The photographers that shone a light on America’s outsiders

Photography has always been an important tool in times of political and social unrest. For the three decades of American history (1960-1990) that spawned the Civil Rights Movement, Women's Liberation, Vietnam War (and its subsequent protests), the financial crash of the early 70s and the shattering of the illusion of the 'American Dream', photography acted as an alternative to mainstream media propaganda and ring wing conservatives. Enabling everyday people, women, children, and minority groups, to have their stories heard.

"When photographers are interested in the fringes of society, they unveil a truth that otherwise we would never get to see; how these people live, how they function. This counterposition to media narratives drives human empathy and shows how different social issues are experienced, interpreted and expressed," explains Irene Aristizábal, one of the curators, alongside Abi Spanks and Polly Furry, of Nottingham Contemporary's new show, States of America. Offering an insight into how America's turbulent social and political climate of the time helped to realise the possibilities of photography, States of America plays out across four spaces, and presents 200 works from over 17 photographers – from Mary Ellen Mark to Bruce Davidson, William Eggleston, Diane Arbus, Ming Smith, Bill Hudson and Milton Rogovin, to name a few. The team spent over a year digging through the Wilson Centre for Photography's collection, as well as including photographers often excluded from th e post-war narrative; namely women and people of colour.

"Lower West Side, Buffalo (Mother and child)", 1969-72Phot ography Milton Rogovin

Opening in the late 1950s, the exhibition traces how American photography evolved as an advocacy tool, exampled by artists like Dorothea Lange, Walker Evans and Russel Lee, who documented the devastating living conditions of 1940s post-Great Depression America. The medium took a radical turn in the 1960s when new-gen photographers escaped the authorial confinements of the press to work independently through self-published photobooks and gallery exhibitions. In 1963, Lee Friedlander coined the term 'social landscape' to define this new movement and photography turned its lens to the extraordinary in common objects: street scenes and everyday people.

States of America follows this shift in human empathy and the different ways that photographers use their lens to trigger emotion. The first room explores the gaze of Diane Arbus. Her controversial work is often shrouded in the ethics of photographer-subject relations – Germaine Greer once stated she had felt 'used' as a subject of Arbus. "'Subject' or 'Object' was a topic that kept re-appearing when we were looking at the work. It was so important to see how the position of the photographer transpired in the way the subjects were represented" explains Aristizábal.

"Kid Looking Over At Camera", 1972Courtesy of Wilson Centre for Photography. © Mark Cohen

The exhibition continues into Mark Cohen's intrusive black and white, wide-angle snapshots. Old men shy away from the camera and bodies appear cropped. Rogovin's work is in sharp juxtaposition – instead of 'stolen moment' his portraits capture residents of the Lower West Side, where he spent over three decades (from 1972-2002) capturing the community's six square block area.

Mary Ellen Mark's famous work in Seattle in the early 80s is also on display, where she focused her lens on the city's homeless young people who made ends meet as pimps, sex workers and drug dealers. Notably Tiny, a 13-year-old sex worker and her friends. Published initially in 1988 as the book, Tiny: Streetwise, Mark returned three decades later to produce Tiny: Streetwise Revisited, in 2015 – the same year the photographer passed.

A Man in a Bowler Hat 76/79Copyright Dawoud Bey. Courtesy of Stephen Daiter Gallery

The third room, Private Interiors, spotlights Jim Goldberg and Dawoud Bey. Setting Goldberg's shots apart from his peers is the voice he gives his sitters. His Rich and Poor series features a wide range of subjects across America's socio-economic spectrum in 1979. Goldberg doesn't pacify his subjects through his gaze, but includes handwritten notes from the sitters under their shots. Photos and prose from poverty are contrasted with portraits and pleasures from American elite, pulling viewers directly into the extremities of the American Dream.

Dawoud Bey's 1975 series, Harlem USA series, traces the lives of Harlem typologies as he tried to correct the imbalance between the New York neighbourhood's unique character and its representative identity in wider 70s America. His photographs feature barbers, shoemakers and church ladies inspired by his family roots in the city.

Above all, States of America crystallises the power of the camera as a tool for change, education and a platform for alternative voices. As Martin Luther King said in 1961 while discussing photography during America's Civil Rights movement: "The brutality with which officials would have quelled the Black individual became impotent when it could not be pursued with stealth and remain unobserved. It was caught – as a fugitive from a penitentiary is often caught – in gigantic circling spotlights. It was imprisoned in a luminous glare revealing the naked truth to the whole world."

