Photos for Haiti

The coverage of the disaster in Haiti seems to have raised alot of interesting questions and debates about the way photojournalism is practiced, but in the aftermath of the earthquake, photographers around the world have been finding ways to raise money for various charities working in Haiti. There are a number of print auctions that I have noticed around the net & around the world. There are so many different prints for sale that there should be something there for everyone’s taste & budget. I’m listing the one’s that I know about but if you know of any that I’ve missed leave a comment and I’ll add it. Click on the images to get to their auction pages.

It's a Love Haiti Relationship by oncemany

At the Forty Foot by Covey

Sarah Sudoff

Max with Towel

Nadirah Zakariya Benefit Print Sale for Haiti

One Respe

Not a print auction but s everal photographers, including the iconic photojournalist Mary Ellen Mark, have donated photographs to help create this special fund-raising collection of captivating images in a MagCloud Magazine Oné Respe,to benefit the people of Haiti. The title Haiti: Onè Respe comes from a traditional Haitian greeting meaning “honor and respect.” It costs $12 with all proceeds going to the American Red Cross International Response Fund for Haiti Relief.

– Miriam

(reproduced from Miriam’s blog A Spoonful of Sugar)

Scan #2

bedroom by Miriam King

Another photo by Miriam King.

– Rory

New scans!

Bed by Miriam King

We’ve been a bit sleepy here at CorkAP when it comes to putting scans of our work on the site. Must be the anti ‘puters element within the group ! Anyway, Mirriam sent me in a few scans which I will post over the next few days.

– Rory

Picturing New York: Photographs from The Museum of Modern Art

Cindy Sherman

I was in Dublin over Christmas, and a real treat was our visit to IMMA in Kilmainham. They are currently running an exhibition of very famous photographs by very famous photographers in New York City. To see these photographs, which I had only ever seen in books, hung on the walls on three floors was just amazing. I’d definately recommend a visit if you are in Dublin. But hurry – the exhibition finishes on Feb 7th. Unless of course you will be in Madrid between March and June or in Italy during the summer – the exhibition will be moving there after Dublin!

Picturing New York comprises 145 masterworks from the photographic collection of The Museum of Modern Art in New York, covering the period from the 1880s to the present day. It celebrates the tradition of photographing New York, a tradition that frames and influences the perception of this vibrant urban centre. Including photographs by such influential photographers as Berenice Abbot, Diane Arbus, Garry Winogrand, Lisette Model, Alfred Stieglitz and Cindy Sherman, it explores both New York and its inhabitants, highlighting associations – from the vast, overwhelming architecture and bright lights, to the diversity of people that lie at the soul of the city.

The photographs reveal New York as a city of contrasts and extremes through images of towering blocks and tenements, party-goers and street-dwellers, hurried groups and solitary individuals. Picturing New York demonstrates the symbiosis between the city’s progression from past to present and the evolution of photography as a medium and as an art form. Additionally, these photographs of New York contribute significantly to the notion that the photograph, as a work of art, is capable of constructing a sense of place and a sense of self.

– Rory

Adams with extra cheese

Ansel Adams home

This is kinda cheesey, but if ya want a peek inside Ansel Adams home and darkroom, take this guided tour with his son Michael. I did like seeing the great mans enlarger, which is horizontal, pointing at the wall, rather than vertical, and it’s on rails! Enjoy …

– Rory

What is it about film?

Spanish Wedding, Holga, Fujifim, by Rory O'Toole

What is it about film? What differentiates it from digital? Can we put a finger on its quality? Is it tangible?

Robert Benson put the question to eleven professional photographers (including Dubliner Simon Watson) who still use film for their work. The result is a great interview with each photographer responding thoughtfully to ten questions regarding their use of film.

