:: A PROPOSITO DEL FUTBOL Y LO QUE SE MUEVE EN SURAFRICA

durante estos fabulosos ias de mundial de futbol (con todo lo oscuro que eso significa) he estado pensando seriamente acerca del fenomeno denominado "INCLUSION SOCIAL" ese cuento de llevar las cosas fuera de sus lugares naturales, o por lo menos tradicionales y entronizarlas en sitios en donde no perteneces. Asi poues en medio de la "inclusion Social" a la FIFA se le ocurrio llevar el mundial de futbol a Surafrica para que desde alla se viviera la "pasion del balon" (cosa que no comparto ni disfruto). yo me sigo preguntando porque en un lugar en donde suceden este tipo de cosas se hace un mundial de futbol? con todas las barbaridades que eso significa? bueno.. quien mejor para acompañar mis ideas que Mr Finbarr O reily, un fotografo de la agencia Reuters que admiro profundamente por su trabajo. aqui se los dejo con su reportaje "Poverty, and littl sympathy in South Africa.

http://lens.blogs.nytimes.com/2010/06/25/behind-45/

::WORLD PRESS PHOTO WINNERS LIST

Justo ayer mientras veia unas fotos de Raul Arboleda de AFP acerca de los asesinatos en las comunas de Medellin pensabamos que fotos como esas impresionarian a los jurados de un concurso como el World Press Photo... y esactamente eso fue lo que sucedio. no podia faltsar la foto del muerto en medallo...
Una vez mas el concurso de fotografia de prensa mas prestigioso del mudno dio a conocer los resultados acerca de las mejores fotos del 2009, como siempre fotos espectacualres, unas como normalitas y otras que se queda uno pensando, como por ejemplo "Sunday picnic, mozambique" de Joan Bardeletti o Graham, anorexic teenage, de Laura Pannack, entre otras... fotos mas bien insipidas para mi, pero seguro los jurados del WPP tendran la razon y a mi me falta muuuuuuucho por aprender.

bueno, una vez mas tenemos en Colombia temas de sobra para hacernos a ese tipo de premios... entonces que es lo que falta? ni idea... pero ahi les dejo la inquietud.

ha y el link del world press photo para que vean la galeria completa de ganadores y opinen ustedes mismos:

http://www.worldpressphoto.org/index.php?option=com_photogallery&task=blogsection&id=20&Itemid=257&bandwidth=high

::AYPERI KARABUDA, PRIMERA SEMANA DE JUZGAMIENTO EN EL WORLD PRESS PHOTO CONTEST

Aqui les dejo un video de la mesa de jurados del World Press Photo Contest en el que cuentan como es la seleccion de las mejores fotografias del mundo tomadas durante el 2009

http://www.worldpressphoto.org/index.php?option=com_slideshow&area=showSlideshow&task=view&id=27&Itemid=254&bandwidth=high

y para que se entisuasmen un poco, de cierre la frase con la que la directora finaliza el video:

"buenas fotos individuales pero hay menos variedad de historias..."

Essay: Too Many Angles on Suffering? (tomado del new york times)

la tragedia de Haiti dio mucho que hablar, y mucho que fotografias, grandes figuras del fotoperiodismo como James Nachtwey estuvieron alli apuntando con su camara y contando historias, sin embargo surge la duda, son demasiados fotografos en Haiti? aqui les dejo un texto redactado a vairas manos entre fotoperiodistas y editores. espero que sea una buena guia para trabajos posteriores.

Essay: Too Many Angles on Suffering?

By PATRICK WITTY

Update | 4:00 p.m., Monday, Feb. 8: The following post, written by The Times’s international picture editor, raises engaging, important and contentious questions. And, frankly, it has touched more than one nerve. Ron Haviv of the VII agency and Christopher Anderson of Magnum sought a chance to elaborate publicly on their quoted remarks. And Damon Winter, one of five photographers who were working in Haiti on assignment from The Times, also thought there was more to be said on the subject. We welcome their essays, which will be found at the end of the post. We believe they’ll broaden this already vital discussion.

---

Original post | Photographers from across the globe descended on Haiti last month after the earthquake. As the death toll grew, more photographers arrived — some with a deep history of working in Haiti or in conflict zones, some with neither. Some photographers were sent on assignment, supported by the budgets of large news organizations. Some went on their own dime.

Rodrigo Abd/Associated Press A policeman aimed his rifle at looters in downtown Port-au-Prince on Jan. 26.

At one point there were almost certainly too many photographers in Haiti. But which point?

This question is scarcely new. It attends every war, every conflict; each famine, disaster and political upheaval.

“I think it goes without saying that I believe it important that photographers are there to document the event,” said Uriel Sinai, a photographer for Getty Images, who was there.

