New York Times (blog) | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
New York Times (blog)
Giving Away Photos to Make a Profit
New York Times (blog)
The New York Times is almost the only major media organization which is still shooting a lot with your own staff. I mean it just doesn't happen anymore.
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The life and struggle of Garment workers | Photojournalist: Taslima Akhter

The life and struggle of Garment workers | Photojournalist: Taslima Akhter | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
“I wanted to be an artist by drawing and making handicraft but my dream is now ruined under the niddle of machine, under the rubble and sometimes by fire”- Lija a garment worker With a dream of living a better life million of workers from villages gather in workers barrack in cities. Lija, Modhumala, Shomapti, Masud, Brojesshwar are among them. Among more than 4 million workers 80% are women.  Surrounding the garment industries large workers barracks have grown in Bangladesh.  Workers toil from dawn to dusk for a minimum wage of BDT3000 taka a month (less than 37 $) till 2013.  Government declared a new gross minimum wage BDT 5300 ( near about $66) , which is not sufficient for them to survive. This 4 million workers are not more demanding. They don’t have any dream to have car-house, even any luxury item in life. They want only coarse rice-cloth and a little roof over the head to stay anyway. They want to send their children to school. They don’t want to send their children i

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Photo report's curator insight, February 14, 2014 4:37 PM

 Taslima Akhter turned to documentary photography after many years as an activist with workers’ and women's rights organizations with whom she continues to work. She considers her documentary photography as a continuation of her activism. As a photographer, she likes to work on issues relating to gender, the environment and culture, as well as exploring spaces of social discrimination. Taslima's photo "Final Embrace" was selected as one of TIME Magazine’s top 10 photos of 2013.

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Teaser: If you don't cry..... - YouTube

©2014 Vittorio Daniele
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Anteprima dal mio reportage multimediale "Se non piangi con gli occhi...piangerai col tuo cuore" 

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Monsoon | Photojournalism: Steve McCurry

Monsoon | Photojournalism: Steve McCurry | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

"I was eleven years old when I saw a photo essay on the monsoon in India in Life Magazine by Brian Brake, the New Zealand-born Magnum photographer.

His work established his reputation as a master color photoessayist. Twenty years later, I proposed a story to National Geographic to photograph the monsoon. The next year I joined Magnum Photos.

People have often asked me what it was like spending almost a year photographing the monsoon. I spent several months following the monsoon which affects half the people on the planet.

Weather is often my best ally as I try to capture the perfect mood for my pictures, but photographing the monsoon was an experience that taught me a lot about patience and humility.

 

Photographing in heavy rain is difficult because you have to constantly wipe the rain drops from the camera lens. That takes about a third of the time. Monsoon rain is accompanied by winds that try to wrestle away the umbrella that is wedged between my head and shoulders.

I spent four days, in a flooded city in Gujarat, India, wading around the streets in waist-deep water that was filled with bloated animal carcasses and other waste material. The fetid water enveloped me leaving a greasy film over my clothes and body. Every night when I returned to my flooded hotel, empty except for a nightwatchman, I bathed my shriveled feet in disinfectant.

 

Once I was almost sucked down into one of the holes in the street in Bombay into which water was rushing. It took every bit of my strength to keep from losing my balance. After that close call, I shuffled along, inch by inch, yard by yard, until I had to abandon my cautious instincts.

I had to see the monsoon as a predictable yearly event, and not the disaster it seemed to my western eyes. The farmers experience the monsoon as an almost religious experience as they watch their fields come back to life after being parched for half the year.

 

When I was in Porbundar, the historic birthplace of Gandhi, I came upon a dog. There he was, locked out of the house, standing on a tiny piece of concrete as the flood waters rose. His expression betrayed his emotions. You can tell by the picture that he realizes his predicament and hope his owner opens the door soon.

Actually, a moment after I took the picture, the door opened and he ran inside."- Steve Mccurry


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Lagos as a paradise by Benedicte Kurzen | NOOR

Lagos as a paradise by Benedicte Kurzen  | NOOR | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

"The Nigerian megapolis is a buzzing hub, a new Far West, which attracts thousands of Nigerians from the worldwide diaspora. A certain euphoria runs through the city. The city is growing so fast that no one knows if the number of inhabitants is twelve or sixteen millions."


