Blog Archives
Joe McNally Shoots From The Tallest Building in the World
Please note this post was not created by Jay Clapp Photography but by Patrick Hall
A few months ago Lee and I went out to Gulf Photo Plus to see what all the fuss was about and absolutely had one of the greatest trips of our lives. While we were filming our “What makes photographers successful” video, we were hearing rumors that Joe McNally was about to shoot from the top of the Burj Khalifa, the world’s tallest building. If you’ve spent any time with Joe, you know he absolutely loves a challenge and lives to create images taken from exotic places (like his shoot on the top of the Empire State Building). [more]
via Fstoppers http://feedproxy.google.com/~r/fstoppersfeed/~3/smhnCdS-WJI/joe-mcnally-shoots-from-the-tallest-building-in-the-world please use the share buttons below to share to your social network sites Jay
Deutsche Börse Photography Prize 2013 Winners Announced
Please note this post is not created by Jay Clapp photography this is photography related news collected from http://www.photographyblog.com for you to enjoy 🙂
Adam Broomberg and Oliver Chanarin have been awarded the Deutsche Börse Photography Prize 2013 at a special ceremony held in The Photographers’ Gallery yesterday evening,
Aphex Launches
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Drone manufacturer Event 38 Unmanned Systems has launched its latest product, the Aphex aerial photography platform.
Manfrotto Launches KLYP for iPhone 5
Please note this post is not created by Jay Clapp photography this is photography related news collected from http://www.photographyblog.com for you to enjoy 🙂
Manfrotto has unveiled the iPhone 5 version of its KLYP case, together with the KlypApp and the PIXI tripod.
PNY Relaunches its Suite of Memory Cards
Please note this post is not created by Jay Clapp photography this is photography related news collected from http://www.photographyblog.com for you to enjoy 🙂
PNY Technologies today relaunched its suite of Flash memory cards.
Samsung NX 10mm f/3.5 Fisheye
Please note this post is not created by Jay Clapp photography this is photography related news collected from http://www.photographyblog.com for you to enjoy 🙂
Samsung has announced a 10mm fisheye lens for its NX system.
1000 Miles, 100 Days: One Photographer’s Journey
Please note this post was not created by Jay Clapp Photography but by Joseph Gamble
Photographer Carlton Ward Jr. doesn’t want to save the world with his imagery but he definitely wants to try and save Florida. Specifically, a wildlands passageway that connects the Everglades of southern Florida to the Okefenokee swamp in Southern Georgia. For 100 days in 2012, he, along with a filmmaker, bear biologist and conservationist, crossed the entire state in a continuous path using kayaks, paddleboards, bicycles, horses and their own feet. The visual chronicle was recently published as a book and broadcast as a PBS special.
via Fstoppers http://feedproxy.google.com/~r/fstoppersfeed/~3/al4d-mGWMW8/1000-miles-100-days-one-photographers-journey please use the share buttons below to share to your social network sites Jay
Leica Announces the Leica X Vario Digital Camera
Please note this post was not created by Jay Clapp Photography but by Zach Sutton
Leica has always been known as the Mercedes-Benz of cameras. With their unparalleled quality of build, and beautiful designs, they’ve been able make and sell cameras at the premium price tags exceeding $7000. With their latest creation, the X Vario, Leica looks to bridge the gap with Leica’s quality, zoom lenses, and a sub-$3K price tag. [more]
via Fstoppers http://feedproxy.google.com/~r/fstoppersfeed/~3/u03fOc8vsJI/leica-announces-the-leica-x-vario-digital-camera please use the share buttons below to share to your social network sites Jay
100 Images of Migration – in pictures
please note this post is not by Jay Clapp Photography but from the photography news at the guardian for your viewing pleasure please feel free to use the share buttons at the bottom.
Migration to and from Britain over the last 100 years is the subject of a touching exhibition at Hackney Museum in partnership with the Migration Museum project. 100 donated images document the vast range of experience from those seeking work, refuge or education to those leaving for a new life overseas
via Art and design: Photography | guardian.co.uk http://www.guardian.co.uk/artanddesign/gallery/2013/jun/11/photography-immigration Sarah Gilbert Thanks for reading Jay
100 Images of Migration: journeys of the century
please note this post is not by Jay Clapp Photography but from the photography news at the guardian for your viewing pleasure please feel free to use the share buttons at the bottom.
Photographs charting 100 years of migration tell touching stories of identity, community, suffering and hope
While travelling along the US-Mexican border a few years back I met a man in New Mexico who called himself Quasimodo and patrolled the frontier in search of undocumented immigrants.