Few would disagree. But the scope of coverage in Haiti seems to exist on a different scale. Ron Haviv of the VII agency said that in times of crisis, Haiti is a “haven for photographers.”

“Amazing story, people and images are there,” said Mr. Haviv, who has been traveling to Haiti for 20 years and made pictures there after the earthquake. “Being so accessible and inexpensive has always led to an abundance — and sometimes overabundance — of photographers during the various coups, insurrections and natural disasters. Quite often during these times, it was normal for three to six photographers, plus the occasional TV crew, to be all working the same scene.”

Mr. Sinai acknowledged that “it feels awkward when you get to a scene of violence, tragedy, or chaos, et cetera, and there are more photographers around a subject than there are even people at the scene.”

“When you are there in the moment, and there are photographers crawling all over the place, it simply feels weird,” he said.

It’s worth noting that in troubled areas around the world — not just Haiti — numerous photographers often are in the same place at the same time, frequently traveling there together.

“First and foremost, it’s an issue of safety,” said David Gilkey, a photographer for National Public Radio. But he does not see this as an impediment to good coverage. “Even though you are traveling with another photographer, you are almost never duplicating each other’s work,” Mr. Gilkey said. “While two people may be looking at the same thing, they’re seeing it in different ways.”

More than a dozen photographers covered the landing of U.S. troops at the ruined National Palace on Jan. 19. The scene recalled a photograph by Alex Webb of American soldiers landing on the beach in Haiti in 1994, facing what looked like a battery of news photographers. This year, many photographers were drawn to a statue, untouched by the earthquake, standing solemnly amid the destruction. Besides those in the slide show, other versions were taken by James Nachtwey, Charles Ommanney and Riccardo Venturi.

There is no question a tragedy of this magnitude demands a thousand eyes or even more. But do they all have to be staring at the same thing? When does redundant become intrusive?

Carl Juste/The Miami Herald (Associated Press) Sarla Chand recovering on Jan. 14 after being buried under rubble for more than two days.

Some photographers drew the line at themselves. Despite having worked in Haiti many times, for instance, Christopher Anderson of Magnum decided to avoid the earthquake and its immediate aftermath. “I have never felt comfortable covering natural disasters,” he said.

Wars and other types of human-made tragedies are different. There are questions of right and wrong, justice and injustice, political complications, et cetera. I feel like my voice as an observer has a purpose.

But with an earthquake or tsunami, I don’t have a purpose. There is no need for explanation or contemplation. There is only the immediate need for the news photographers to go and report what has happened.

I am not a news photographer. I would just be composing pictures of misery. Not to mention being another mouth to feed and another camera in the face of someone who has just lost everything. In the days and weeks immediately after something like this, all that matters is that the news pictures help drive a response of aid. I didn’t feel like there was anything I could add to that. They didn’t need me getting in the way.

Paradoxically, the question could soon become: are there enough photographers covering Haiti?

As celebrity television journalists begin to leave and the spotlight on Haiti dims, photography, in many ways, becomes even more crucial. Lynsey Addario, who arrives in Haiti Thursday on assignment for The New York Times, said she felt conflict about not going just after the earthquake struck. But she realized that important stories will need to be told as the recovery continues.

“While the first phase of the Haiti story is coming to an end, there is a whole new stage of people moving on with their lives, and trying to rebuild what they can in a totally shattered psychological and physical infrastructure,” Ms. Addario said. “I sometimes feel I can be a more effective photographer, and do more in-depth coverage, if I do spend more time on stories without the ‘pack’, and choose subjects that I feel are lacking coverage.”

“There will be many quiet, important features to do.”

---

Ron Haviv

The photographic community has been debating within itself how best to cover the story and help the Haitian people through our work. The conversations have ranged from “No one should go with just a camera — one should bring shovels and first aid as well” to “No photographer should go without a guaranteed commitment from a publication” — thereby meaning freelancers shouldn’t go.

Other issues, such as “A photographer will be taking food/water and sleeping quarters from the displaced” to “How dare anyone go, since photographers are paid and therefore we would be exploiting people’s suffering for our own benefit?” have been discussed as well.

These are all interesting conversations to have. Some have moved into the public realm, such as the piece debating whether there are too many photographers covering a story and where is the line drawn between respect for the subject and the need to document.

I am of the belief that in our world of fragmented media, it is important for photographers such as myself to go to the field and document and communicate with the world what is happening.

There will be times when there is more than one camera in a certain scene. When someone is shown the scene of photographers surrounding someone in turmoil, an obvious reaction can be one of revulsion. While I have no qualms about people seeing how we work, if one were to look at the images that those photographers had taken, the reaction would be quite different; one, hopefully, of a connection with the subject by the viewer.