Everyone has their own way of describing how film is different than digital, and looks special. How would you describe the “magic of film?”
Simon Watson: There is a grit to it. The colors and shadows are richer and more sophisticated. Even though modern film is less grainy now, it is the grain that gives the film a grittiness (even if you can’t see it) it affects the whole image. Digital has this milky slick look. It’s flat too. And needs tons of work.
Paolo Marchesi: Again, the “magic of film” in my opinion comes with the process of shooting film. Digital is too sharp, too perfect but if you want you can make digital look like film.  I think…
Jeff Lipsky: Film produces a much “creamier” skin tone.
Finn O’Hara: I really think the ‘magic of film’ comes down to the commitment to the image. You can’t ’spray’ with a medium format camera, like you can with a DSLR. Also, as I mentioned earlier, the slower pace of shooting film is just so enjoyable. I need more analog in my life, and film gives me that pleasure.
José Mandojana: It’s rich.
Michael Sugrue: Grain, depth, and subtle shifts of color.  It really feels like you can step into the image, or seeing exactly what the photographer saw through the viewfinder.  To me, it’s especially apparent in street photography and landscapes, which are often overly manipulated digitally.  I was going to mention some photographers I admire, but I realized that, while they shoot film, it’s their talent and style that separates them and not simply using film. It’s an important distinction that shouldn’t be considered in any “film vs. digital” debate.  It’s personal, not an argument to win.
Brian Finke: I love the grain, texture and depth of film.  If they same look and technique can be achieved with digital, please let me know, I would be very interested in checking it out.
Chad Holder: Film is softer, and digi can be too sharp and begin to look plastic.  you can save the highlights better with color neg without it looking too funky.
Bryce Duffy: It’s like listening to a vinyl record on a turntable through a macintosh tube amp through good speakers versus listening to a high quality MP3 on your ipod through a pair of expensive headphones.

Click here to read more.

– Rory

Untitled

By Brian Dunne

Brian got a scanner for Christmas, as featured on the Late Late Toy Show 🙂

– Rory

Hearst 8 x 10

Interesting competition – click here, or on the image above

PURPOSE

An international competition saluting the next generation of talent, which will play an important role in the future of magazines, media, the web, design and photography.

DESCRIPTION

Hearst 8×10 Photography Biennial is a competition to identify and promote new and emerging talent among photographers in the United States and abroad. Eight (8) winners, chosen every other year, will:

Showcase selected works in an exhibition under the title, “8×10” in the Alexey Brodovitch Gallery and the Hearst Gallery at Hearst Tower in New York City.

Be published in the accompanying “8×10” catalog and on www.hearst.com and www.hearst8x10.com.

ENTRY FEE

There is no entry fee for the competition.

ELIGIBILITY

All U.S. and international freelance, amateur and professional photographers and students, 18 to 35 years of age. Applicants may apply as individuals, or as collaborators.

Hearst Corporation full-time employees and former employees are not eligible. Freelancers for Hearst Corporation are eligible to apply.

Applicants may only submit one (1) entry, which may include up to 16 photographs. Sizes may vary.

SELECTION METHOD & CRITERIA

Award recipients will be selected by a juried committee of ten (10) individuals consisting of Hearst Magazine editors, art directors, renowned photographers, curators and gallery owners. Decisions of the committee are final. Award recipients will be chosen on the basis of exceptional talent, strength of portfolio and capacity for future distinction in the field of photography.

APPLICATION DEADLINE

All entries must be emailed between the dates of January 4, 2010 and May 31, 2010. Entries received after this date will not be entered into the competition. Hearst will not be responsible for lost or damaged entries.

– Rory

Hamburger Eyes

Photo by Hamburger Eyes group

Wow! Just watched this vid, and I want to watch it again. Watch it full screen.

Bunch of guys based in San Francisco, shooting and displaying cool fresh b+w. Funky video, lotsa film, aspirational …

Click here for Hamburger Eyes from Nick Fogarty on Vimeo.

BORN
February 14, 2001
San Diego, CA

BIO
When opening Hamburger Eyes Photo Magazine you enter a pictorial history of both the unseen and iconic moments of everyday life. It is organized in such a way that it has become many things to many people. As a photo journal, we share our travels and experiences. As a photo diary, we share our accomplishments and heartaches. And as a photo album, we share our families and friends and reach people on a level they have been familiar with since their first birthday party. Our publication is currently composed of black + white photography. We have contributions from photographers of all levels. Inspired by the traditions that began with National Geographic and Life Magazine, we hope to revitalize the sensation of photography as a craft as well as a tool to record and document.

Hamburger Eyes Photo Magazine is based in San Francisco and published bi-annually. Hamburger Eyes is off-set printed in black and white on glossy stock, perfect bound with a cardstock cover, holding 150 pages at a run of 3000 copies. Hamburger Eyes is carried in shops, stores, libraries, galleries, and museums across the entire planet.

Recently, Hamburger Eyes has upped its commitment to photography and photographers. We have joined with Colorarts Photographics and expanded into a full-service, professionally maintained darkroom facility: Photo Epicenter.

We are committed to bringing you our world-class magazine PLUS an excellent, professional facility where you can learn, produce, and publish your photos. We take this commitment seriously, and maintain the best darkroom equipment in natural light viewing areas.

Visit http://www.photoepicenter.com for more info.

CONTACT
HAMBURGER EYES
26 LILAC ST
SF CA 94110
info@hamburgereyes.com

PHOTO EPICENTER
26 LILAC ST.
SF CA 94110
people@photoepicenter.com

– Rory