States of America is on at the Notthingham Contemporary until November 26 2017. More information here

"Karate Stance, Wilkes-Barre, PA", 1977Courtesy of Wilson Centre for Photography. © Mark Cohen
Source: The photographers that shone a light on America's outsiders

Getty Images Bans Photographers From Photoshopping Models To Make Them Look Thinner

Getty Images Bans Photographers From Photoshopping Models To Make Them Look Thinner - Getty Images will no longer be accepting images of models whose overall body shape has been changed.

Posted : 28 Sep 2017 9:35AM by ePHOTOzine 

 Add Comment

As of the 1st October 2017, stock photography website Getty Images will no longer be accepting images of models whose bodies have been photoshopped to look thinner or larger. 

The change in their terms comes after France passed a law that means after 1 October 2017, certain commercial images will have to be labelled so viewers know that the image is digitally altered. 

The announcement was made to its photographers via email, of which DPReview received from a reader, and the same guidelines apply to iStock submissions, too. 

The law only applies to changes in overall body shape so removing blemishes, changing hair colour etc. is still allowed. 

Source: Getty Images Bans Photographers From Photoshopping Models To Make Them Look Thinner

This Actress Won't Stand For Photographers Taking Invasive Photos Of Her Body

Actress Natalie Morales is one of the stars of the new Billie Jean King biopic Battle of the Sexes, and at the red carpet premiere of the movie she wore a gorgeous Maria Lucia Hohan dress.

But even though her movie is about a high-profile feminist victory, that apparently didn't stop someone from taking a photo of her that she alleges was intentionally angled to get an upskirt photograph. Morales, though, quickly called the guy out.

"Some places have been asking me for a statement about the tweets I posted yesterday regarding the photos of my 'wardrobe malfunction,'" the statement reads in part. "I guess I could say 'no comment,' but I have a lot of comments so here goes: When I was sent the photos my first instinct was to ignore them and move on. But then I realized this must happen to women all the time, and this time, I am not going to let it slide. I am not going to let that photographer or the people that buy their pictures continue to believe that it's ok. It's not ok."

The statement in full is just as fiery as the tweets Morales sent about the "wardrobe malfunction" the previous day.

Morales also clapped back at Twitter users who tried to defend the photographer.

 "So you're gonna come to an event that I've waited my whole life for, that I'm super proud of, to try and exploit my body? For your gain?" Morales asked. Not on her watch, it seems like.

Source: This Actress Won't Stand For Photographers Taking Invasive Photos Of Her Body

Natalie Morales Calls Out Slimy, Sexist Upskirt Photographers: “You Cannot Tear Me Down”

Natalie Morales refused to be shamed after some horrifically creepy photographer angled their camera to take the most invasive, upskirt photo possible of her at the Battle of the Sexes premiere. That photographer then offered their manufactured "wardrobe malfunction" photos to a publication, and they were forwarded to Morales.

Her response was savage, timely, and true. First, she tweeted an in-the-moment response which ripped into the photographers for coming to the premiere to "try and exploit my body," on a night which should have been "one of the happiest moments of my life."

She then tweeted a full statement as an image, which reads, "When I was sent the photos, my first instinct was to ignore them and move on. But then I realized this must happen to women all the time, and this time, I am not going to let it slide. I am not going to let that photographer or the people that buy their pictures continue to believe that it's ok. It's not ok. This photographer, not unlike the ones that wait outside of the cars female celebrities are getting out of just to purposely take pictures up their skirts, angled their camera to see up the slit of my dress. Even if they wanted to claim this was an accidental shot, they could have done what they would have done had they taken an accidental shot of their daughter's, mother's, or sister's vagina: deleted it."

"Instead, they sold pictures they took of my private body parts – without my consent – to a site that makes money off trying to embarrass me. For just existing as a human being. For having a body and body parts under my clothes. This is not, at its root, a "celebrity" problem. This is a problem with how we tear down women and reduce them to a sum of body parts, to be at once sexualized and shamed. Sure, it's most visible because I happened to be doing my job on a red carpet, for a publicized event; but this happens every day, to women all over the world. We are held to an impossible standard, where our bodies and our faces must be perfect and if for one second we are in any way human, like say, just walking around, doing our jobs – we are torn down. Well, you cannot tear me down. For the record, I was wearing underwear. You can't actually see anything. But if you could, I wouldn't be embarrased. It's a vagina. We all come out of one. It's nothing to be ashame d of. But it doesn't belong to you. It belongs to me. And you can't have it unless I say you can."