All of these questions have come up as I have worked in Haiti and other places. Over the years, Haiti has always been known in times of news as a haven for photographers. An amazing story, people and images are there. Being so accessible and inexpensive, Haiti has always had an abundance — and sometimes overabundance — of photographers during the various coups, insurrections and natural disasters.

Quite often during these times, it was normal for three to six photographers, plus the occasional TV crew, to be all working the same scene. Even during the U.S. “invasion” [in 1994], there were multiple numbers of journalists crowded into small areas.

What I found remarkable about being in Haiti after the earthquake was how few times I saw other journalists, aside from those I was sharing my vehicle with. I knew that there were more journalists on the ground in Haiti than probably ever before, because we would see each other at various hotels when we would file our images. But in the field, I saw them only occasionally and that was most often when there was a large fire in conjunction with looting and the smoke — seen from around the city — served as a signal.

When thinking why this was so, it was sobering. The destruction in the capital and the outlying regions was so great, and the effect on the population so far reaching, that we all had our work to do. It was rarely necessary for us to be in the same place en masse because everywhere you turned there was a story to tell.

---

Damon Winter

As the post concludes: yes, we should be asking ourselves if there are enough journalists there, not too many.

I agree with Ron Haviv that the magnitude of the disaster and subsequent story is so enormous that it is impossible for any one photographer or dozen or 50 to adequately portray it.

For the first two weeks in Haiti, I never once ran into my colleague Michael Appleton, even though we did not coordinate what we were planning to cover on any given day. I would estimate that 80 percent of the pictures I made were in situations where I was the only photographer around, aside from the other journalists sharing the same vehicle and translator. This is a much higher percentage than when I am working in New York, where any fire, murder scene or high-profile perp walk attracts dozens and dozens of photographers, reporters and television journalists.

There were nowhere near as many photographers in Haiti as there were in New York covering the aftermath of the 9/11 attacks. Haiti’s proximity to the United States — and our relationship and history with that nation — made the disaster very relevant to our readership and relatively accessible to journalists. Perhaps it was more thoroughly covered than recent disasters like the earthquake in Pakistan or the tsunami in Indonesia, but I think this is more a question of not enough attention there, rather than too much in Haiti.

I shared a plane with Mr. Haviv from New York to Santo Domingo early in the morning of Wednesday, Jan. 13. I remember him looking around the waiting room and saying that if this had happened 10 or even five years ago, the plane would have been filled with freelance photographers on their way to cover the earthquake.

But this is 2010, and the industry and the state of photojournalism cannot support that flood of imagery. There are fewer eyes on the ground now; fewer witnesses, not more. And that, to me, is a sad thing.

For two weeks, I looked over the shoulders of other photographers who would come back with images that were completely different than mine, that told different stories; stories that I would never have seen — even being there from the beginning — were it not for their work.

I cannot speak for the intentions of all the photographers who went to Haiti. I myself was asked and subsequently assigned to go by Patrick Witty, The Times’s international picture editor and the author of this post. Many others went with an assignment from a newspaper or magazine, some with assignments from N.G.O.’s or relief groups wanting to document their role in the recovery. Some went on their own. Of those who went on their own, I am sure that the intentions were mixed. But for the most part, I believe it was because those people believe in what they do, in their chosen profession and their need to inform the world through their photography.

There are very few staff positions left in this industry and not everyone has the luxury to go on a paid assignment. The work that someone like myself or another newspaper photographer may produce is closely tied to the work that is done by the newspaper as a whole. Independent photojournalists have more freedom to look in different places, to pursue stories that are longer and more in-depth, to focus on a particular person or issue to which they are drawn. We each have our role to play and all of those roles, when added together, are the only way a story like this can be truly covered.

I remember photographing a young man who had been apprehended by the Haitian National Police and accused of looting from the ruins of the Ministry of the Interior. I was the only journalist to watch as he was dragged from the rubble of the building, kicked, stepped on and made to crawl on his stomach in front of a crowd of angry bystanders. I took photos as police removed a tangle of computer cables from the building and planted them on him as they accused him of stealing computer equipment. He pleaded with them, saying that he was just looking through the rubble for building materials to make a shelter, as many people were doing across the city.

People stood by powerless. I photographed the young man as he cried in the back of the police truck, handcuffed to another man. He called my translator over and thanked us and thanked God that we were there to witness this, because otherwise he feared they would have beaten him — or worse. My translator was able to tell the U.N. investigator what happened when he arrived on the scene.

I was reminded that day how important our presence alone can be.

On the other hand, on several occasions I was forced to walk away from situations that were flooded with journalists and I found it beyond my personal limits to participate.