Via Alessandro Zanini
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Benedicte Kurzen (NOOR) racconta Lagos Nigeria

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Alessandro Zanini's curator insight, September 29, 2013 9:27 AM

Benedicte Kurzen racconta Lagos contemporanea.


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20 Years of Ebola, and How Photography Has Changed

20 Years of Ebola, and How Photography Has Changed | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

With all the visual focus on Ebola, a photography writer asked me the other day how the news photos of the outbreak this year compared with those from the past two decades.


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Mario Pires's curator insight, November 20, 2014 5:24 AM

"It seems photojournalism today seeks to much more intentionally stir strong feelings and emotions. In so many instances, however, one has to ask how much the emotion ups our knowledge and and information value versus how much its stimulation, eliciting feelings like sadness, concern or pity at the expense of a more humanistic and insightful view."

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When Photographers Become Self-Publishing Companies

When Photographers Become Self-Publishing Companies | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

An increasing number of photographers are bypassing traditional photo book publishers, setting up, instead, their own imprints.


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Mario Pires's curator insight, December 4, 2014 7:18 AM

"For these photographers-turned-publishers, the logic goes as follows: if they’re going to spend thousands of dollars to see their series turned into a book, they might as well pay for the freedom to do it the way they want. And, if they’re going to jump through the many hoops that come with publishing work independently, they might just as well do it twice."

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The World's Most Influential Photo Book Returns

The World's Most Influential Photo Book Returns | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
62 years after it was first published, a new edition of Henri Cartier-Bresson's masterpiece The Decisive Moment is coming
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Everyday Iraq: Beyond Islam and Primitivism

Everyday Iraq: Beyond Islam and Primitivism | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Have you’ve been following the “Everyday” feeds on Instagram?

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Mario Pires's curator insight, November 10, 2014 4:29 AM

"If newswire images of that country are filled with war, pestilence and plenty of sand, not to mention ramshackle surroundings and hives of men fervently prostrating themselves in dusty streets as if lost in time, this couldn’t be more different. Praying beside his aircraft, the photo of this pilot flies in the face of difference, primitivism and all that is ancient."

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south sudan: on the eve of independence | francesco zizola

south sudan: on the eve of independence | francesco zizola | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
"On 9th of July 2011 a new country will be born in Africa. The Republic of South Sudan will be the 54th African state and the 193rd nation in the world. But South Sudan is a very poor country, despite its large oil reserves, which account for 98 percent of its income.
South Sudan’s economy is mainly pastoral, and cattle herding is the most important activity. Agriculture and fishery are comparatively sparse, although the Nile runs through the region.
South Sudan’s society is deeply divided along tribal lines. The main clan is the Dinka, a pastoral semi-nomadic population. Violence is endemic to the region, often as a consequences of cattle ownership issues. But violence is also very much fed by the uncountable number of weapons circulating in the country, the heavy legacy of a 30 year long civil war against North Sudan.
© Text Pietro Veronese"
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Revisiting Life and Death in Africa

Revisiting Life and Death in Africa | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Yunghi Kim went to Somalia 20 years ago expecting to cover a famine. She found herself instead in a war zone.
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Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ?

Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ? | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Ils ont une trentaine d’années, peu d’expérience, pas de magazines derrière eux, et pourtant, ils décident de partir photographier des conflits, en supportant tous les coûts et sans aucune garantie de vendre leurs images.

Via Mario Pires
Vittorio Daniele's insight:

Hanno 30 anni, poca esperienza, nessuna testata giornalistica dietro di loro,  nessun incarico ma decidono di partire per fotografare in guerra, sobbarcandosi tutti i costi e non hanno nessuna garanzia di vendere le loro immagini. Questi fotogiornalisti, designati come la nuova generazione, sono costretti ad autoprodursi per iniziare a mostrare il loro lavoro e farsi conoscere.