It's gross that Morales even has to comment on something like this, but it's so important and inspiring that she blasted this sexist, exploitative behavior for what it is. Upskirt photos aren't "celebrity" business; they're the products of a culture that shames women for having bodies, even when it is quite literally part of a woman's job to show up and be photographed. But because she dares to appear in public, she's supposed to accept invasive, disgusting photos as a hazard that's just "part of the job." Just as when women writers are sent rape threats on the internet, or when women creatives are harassed at comics conventions, these sexist attacks are brushed off as "part of the job."

Morales clapped back at that logic by pointing out that this isn't normal, it isn't okay, and it shouldn't be "part of the job" for anyone. It isn't the responsibility of women to deal with sexist, invasive behavior. Instead, it's the responsibility of sexists to act like moral adults and stop.

(Via Jezebel; image via Fox Searchlight)

Want more stories like this? Become a subscriber and support the site!

—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

Source: Natalie Morales Calls Out Slimy, Sexist Upskirt Photographers: "You Cannot Tear Me Down"

Seven Sturdy Backpacks for Birders and Bird Photographers

The LowePro Dry Zone 200. Photo: Martin Hartley

(Note: Our reviewers field test everything that we feature, and we never get paid to endorse any product.)

When you're out in the field, your focus should be on the birds, not on the gear you're lugging around. A good backpack can make for a more comfortable, enjoyable outing, and extend the time you spend in search of your target species. 

Our reviewers tested daypacks in a variety of settings, from local parks to rugged mountains to exotic beaches. Our youngest reviewer, age 11, is a budding birder, and the adults include experienced birders and professional photographers.

Most of these bags comes in a range of colors, including muted hues that allow you to better blend in with your surroundings and avoid startling or scaring off your quarry.

For Birders 

ExPed Sklyine

This versatile bag performed well in a variety of settings. "It fits all my mountain layers, snacks, and field guides during long hikes as well as my 15-inch MacBook Pro, books, and my multiple baggies of toiletries when traveling," said our reviewer. "This pack can be used for the smallest or biggest day adventure." A front zipper allows easy access to items at the middle of the pack, and she appreciated the two roomy side pockets that kept her "giant fat Nalgene" securely in place; a 3-liter bladder also fits nicely into the dedicated compartment. The padded shoulder straps and grooves in the hip belt made the pack comfortable to wear for hours, even when fully loaded. The back panel can be configured in two ways, either in full contact with the back for a maximum ergonomic fit or with a space to allow for ventilation. A rain cover is included. More: from $129; 15- or 25-liter capacity; exped.com

Gregory Juno

The overall lightness and sturdiness of this female-specific bag, combined with the cushy shoulder support and moisture-wicking back panel, made it an ideal accessory for chasing birds across Anza-Borrego Desert State Park. Our reviewer found it roomy enough for field equipment—including binoculars, a small scope, and a variety of field notebooks and guides—and snacks, even with hydration pack (included with the pack) at full capacity, and noted the plethora of clips and mesh pockets were useful for stowing even odd-shaped objects. While the dual mesh side pockets were great for quick storage, our reviewer doesn't recommend storing valuables in them: "Somewhere in the badlands there's a trail of flavor-changing Tic Tacs." The men's version is the Citro.  More: from $120; 20, 25, or 30 liters; gregorypacks.com

Patagonia Lightweight Blackhole Cinch Pack

Our reviewer found himself reaching for this bag again and again—on hours-long excursions in the Alps, urban hikes, and when commuting via bicycle to work. "It's surprisingly comfortable for having so little structure," he said. The lightweight, roomy pack fits easily into larger travel luggage, and the durable nylon ripstop fabric stood up to being tossed down on rocky and muddy ground. The cinch-top makes for easy access to the main compartment, and the exterior zippered pocket is conveniently located. The padded straps and back panel provide a nice amount of cushioning, but heavy perspirers will find that the foam absorbs moisture (it didn't didn't bother our sweaty reviewer, but he thought you should know). The pack does not have hip belt, but our reviewer found that the sternum strap provided plenty of extra support when the bag was stuffed with field guides, water, and extra layers. More: $79; 20 liters; patagonia.com