For instance, the funeral of Archbishop Joseph Serge Miot was the first real public event since the earthquake and the first real chance for expression of public grief. All the photographers were gathered for the first time in one place, at a small and solemn affair in the courtyard of the ruined national cathedral. Some very prominent photographers worked their way into the ceremony so that they were practically on top of the casket. Others were within inches of the grieving family. All rules of decorum seemed to go out the window. I decided that I didn’t want to be a part of that, and made my way out of the ceremony, instead spending time observing mourners on the periphery. After the ceremony, the funeral procession was impeded by the mob of photographers as it tried to make its way to the cemetery for the burial. I did not follow.

On the day before I left Haiti, press releases were circulating about a memorial service in Titanyen, the site of the mass graves for thousands of victims. After photographing the first few mourners arriving at this dusty field on a rural hillside — pictures that seemed quiet, poignant and reverent — I quickly realized that the event was more of a political rally for supporters of the ousted former President Jean-Bertrand Aristide than a sincere forum for Haitians to grieve for their lost. In a tasteless and despicable display, the supporters had used a decomposed human body as a prop for their event, placing it conveniently near an open but empty grave alongside a neat pile of fresh building rubble. The body was to be lifted by a bulldozer and dropped into the ground later for maximum effect. Photographers swarmed around the corpse, trying to make a picture, without asking themselves why it was there and why they were making that image. I wanted no part of this and I left 10 minutes into the ceremony.

These, of course, are questions more of how we choose to conduct ourselves and of how we think critically about what we are seeing when we’re out covering a story. These are the same questions we face on every assignment, in every corner of the globe.

The fact remains that we need to be there.

The notion that photographers took resources from people who needed them is absolutely unfounded. Anyone who covered the earthquake knows that there was food in Haiti. There was food in the markets and vendors sold food on every street corner. The problem is that people have no money. They have lost everything and can no longer afford to provide for themselves and their families. For the first few days, I would argue that the only money coming into Haiti was from journalists. We consumed food; we hired local journalists, drivers and translators; and we sought shelter in local hotels, which continued to employ large staffs, all of which we paid for. No resources were lost or denied because of our presence. To suggest this is naïve and irresponsible.

As to the image of the statue: Ken Jarecke made the argument eloquently in comment No. 21. Perhaps I can add some thoughts from my experience. [Mr. Winter's is the fifth picture in the slide show.]

My own favorite photograph from this scene was not of the statue, but rather of a man dutifully sweeping the sidewalk in front of his shop — almost oblivious to the massive fire burning in the background — continuing on with life in the face of such destruction. Many other photographers were drawn to the scene around the statute. If I had decided that I didn’t need to look because they already had the situation covered, I would have missed that very telling image of the shopkeeper.

So, yes, I chose to look where others had already. It is a choice we face almost every day, both in places like Haiti and in our own backyards. There is very little new in photography, very little that hasn’t been done before. But we must still keep looking, observing, exploring and pushing the shutter button. It is the very heart of what we do.

---

Christopher Anderson

To friends and colleagues who covered the Haiti earthquake, let me clarify my comments.

Some readers and responders, taking what I said out of context, viewed it as a criticism of those who covered this story. In fact, I defend the need for multiple photographers on the ground. The part that was published on this blog was an insight into my own personal thought process when weighing whether or not to jump on a plane. I believe that if one reads carefully what I said, it is clear that I am not criticizing anyone’s decision to go.

When I say that I worry I might be “another mouth to feed,” I do not mean to suggest that any of you prevented someone else from eating. I was speaking more metaphorically about wondering whether I would just be in the way, or able to contribute something because of my presence.

I regret that this sentiment might have contributed to an idea that any Haitian went without food or water because of the presence of even one single journalist. It should be said for the record — as Damon Winter did — that this is simply not how things work on the ground in events like this. Haiti had an earthquake, not a famine.

Essay, Alex Webb, Carl Juste, Charles Ommanney, Christopher Anderson, Damon Winter, David Gilkey, Essay, James Nachtwey, Julien Tack, Lynsey Addario, Patrick Witty, Ricardo Arduengo, Riccardo Venturi, Rodrigo Abd, Ron Haviv, Shawn Thew, Uriel Sinai, Win McNamee

::LAS CALLES DE LA MUERTE /MAGNUM PHOTOS

les rcomiendo este exelente trabajo con la redaccion de Simon Romero y las fotografias de Cristopher Anderson de la agencia Magnum.
http://lens.blogs.nytimes.com/2009/09/18/showcase-53/

::MANUEL SALDARRIAGA PREMIO DE FOTOGRAFIA REY DE ESPAÑA 2010

El fotografo colombiano Manuel Saldarriaga, reportero grafico de El Colombiano, recibio el primer puesto en la categoria de foografia de el premio de priodismo Rey de España. felicitaciones a Manuel y recomendado para lso fotoperiodistas que vean su trabajo en www.manuelsaldarriaga.blogspot.com

::FAZAL SHEIKH EN BOGOTA

Artista, fotógrafo y documentalista, este sujeto que se crió en el centro de Nueva York pero que no puede esconder su esencia árabe recorre el mundo con su Rolleiflex de 1957 en la mano registrando diferentes sociedades; nunca ha usado una cámara digital, solo dispara su Rollei de medio formato y después se pasa días en el laboratorio de revelado.

