“ooh ahh polish my lens girl…”
Nikon COOLPIX S1000pj | Wired.com Product Reviews
It’s a projector! And a camera! And $430!
A Note To Young Art Directors and The Photographers That Work With Them
See also: Art Ethics
Also also: You Thought We Wouldn’t Notice
“Bright Lights Big City” by Heavy Mojo
Photographed/ Directed / Edited by Eric Defino and Matt Odom
Assistant Director of Photography Ryan Rodinis
EUCE and School of Modern Languages Commemorate the 20th Anniversary of the Fall of the Berlin Wall
Lecture - Monday, November 9, 11am
“Berlin Kreuzberg SO 36 – Before and After the Fall of the Berlin Wall.”
By Peter Frischmuth, Photographer
Location: Crescent Room, Stamps Student Center, Georgia Tech
Larry Burrows (May 29, 1926 in London – February 10, 1971 in Laos) was an English photojournalist best known for his pictures of the American involvement in the Vietnam War.
Burrows was born in London in 1926. He left school at age 16 and took a job in Life magazine’s London bureau, where he printed photographs. Some accounts blame Burrows for melting photographer Robert Capa’s D-Day pictures in the drying cabinet[1], but in fact it was another technician, according to John G. Morris.[2]
Burrows went on to become a photographer and covered the war in Vietnam from 1962 until his death in 1971. Burrows died with fellow photojournalists Henri Huet, Kent Potter and Keisaburo Shimamoto, when their helicopter was shot down over Laos. In 2002, Burrows’ posthumous book Vietnam was awarded the Prix Nadar award. At the time of the helicopter crash, the photographers were covering Operation Lam Son 719, a massive armored invasion of Laos by South Vietnamese forces.
On April 3–4, 2008, the scant remains of Burrows and fellow photographers Huet, Potter and Shimamoto were honored and interred at the Newseum in Washington, D.C..
The London Calling cover features a photograph of Simonon smashing his Fender Precision Bass against the stage at The Palladium in New York City on 21 September 1979 during the “Clash Take the Fifth” US tour. Pennie Smith, who photographed the band for the album, originally did not want the photograph to be used. She thought that it was too out of focus, but Strummer and graphic designer Ray Lowry thought it would make a good album cover. In 2002, Smith’s photograph was named the best rock and roll photograph of all time by Q magazine, commenting that “it captures the ultimate rock’n’roll moment - total loss of control”. The cover artwork was designed by Lowry and was a homage to the design of Elvis Presley’s debut album. The cover was named the ninth best album cover of all time by Q magazine in 2001.
one of my favorite albums/album covers of all time.
by Nick Turpin:
Fine Art Photography: Preoccupation with aesthetic values, shot for the gallery, usually larger format, less issue based, less ‘moment’ based, including a lot of non-documentary work using computer manipulation and models.
Photojournalism: Issue/story/theme-based photography, strongly themed collections of images, largely smaller format for editorial and web presentation, completely documentary tradition.
Street Photography: Preoccupation with the ‘moment’ and the ‘found’, generally collections of single unconnected images, largely small format for publication and web presentation, completely documentary tradition.