Eagle Creek Mission Control

The Mission Control bag is the 1975 Coupe Deville of backpacks: It's roomy inside and smooth outside, and you can move around in cushioned, vented comfort all day and well into the night. "You can fit an insane amount of stuff in its various compartments," said our reviewer, noting that an expansion zipper increases the pack's storage capacity from 38 to 42 liters. "On a reporting trip to Belize I easily crammed in bins, field guides, two audio recorders, full-size headphones, a camera, a computer, a Kindle, industrial-size bottles of insect repellent and sunscreen, sunglasses, and 15 things I cannot even recall right now." While all that space allowed her to carry a single bag, she found that the pack doesn't compress well when it isn't stuffed. It also made for a heavy load, which the padded hip belt and sternum strap helped to offset; use the straps when the bag is full, she urges, "otherwise you'll end up with a tired back, or the slightest lack of balance will send you toppling over like a fire-gutted giant sequoia." The Mission Control is made with durable, water-resistant material, features a padded electronics compartment, and comes with a rain cover. More: $179; 38 liters; eaglecreek.com

  For Kids

REI Co-Op Tarn 18

A Jansport bag is perfectly fine for carrying schoolbooks, but just as you wouldn't bird with a briefcase, your young birder will appreciate the support of backpack designed for hiking provides on the trail. Our 11-year-old reviewer used this durable, adjustable pack throughout her science summer camp. She found that the padded shoulder straps, hip belt, and back made the bag "super comfortable for hiking and birding." She liked the multiple interior compartments, in which she stashed sunscreen, bug spray, sunglasses, birding notebook, and other gear. The main downside for the reviewer, who is 5'2", is that she'll likely outgrow the backpack soon. The Tarn is compatible with a hydration reservoir, boasts three exterior mesh pockets, and its side compression straps make for a more secure fit and balanced load. More: $40; 18 liters; ages 8-12; rei.com

  For Photographers

Manfrotto Pro Light Bumblebee-230

This easy-to-carry bag is spacious enough to fit all your camera gear in the dedicated compartment with flexible dividers, as well as extra clothing, sunscreen, and anything else you might need for a full day in the field. The water-repellant coating kept our reviewer's contents dry on the wet, sandy beaches of the Bahamas where she photographed Piping Plovers, and the bag also comes with a two-sided cover: one side serves as a rain protector, while the other silver-colored side deflects sunlight to help protect gear from overheating. Our reviewer praised the back zipper that allowed easy access directly to the acmera equipment, without having to dig through the clothes and snacks she stashed in the top pouch. While the pockets on the hip belt were a little smaller than she'd have liked, the external straps on the back made it simple to add a tripod or spotting scope to the load. The Bumblebee weighs nearly six pounds and fits a pro model DSLR or video camera, up to 11 lense s, laptop, accessories, and a tripod on an external strap. More: $280, 20.87 x 12.6 x 10.24 inches; manfotto.us

LowePro Dry Zone 200

It was raining steadily when a helicopter dropped off our reviewer at a weather station on top of the Hawaiian island Kaua'i. His Dry Zone bag, containing all of his camera gear, sat in the drizzle for several minutes while the helicopter took off, but none of the contents got wet. Beyond being waterproof, he found that inside of the soft-sided pack was well divided and comfortably fit everything he needed for a rigorous outing in the field. The adjustable padded camera compartment allowed for a custom arrangement of his equipment, and the plush shoulder strap and hip belt made for comfortable hiking even with the pack filled to capacity. While getting in and out of the bag was a bit difficult when he was in a hurry, our reviewer notes that the comfort, and most importantly protection of his equipment, was undisputed: "When it comes to rain, travel involving rivers, lakes, or oceans, this is the pack I will use to transport my camera gear." The Dry Zone weighs nearly seven p ounds and fits a pro model DSLR or video camera, four to five extra lenses (up to 300mm f/2.8 with hood reversed), accessories, and a tripod on an external strap. More info: $360; 14.57 x 11.42 x 19.09 inches; lowepro.com

Source: Seven Sturdy Backpacks for Birders and Bird Photographers

Diversify Photo Brings A Database Of Photographers To Promote Diversity | Ability Needs Opportunity

There is no flicker of hesitation to write about this project, but even before the words form on paper I'm prepared for the derogatory responses. Ironically, the disparaging comments that try to cast aspersions on the subject, and press like us, that cover it, rather neatly highlight the problem, making the coverage all the more autotelic.