Ya se ganó el premio Henry Cartier-Bresson y la medalla Leica de la excelencia entre otros; y tenemos el gusto de tener su exposición colgada en el museo de arte de la Biblioteca Luis Angel Arango

Lo que yo realmente no entiendo es como invitan a un fotógrafo de esta talla a Bogota, y el tipo da una conferencia espectacular acerca de fotografía documental y NINGUN fotógrafo de prensa de NINGUN medio va a la conferencia.... que esta pasando? El Tiempo, El Espectador, EL periódico de los Colombianos, Colprensa, agencias EFE, Reuters, AFP, AP.... nadie.... no había nadie... bueno.. será que no les gusta el trabajo de Sheikh? o será que no les interesa el fotodocuemntalismo?

De todas formas los invito a que se pasen por el museo de arte de la Luis Angel Arango porque la exposición realmente vale la pena, mientras tanto aquí les dejo las propias palabras de Fazal Sheikh

“It is one thing to photograph a group of people, it is another to try to understand them. For that you need time, and patience, and an innate respect for difference – the gulf between your own religion, politics, economic status, language, and those of
the person in front of you. Trying to bridge that gulf with a camera invites suspicion and mis-representation. But at a time when traditional photographic coverage is often limited to a brief stopover and a search for sensational images, the need to take time and represent and understand the people whose lives and values are very different from our own is greater than ever.

To travel, and to observe carefully and with sympathy the people whose lands he travels through, has been Fazal Sheikh’s practice from the beginning. Most often his work has been with displaced people driven out of their homelands by civil wars, drought and famine, struggling to survive for years in refugee camps where the traditional balance of their lives has been entirely destroyed. He has worked in camps in Kenya, Malawi and Tanzania, where people fleeing conflicts in Sudan, Ethiopia, Somalia, Mozambique and Rwanda were gathered. In the mid-1990s he found Afghan refugees living in camps, who had fled after the Soviet invasion of their country. At the end of that decade he returned to the camps in Kenya where Somali refugees had been living for a decade. He found children he had photographed ten years before, now grown into adolescents, who knew nothing but life in the camps. Since then he has worked in Mexico, Cuba, Brazil and, most recently India, where his latest book, Moksha, examines
the lives of India’s dispossessed widows.

In all these communities, the photographs that result are not dramatic nor do they attempt to shock. They are contemplative and respectful: the product of a watchful intelligence. Fazal Sheikh not only makes pictures, he interviews the people he photographs about their lives, transcripts of which appear in his books and exhibitions, to which he adds his own commentary on the people, their country, and the situation in which he finds them.

In 2000, so that this work might be more freely available, he established the International Human Rights Series, which, in collaboration with international galleries, institutions and human rights organizations, uses publications, exhibitions and the Internet to reach a much wider audience." Fazal Sheikh

si quieren ver mas acerca de este fotografo pueden visitar www.fazalsheikh.org

:: MAESTROS DEL CLIK, LOS 30 FOTOGRAFOS MAS INFLUYENTES SEGUN PDN

Bueno señores, preparense porque estos son segun la revista PDN on line www.pdnonline.com los 30 fotografos mas influyentes de la decada. aqui va el listado.

ESTOS TRES GRANDES PREFERIDOS NO TIENEN PAGINA WEB, PERO NO CREO QUE LA NECESITEN…

SEBASTIAO SALGADO
ANNIE LEIBOVITZ
IRVING PENN

ESTOS TIENEN PAGINA, RECOMENDADO QUE LOS VISITEN, HAY MUCHO QUE VER Y QUE APRENDER:

SETH RESNICK http://www.sethresnick.com/
ED KASHI http://www.edkashi.com/
ALEXANDER GARZA http://www.onibla.com/#/client/template.xml?aaa=home&bbb=
JAY MAISEL http://www.jaymaisel.com/
NEVADA WIER http://www.nevadawier.com/
ERIC MEOLA http://www.ericmeola.com/
JAMES NACHTWEY http://www.jamesnachtwey.com/
PETER DAZELEY http://www.peterdazeley.com/
KEVIN MAZUR http://www.kevinmazurphotography.com/
JASMINE STAR http://jasmine-star.com/
JOE MCNALLY http://portfolio.joemcnally.com/
STEPHEN WILKES http://www.stephenwilkes.com/
LYNN GOLDSMITH http://www.lynngoldsmith.com/
ERWIN OLAF http://www.erwinolaf.com/

Y ESTOS SON FOTOGRAFOS DE BODAS, TIENEN UN BUEN TRABAJO, QUIENES ESTEN INTERESADOS PPUEDEN BUSCARLOS EN LA WEB.