Le spese da sostenere per almeno tre settimane a Gaza o in Siria sono molto alte. Per iniziare il biglietto aereo di andata e ritorno, vitto e alloggio. Ma una volta arrivati sul campo, ci sono altri tipi di spese fisse: l'interprete, una guida indispensabile per la logistica e per i collegamenti sul posto, auto a noleggio, assicurazione, giubbotti antiproiettile, casco, etc etc. Tutto questo  facilmente supera i 3000 €. Questo investimento è enorme per chiunque, e specialmente per i fotogiornalisti non ancora affermati e che non hanno nessuna certezza di riuscire a "piazzare" il loro lavoro. Con la grande crisi della carta stampata sono ormai sempre di più i fotografi free-lance sui campi di battaglia.La crisi  non ha colpito  solo  i giovani, ormai anche noi, quasi cinquantenni,  pur non andando in guerra, siamo costretti ad autoprodurci senza nessuna garanzia di riuscire a "piazzare" i nostri lavori.

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Mario Pires's curator insight, September 1, 2014 11:21 AM

"Je n’ai pas réellement choisi d’autoproduire mes sujets. Je suis arrivé dans le milieu il y a deux ans maintenant. Je ne disposais pas encore d’assez de contacts mais je voulais témoigner et produire. Je suis donc forcément passé par l’autoproduction en attendant d’avoir peut être la chance d’obtenir des commandes. Peut être qu’un jour j’attirerais l’attention de quelqu’un."

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OCCUPIED PLEASURES | Photojournalist: Tanya Habjouqa - Award-winning photographer 2014 photo contest

OCCUPIED PLEASURES | Photojournalist: Tanya Habjouqa - Award-winning photographer 2014 photo contest | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

OCCUPIED PLEASURES

03 June 2013

A woman in Gaza without a travel permit marches through the silent dark of an underground tunnel on her way to a party in Egypt, clutching a bouquet of flowers.

More than four million Palestinians live in the West Bank, Gaza, and East Jerusalem, where the political situation regularly intrudes upon the most mundane of moments. People’s movements are circumscribed and the threat of violence often hangs overhead. This is an exploration of the small moments of pleasure where ordinary men and women demonstrate a desire to live, not just simply survive.


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Photo report's curator insight, February 14, 2014 4:57 PM

Tanya Habjouqa was born in Jordan and educated in the United States, receiving her masters in Global Media and Middle East Politics from the University of London SOAS. Beginning her career in Texas, she documented Mexican migrant communities and urban poverty before returning to the Middle East.

Tanya is known for gaining unique access to sensitive gender, social, and human rights stories in the Middle East. She is a freelance photographer, features writer, and a founding member of the Rawiya photo collective (founded by five female photographers from across the Middle East).

She is a recipient of the Magnum Foundation 2013 Emergency Fund for her project ‘Occupied Pleasures’.

Habjouqa has worked on the front lines in Iraq, Lebanon, Darfur, and Gaza. Her series ‘Women of Gaza’ is in the permanent collection of the Museum of Fine Arts, Boston.

Based in East Jerusalem, she is working on personal projects that explore socio-political dynamics, identity politics, occupation, and subcultures of the Levant.

 WORLD PRESS PHOTO INVOLVEMENTAward-winning photographer 2014 photo contest
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Can Photojournalism Survive in the Instagram Era?

Can Photojournalism Survive in the Instagram Era? | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Renowned photography theorist Fred Ritchin has a simple message for those behind the camera: Innovate or die. (Can Photojournalism Survive in the Instagram Era?

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Robert Capa’s Unpublished Color Photographs Debut at ICP | LightBox | TIME.com

Robert Capa’s Unpublished Color Photographs Debut at ICP | LightBox | TIME.com | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it

A new show at the International Center of Photography sheds light on some of Robert Capa's rare color photographs.

A new show at the International Center of Photography in New York offers an extraordinary chance to see more than 125 unpublished and unseen color photographs by Capa.


Via Alessandro Zanini
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125 fotografie a colori di Robert Capa

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Alessandro Zanini's curator insight, January 13, 2014 5:10 PM

125 fotografie inedite di Robert Capa sono esposte presso ICP di New York

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Steve McCurry “Untold: The Stories Behind The Photographs”

Steve McCurry “Untold: The Stories Behind The Photographs” | Photojournalism & social photography, cinematography, foto-reportage & cinematografia | Scoop.it
Mother and child looking in through a taxi window, Bombay, India, 1993 © Steve McCurry/Magnum Photos   “Compelling photography doesn’t require exotic travel, but I needed to wander and explore.” Steve McCurry Untold   It’s a cliché, almost as old...

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