Diversity in photography needs be addressed, and Diversify Photo is making a step.

Diversify Photo is self described as:

"Diversify is a verb. It is an action – an intentional movement to break with the narrow lens through which history and the mass media has seen and recorded the images of our time. Diversify was born out of a recognition that calling for more diversity in the photo industry is not enough. To diversify photo, we need to equip Art Buyers, Creative Directors, and Photo Directors with resources to discover photographers of color available for assignments and commissions."

A bit more concisely, Diversify Photo is a database of minority photographers, and each image displayed is hyperlinked to that individual's own site. But further removed from being a standard visual database, Diversify is looking to educate the peruser to the extent they want to be educated in the background of the photographer. With a simple email to [email protected] a potential buyer, art director or the likes, will be provided with contact information, language(s) spoken, and area of expertise of the subject of inquiry.

What Diversify Photo is doing then, is giving a helping hand by way of a platform to talented photographers who perhaps wouldn't have the same exposure, connections, or opportunities, and making the process of finding talented photographers easier.

[REWIND: Nikon Has A Fellowship of 32 D850 Photographers – Not A Single Woman Among Them. Why?]

Now, the responses to this are easy to imagine, just skim the top of the platitudinal grab-bag and the following are likely to be found: "This is racist, promoting only people of color," or of course, "This is promoting people on their race and not their ability and value of their work." Neither of those, however, really addresses the issue.

Anyone in this industry knows that your success (if defined by measure of exposure, jobs, earnings, etc…) is not exactly a reflection of your skill. You likely know someone who, empirically and unbiasedly, you shoot better than, but they're outselling you; they're getting featured and you aren't; they're busy enough to choose clients where you're scraping for them. Hell, you may know a lot, and if you don't, a quick scroll through Instagram will show them. We sort of intrinsically know that popularity is mo measure of quality, and we can extrapolate from that, that success doesn't stand alone.

Within western society we appreciate and revere the hustle and the hack, but we know too well that as factors of success opportunity bestowed is just as, if not more, critical. I mean, you don't send your kids to the best universities just for the degree, but for the connections.

We work hard so when the opportunity arises we can grasp it, but the playing field of opportunity isn't even for everyone, and that's all this boils down to. Western societies tend to present less opportunities to those of color, and that starts from the very basics, which then affect the opportunities at the polar opposite end. That isn't to say that it continues to exist this way today out of some malice, neither from some insidious and conscious bias by the majority of the population, but simply that it does exists, and Diversify Photo is trying to level the pitch.

For those who are not sure what to make of this, or who are leaning toward criticizing it as being exclusionary, I'd probably just float the idea that it's about providing for those with less, without taking from those who have more. A candle loses nothing by lighting another candle, so to speak.

Then of course there's the practical side of things, that as people move around and the world begins to turn beige, there is a growing need for photographers who either understand a particular language or custom to photograph certain events with a bit more ease of fluency. Just a thought…

You can find out more about Diversity Photo on their site.

Source: Diversify Photo Brings A Database Of Photographers To Promote Diversity | Ability Needs Opportunity

Spekular is the light that does it all for photographers

Spekular is spectacular! Hmmm – a little over the top? Not really. I recently had the opportunity to put this new LED lighting system from Spiffy Gear to the test. Spiffy Gear are the folks that brought us the Light Blaster (buy link).

Spekular is a modular lighting system that can take on all kinds of shapes depending on your needs and this can save you money and the time needed to pack and set-up light modifiers especially when you are working on location. Spekular comes as a kit of 4 LED sections. Each section is built with aluminum and ABS plastic. The sections can be configured using the included hinged connectors or with the accessory extension kit.

To use Spekular, start with a control section and add a stand mount. Then depending on the configuration you want to make – in the example below I am going to make a simple panel – you just slip a hinged connector on one end and keep adding pieces. They just slide right in and then you tighten them in place so that the unit is not going to come apart while you use it.

I won't bore you with all of the technical details in this article – but I would encourage you to check them out in the video at the top of the post. Spekular far outperforms similar lights both in performance and more reasonable pricing.