CHRIS FAWKES
BECKER
YAZYJO
STEVEN FONTAS
DANE SANDERS
KRISTIN REIMER
JOSE VILLA
BEBB STUDIOS
SCOTT MC KIERNAN
JESSICA CLAIRE
BOB DAVIS
CHRISTINA WILCOX
MIKE COLON

la eleccion de fotografos fe realizada a partir de votantes que podrian elegir entre fotogrtafos vivos actualmente, asi que recomendadisimo ver el trabjo de estos maestros del clik

::UNA ALTERNATIVA DE PRENSA "LIBRE"

http://www.demotix.com/

Una recomendacion para los interesados en el periodismo ciudadano.

Con la popularizacion de la fotografia y el acseso masivo a los medios de publicacion esta alternativa ofrece la posibilidad de publicar en grandes medios o por lo menos de mostrar al mundo las perspectivas individuales acerca de los asuntos que atañen a la prensa.
Por otro lado es un buen punto de partida para darse a conocer como reportero grafico y hacer un poco de dinero con tus fotografias.

Asi que estan si estabas en el momento justo y en el lugar indicado e hiciste "clik" animate y entra a http://www.demotix.com/ y publica tu trabajo

::WORKSHOPS EN TODO EL MUNDO

El concepto de fotografia contemporanea se esta reescribiendo a cada segundo, sin embargo no podemos dejar a un lado a grandes nombres como Nikos Economopoulus a quien me encontre
surfeando la "güe" y que ofrece este workshop

http://events.magnumphotos.com/workshop/road-workshop-istanbul-nikos-economopoulos?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+MagnumPhotosEvents+%28Magnum+Photos+Events%29

una oportunidad fantastica para aprender al lado de los mejores. pero no es el unico workshop:

Este es de agencia Magnum en Australia
http://events.magnumphotos.com/magnum-workshop/magnum-workshop-fremantle?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+MagnumPhotosEvents+%28Magnum+Photos+Events%29

Este es de Foundry:
http://www.foundryphotoworkshop.org/

Este es de SnapFactory
http://classes.snapfactory.com/collections/frontpage/products/digital-photography-101

definitivamente la mejor forma de aprender fotografia: disparando con los mejores.

::PENSANDO EN EL FREELANCE

Para los que creen que el contratico es eterno,para los que aun no han pensado en "mañana" aqui les dejo pa que se pongan pilas aqui les dejo este texto de Jhon Harrington que encontre en

http://blog.photoshelter.com/2010/01/10-things-all-staff-photographers-must-do-right-now.html?utm_campaign=misc%20blog&utm_medium=link&utm_source=twitter&utm_content=simple

Asi que muchachos: a trabajar se dijo

The 10 Things All Staff Photographers Must Do Right Now

During the last few days of 2009, the Washington Times unexpectedly eliminated all nine of their staff photographer positions. The news spread fast and furious throughout the photo community. Photographers who were still fortunate enough to maintain a staff position somewhere got another wake-up call - they could be next.

With all the layoffs we've seen in the industry in the past few years, what surprises me most, however, is how common it is for a staff photographer to be "surprised" with the news of their own layoff. They are very often leaving themselves totally unprepared for life as a freelancer.

"The staff photographer who believes he will have a job in 10 years is kidding himself," says John Harrington in his book "Best Business Practices for Photographers".

The writing is very clearly on the wall, so I thought I'd ask Harrington, a freelance photographer, blogger and author, to help me come up with a list of things that photographers (both staff, and former staff) should be doing immediately.


The 10 Things a Not-Yet-Laid-Off Staffer Must Do

1. Know that it is not a matter of if, but a matter of when, you will lose your job. No one gets gold watches these days, and your company, no matter how much you think they care about you, only cares about the bottom line. Don't take it personally, it's not personal, it's just business.

2. Save, save, save. You should have at least 6 months (if not a year or 18 months) worth of savings that will sustain you.

3. Establish your online presence, including a website with your URL, and a professional e-mail address (that means no @gmail or @hotmail accounts!)

4. Over time, build out your businesses infrastructure. Acquire a laptop, cameras/lenses, cell phone, and street legal software (stealing Photoshop is bad karma for people stealing your photos).

5. Determine your cost of doing business in the event that you are no longer subsidized by your full-time employer. The best tool to help you do this is the NPPA's Cost of Doing Business Calculator.

6. Establish your policies and prepare your contracts. Knowing what you will not do (i.e. work-made-for-hire), and also the terms under which you will do it, will be important. These policies should apply to all the freelance/side work you are doing.