“I can tell an illegal just by looking at them,” he said.
“How?” I asked.
“Well, I can tell you’re black just by looking at you and you can tell I’m white.”
“But you can’t tell my immigration status just by looking at me.”
“Well, it’s like wild dog versus tame dog,” he said. “They just don’t have the same kind of look.”
You can’t, of course, tell where someone was born, let alone whether they have moved or under what circumstances they have arrived just by looking at them. That makes a new exhibition being held at Hackney Museum in east London particularly challenging. Titled 100 Images of Migration and part of the Migration Museum project, the aim of this collection of photographs is to chart the immigrant experience in Britain over the past 100 years.
Jean Mohr managed it in A Seventh Man, published in 1975, which chronicled the migration to and within Europe in the 1970s, with considerable assistance from John Berger’s text. “The photographs, taken over a period of years … say things which are beyond the reach of words.” True enough. And yet to speak with any authority they also had to narrate the journey in its entirety. The political, economic and historical forces that pushed the migrants from home are every bit as significant as those that pulled them abroad or the physical trip itself. “It is not men who immigrate but machine-minders, sweepers, diggers, cement mixers, cleaners, drillers, etc,” writes Berger beneath a picture of two officials looking out over hundreds of workers at a recruitment centre in Istanbul. “This is the significance of temporary migration. To re-become a man (husband, father, citizen, patriot) a migrant has to return home. The home he left because it held no future for him.”
In the absence of that sequence one is left with a litany of apparent incongruities and abstractions: an Oromo family from Ethiopia on Brighton beach, an Indian woman standing beneath an England flag, Vietnamese girls near the pier in Weston-Super-Mare. Individually they speak of community, identity and suffering; collectively of racial and ethnic difference and diversity. But it is only alongside the pictures of a passport stamped by the immigration department, a Jamaican family outside their Jamaican home preparing to leave for Britain and an Irish family on a boat to Canada, that one gets a sense of migration.
The distinction is important for two reasons. First, for much of the past century in Britain, the inability to distinguish between race (the colour of people) and place (the movement of people) presented a particular challenge for those who laboured under the delusion there was an intrinsic, essential “look” and cultural performance that underpinned what it meant to be British. So ingrained was the connection that pollsters often lumped the two themes together, inviting people to express their concerns about “race/immigration” as though the two were inextricably linked.
“We need to be reassured that strangers, especially those from other countries, have the same idea of reciprocity as we do,” argued David Goodhart, the director of Demos thinktank in a particularly noxious article in Prospect a decade ago. As I pointed out at the time, such framing raised the questions: “Who does he consider to be the strangers from our own country? How did they become strangers in their own land? And who does he mean by “we”?”
Second, without understanding where people came from and why – be it colonial occupation, war, poverty or career advancement – the potential for resentment of “strangers” who seem to have appeared from nowhere can be substantial. This was particularly significant for that period of mass migration during the middle of the last century from former colonies. In the words of Gilbert, a Jamaican immigrant in Andrea Levy’s award-winning novel Small Island. “But for me I had just one question – let me ask the Mother Country just this one simple question: how come England did not know me?” I still have the British passport my mother brought with her to Britain from Barbados in 1961, along with three A-levels in English literature, European history and British Constitution.
The photographs in this exhibition showing young Italians in north London or the Jewish woman holding the family pendant she hid in her shoe while in Auschwitz broaden our understanding of the migratory patterns that have energised Britain beyond that particular wave at a time when so much of the immigration is now from Europe. When Gillian Duffy approached Gordon Brown in Rochdale that fateful day three years ago, her specific concerns were about eastern Europeans – even though she lives in a town where one in five were Muslim and the Bangladeshi population had increased 58% in a decade. With portraits of women, asylum seekers and refugees the photographs also go beyond Berger and Mohr’s timely but time-limited portrayal of the archetypal migrant being a man seeking work.
Such images are useful because, with the impulse to retreat into the nostalgia of a monocultural, monoracial nation that never was, Britain needs a new image for itself. Migration is not only not new. It is not going away. As a small island that was once an empire in an increasingly interconnected world, migration is not only the product of a modern world, it is the reality that Britain itself has done a great deal to produce. You cannot tell if a person is an immigrant by looking at them; but you can tell a country that has been enriched and enlivened by immigration by looking at it.
via Art and design: Photography | guardian.co.uk http://www.guardian.co.uk/uk/2013/jun/11/100-images-of-migration Gary Younge Thanks for reading Jay
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