Here is a shot with my subject placed in front of an Orange backdrop and Spekular in a square arrangement. I have used three additional Spekular panels behind my subject – one is creating a nice glow on the orange background and the other two are placed camera right and camera left as rim lights. Click here to go directly the finished shot in the video.

Next is the same arrangement – minus the background light with my subject in front of a black seamless. Click here to go directly the finished shot in the video.

Spiffy Gear also has a cool accessory called the Star Adapter. This adaptor lets you attach 8 of the LED bars to a central ring. This arrangement gives you a really sweet broad light source and a very cool catchlight. This shot was done with my subject sitting in front of a Thunder Gray backdrop. Click here to go directly the finished shot in the video.

I was able to recreate quite a few of my favorite lighting styles with Spekular – but how about having some fun with color?

With my subject in front of the black background, I placed two bars on camera left as my main light. Two bars on camera right with a blue gel and then used two bars with a pink gel behind my model on camera right and one bar with a pink gel behind my model on camera left. The pink gels light up her blonde hair and the blue gel is coloring the shadowed side of her face. Click here to go directly the finished shot in the video.

Overall, I am very impressed with this new system. For those of you who are GEARtographers – open your wallets, this is a "must have". For the rest of you, it will depend on your needs. I think that Spekular will be a great addition to the lighting arsenal for studio photographers who shoot people, products or food. I also think that Spekular will be a big hit with cinematographers and videographers because of its modular capabilities.

Sample Images

The Spekular Core Kit sells for $650.00. The accessories are each priced at $130.00, or you can get them at Adorama.

About The Author

Joe Edelman is that crazy Photo Joe Edelman on YouTube and an award-winning photographer and educator. You can see his work on YouTube and his website.

Source: Spekular is the light that does it all for photographers

'Shooting Lincoln': How photographers raced to document a president's death

The invention of the daguerreotype by Louis Daguerre in the 1830s revolutionized and democratized how people remembered their loved ones — and became acquainted with the faces of public figures.

During the Civil War, photography transformed how combat was covered, changing journalism.

Two early photographers with very different styles — and the way they covered the assassination of President Abraham Lincoln — are the focus of "Shooting Lincoln: Mathew Brady, Alexander Gardner, and the Race to Photograph the Story of the Century" by Nicholas J.C. Pistor.

+5 

"Shooting Lincoln: Mathew Brady, Alexander Gardner, and the Race to Photograph the Story of the Century"

By Nicholas J.C. Pistor

Published by Da Capo Press, 272 pages, $28

Pistor, a former investigative reporter for the Post-Dispatch and the author of "The Ax Murders of Saxtown," talked about his new book; he will be at Left Bank Books on Wednesday.

Brady was a showman whose New York studio was next to P.T. Barnum's establishment, Pistor points out. An expert marketer of his own brand, he became a household name who often appeared in his photographs, off to the side. Attracted to celebrities, both as subjects and companions, Brady contributed to the celebrity-driven journalism that we still see today.

+5 

Nicholas J.C. Pistor

Gardner, a Scot who met Brady at London's Great Exhibition of 1851, came to America first as Brady's assistant and then became his rival. Brady, who had terrible eyesight, spent lavishly on his studio and died bankrupt. Gardner — who went out into the field and whose war photos are often uncredited — was both a better businessman and more interested in the scientific aspects of his field.

This interview has been edited for clarity and length.

Q • How did you come up with the subject matter?

A • I had been looking at a lot of old pictures when I was doing my first book. One of the things I was struck by was that a lot of people back then didn't have photos because they were poor. I had been reading an article in a British newspaper about an auction of a photo of the famous hanging of the (Lincoln assassination) conspirators. It sold for quite a bit of money, and I thought it was interesting .

I started doing research into Alexander Gardner, who had taken the photo, and I started to look at how that one single moment really invented our modern media we have today.

Q • How did you go about researching it?

A • Most of the research was finding a lot of pictures through the Library of Congress. Both photographers took volumes of photos of the war and way before that. So a lot of it was looking at the pictures and where they were, and then tracing back and trying to piece together the events that they were involved in — these two people who were witness to the most consequential events of the 19th century — whether it was Civil War battlefields, the aftermath of Lincoln's assassination, or the great men they were photographing.