7. Establish your rates for all your current freelance work so that it is not considered "gravy", but rather revenue from a client at a rate that, if that was your only income, would sustain itself. Nothing is worse than having a dozen freelance clients at $200 an assignment when, if you were not a full-time employee, it would have cost you $500 to do the job, not to mention earn a profit. Not only are you using your employer as a subsidizer for that job, but you are setting the bar way too low for your freelance brethren and they won't appreciate it.

8. Fight for your freelancers. If you can figure out that from your $45,000 a year job as a staffer, that your benefits/gear brings the companies' total cost for you to $52,000, you cost them $1,000 a week, or $200 a day. When your paper can get a freelancer for $150 a day - and only when they need them, how long do you think it will be before the accounting department considers you replaceable? Make sure that freelancers are paid an assignment rate that is at least 20% higher than you, and that the publication/organization gets only the rights they need.

9. Grow a select clientele during your days off that appreciates the opportunity to work with you, and focus on who you would want your clients to be if you had more time to freelance, as well as knowing that segment of the industry. (i.e. weddings, unit photography, or annual report photography).

10. Lather, rinse, repeat.

Photographers who have been recently laid-off should not panic. It's not the end of the world, and there is life after-staff.

The 10 Things a Recently Laid-off Photographer Must Do

1. Determine if the freelance life is for you, or if finding another staff position is what is best. Be honest.

2. Ascertain how much your personal "burn rate" is, and how long it will be before you are broke, without any assignment revenue.

3. Establish your online presence, including a website with your URL, and a professional e-mail address (that means no @gmail or @hotmail accounts!)

4. Build out your businesses infrastructure. Acquire a laptop, cameras/lenses, cell phone, and street legal software (stealing Photoshop is bad karma for people stealing your photos). If you can't afford cameras/lenses, in many locales you can rent them per day. Further, some things can be bought from the company that laid you off, so ask.

5. Determine your cost of doing business. This is a variation on #1, however in this case, it's not about how much cash you're burning through, but about how much it costs to sustain you each day. The best tool to help you do this is the NPPA's Cost of Doing Business Calculator.

6. Establish your policies and prepare your contracts. Knowing what you will not do (i.e. work-made-for-hire) and also the terms under which you will do it will be important.

7. Determine what you can live without. My priority list is: 1) Roof over my head, 2) power, 3) phone, 4) computer, 5) internet, 6) food. Really. Cut the cable out, and whatever non-critical-to-existence expenses you're making.

8. Reach out to your network of colleagues about sub-contracting work from them they can't do. Second-shoot a wedding, or take on an assignment that they've double-booked.

9. Focus on who your clients could be, and who your dream clients are, and then begin an outreach program to them that includes the best method to make that outreach. It could be emails/calls/go-sees/portfolio ship/etc.

10. Know that you won't be getting much sleep as you ramp up from zero to 60 your business. It will take all of your effort (and then some) to succeed.

::TESTIMONIO DE DOS FOTOGRAFOS EN HAITÍ

Seguramente despues de saber lo que habia ocurrido en Haití muchos de nosotros cámara en mano pensamos; "hay que viajar" bueno mis entusiasmados amigos aqui les dejo un testimonio de dos fotografos veteranos del NY Times en Haití.

Photojournalists on the ground in Haiti covering the aftermath of Tuesday's earthquake are struggling with logistical challenges, including housing, food, water, transportation and communications. Safety is also a mounting concern.

The conditions are not surprising, considering the devastation, casualties, and desperation of survivors. The magnitude of the event has already drawn numerous photographers.

"Great photographers from all over the world are here and most of them arrived within 24 hours, with folks still trickling in," says says Miami Herald photographer Patrick Farrell, who won a Pulitzer last year for his coverage of Hurricane Ike in 2008 that devastated Haiti. "None of the news agencies seem to be guarding their wallets on this situation, which I believe is so important, no amount of coverage could be enough."

Journalists are making do under difficult conditions. "Most are sleeping outside on sheets and towels and chaise lounges, whatever they can find to be comfortable," says Farrell, who flew in from the Dominican Republic on a small plane with a CNN crew. "The tremors are still happening and it just seems to be a little safer to stay away from the Hotel's walls that have cracks."

The Washington Post has sent photographers Carol Guzy and Nikki Kahn.

Guzy of flew in to Santo Domingo Tuesday night, then drove all day Wednesday to Port au Prince in a car she shared with AP photographer Gerald Herbert.

"We really didn't know when Carol left how bad it was in Port Au Prince," says Michel du Cille, Director of Photo/Multimedia/Video. When Post editors got word, photo editor Bonnie Jo Mount decided to send Nikki Kahn.

"I'm absolutely concerned for their safety, having been in Haiti many times. I'm worried in the days to come about possible lawlessness as people get desperate. My other deep concern is that Nikki Kahn is my wife," du Cille says, emphasizing that Kahn doesn't report to him, and it wasn't his decision to send her.

Communications between photographers and their editors outside Haiti have been poor. Internet connetions are sporadic, so most photographers are using satellite phones to talk to editors and transmit pictures, according to Farrell. Du Cille says he's been unable to talk to Kahn or Guzy by phone; they had only occasional text message exchanges.

Mobility is also limited. Photographers have hired drivers to get around, but fuel is increasingly scarce. That has made it difficult for photographers to cover conditions outside Port au Prince.

As the logistical challenges mount, The New York Times is dispatching supplies to support its photographers on the ground. "At this point any one going in will have to carry [a generator]," says Michelle McNally, the papers AME for photography.

Damon Winter was the first New York Times staff photographer to arrive on the scene. The Times also sent Maggie Steber, a Miami-based photojournalist who has covered Haiti extensively in the past, and staff photographer Ruth Fremson. Staff photographer Ozier Muhammad is also expected to go.

Fremson was sent with supplies, McNally says: "Water, water purification stuff, head lamps, batteries, food."

"This is a very big story, with a lot of angles and nuance for us," McNally says. "We're going to be doing in-depth reporting for some time. This is a story to throw resources at."

But McNally and du Cille are both cautious about their advice to freelancers thinking about going to Haiti on their own, especially if they're inexperienced. Because of the conditions and the logistical challenges, the support required to cover the story may be daunting for freelancers.

"I'd say if it's an inexperienced photographer who has never done this kind of work, I'd be very reticent to do something like that. I can't be a hypocrite and say I didn't have my break," du Cille says. "When these big events happen, we see some young, inexperienced photographer land there knowing very little about the place."

"Do I think someone should go in there without backing? No, I don't," McNally says. "However, [freelance photographer] Michael Appleton went there without an assignment and once he was there, I put him on" because the breadth and scope of the story were so big.

::CUBRIMIENTO DEL TERREMOTO EN HAITÍ

Ver una concentracion de medios de esta magnitud en un solo lugar, es como una fiesta para los ojos avidos de fotografias de los que nos desvivimos con este oficio. los invito a que vean algunas de las galerias del cubrimiento de Haití depsues del terremoto.

REUTERS:
http://pictures.reuters.com/c/C.aspx?VP3=FlashSlideShow_VPage&R=2C040804GK706&T=A&H=1

THE NEW YORK TIMES
http://www.nytimes.com/packages/html/photo/2010-haiti/index.html?hp#/0

AP (Hay que dalre clik a la pirmer foto y luego play)
http://www.apimages.com/Search.aspx?st=det&sort=date&id=Haiti%20Earthquake&showact=events&prds=10135&intv=3d&sh=10&kwstyle=and&adte=1263859495&pagez=20&cfasstyle=AND&

EFE
http://www.eitb.com/fotos/noticias/internacional/detalle/333821/la-catastrofe-haiti-imagenes/

NPR PHOTOGRAPHERS IN HAITI
http://www.npr.org/templates/story/story.php?storyId=122776596
http://www.npr.org/blogs/pictureshow/2010/01/david_gilkey_on_photographing.html

NOOR
http://www.noorimages.com/index.php?id=3659

::CUANTOS FOTOGRAFOS HAY EN HAITI?

Afortunadamente en menos de 12 horas depsues del terremoto en Haiti, una gran tragedia, los medios ya estabamos siendo abastecidos por una gran cantidad de imagenes desgarradoras del terrible panorama que se vivia en Puerto Principe. Fotografos de todo el mundo viajaron de inmediato a cubrir el horror del pais mas pobre de america latina; agencias como reuters, EFE, Magnum y AP se hicieron presentes y tambien corresponsales de periodicos como el NY Times entre otros. ha y no se me pueden escapar los Free lances que tampoco faltaron a la cita de la historia.

Alguien por ahi escribio en alguna de esas redes sociales que no necesitaban tantos medios en Haití sino que mas bien enviaran rescatistas y fuerza publica para ayudar al pais, sin embargo considero que bastante ayudan los medios difndiendo o la informacion y contandole al mundo la realidad de la tragedia que se esta viviendo en la mitad de "la Española" y es que ¿que seria del momento por el que esta pasando Haiti si no conocieramos las imagenes de los sucesos? entonces creo que es muy util la posibilidad de difusion de imagenes en la acutalidad.

sin embargo, me asalta una dudad: ¿cuantos fotografos hay en Haití?

::FOTOGRAFIA DE ALTA VELOCIDAD

INSTANTES QUE EL OJO HUMANO NO PUEDE CAPTAR VISTOS A TRAVES DE UNA CAMARA FOTOGRAFICA.

http://www.smashingapps.com/2010/01/17/40-stunning-examples-of-high-speed-photography.html