In addition, the Abraham Lincoln Presidential Library and Museum in Springfield was a huge help. It has one of the most comprehensive library archives of that time period, and it's an hour and a half from St. Louis.

Q • How long did it take you?

A • From writing the outline, doing the research and writing, it was a little more than two years. I learned from my first book: At some point, you have to stop doing research and start writing. Once you have a good outline going, it makes it so much easier to start doing that — and when you're writing, you figure out what you don't know, and you go back and research it.

Q • Did you learn things that surprised you?

A • Oh my goodness, yes. The first battle of the Civil War, Brady went out to the battlefield; they all thought it would be like a sporting event. Then the real earnestness of war settled in. It was a traumatizing effect.

What really stood out to me was that these two men were really the beginners of so much of what we have today, the citizen journalist. (Recently) in St. Louis, and in Ferguson, you've had so many people who were not trained journalists going out and taking pictures. That was really a defining moment for Ferguson and today in St. Louis.

Gardner and Brady were the same way. They didn't work for giant organizations; they were self-employed businesspeople who went out there and risked a lot of money. If you think about how photography was then, you'd take glass plates on a wagon out through a battlefield. It was extremely expensive, and they risked so much in doing it, including their own lives.

Q • Where did that lead?

A • The culmination of that was Gardner's shots of the hanging of the (four convicted Lincoln assassination) conspirators. Really, in my opinion, that is the beginning of motion pictures. It's the first time you can actually go and look and witness an event as it happened.

When they took all the photos of the Civil War, it was after the battles had occurred, the aftermath, because the exposure time did not allow them to shoot. Photography had advanced by the time Lincoln was assassinated; Gardner had the ability — because they knew at what time the conspirators were to die — to do a multicamera shoot of their dropping to their deaths. In that series of photos, if you run through them, you almost see the bodies drop. It's from the beginning of that sequence shot that we later got motion pictures.

Q • Was photography a factor otherwise in capturing the conspirators?

A • The conspirators were the most wanted people in the country after the president was shot. One of the things that surprised me was how important photography had become to the legal process. Photographs are referred to constantly throughout the trial of the three men and one woman who were convicted of conspiring to help kill President Lincoln. Evidence used to convict Mary Surratt included pictures of Confederates she had purchased at one of Brady's studios, which were used to show her house was sympathetic to the Confederate cause.

The conspirators were all identified through pictures taken of them before the assassination, which went up on posters all over the country. It's the beginning of the wanted posters that became iconic through the American West.

Q • The Battle of Antietam was a significant moment.

A • Antietam was the first time Americans witnessed war up close. Gardner had gone to the battlefield and had taken amazing photos of the piles of bodies. Brady smartly displayed such photos in his galleries; these photo galleries were almost like cinemas, where people would go and look at pictures of the famous men and women of the day. When those photos went up, the New York Times wrote about it, and droves of people went to his gallery, for the first time seeing what the real carnage looked like. The war was not as romanced as it was in the past.

That was the beginning of documentary journalism, the first time people could actually see, as the New York Times so presciently noted, these were not just names on a list of the dead; you could see their faces. It had a compelling impact on people. Q • What happened in the race to get a photo of Lincoln in his coffin?

A • After Lincoln died, (photographers) all wanted a picture of him in his open casket. Neither Brady nor Gardner could do that; a rival, Jeremiah Gurney, did do that in New York. Brady was so well-connected to the government machinery that he was able to destroy the photo or get it confiscated. There were no prints of it made. Years later, the only copy of that photo was found; it's on display at the Lincoln library in Springfield.

Source: 'Shooting Lincoln': How photographers raced to document a president's death

In India : Bangladesh frees Myanmar photographers

Bangladesh authorities Friday released two Myanmar photographers covering the Rohingya crisis for a German magazine after they were granted bail by a court, police and a lawyer said.

Minzayar Oo and Hkun Lat were detained early this month in the border district of Cox's Bazar, where more than 420,000 Rohingya Muslims have sought refuge from violence in Myanmar's Rakhine state since August 25.

Police have said they were arrested on suspicion of espionage -- a charge rejected by the pair's lawyers.

"They were freed on bail," a police inspector told AFP, speaking on condition of anonymity as he is not authorised to speak to the media.

One of the pair's lawyers, Jyotirmoy Barua, confirmed that the two were granted bail by a court of a judicial magistrate in Cox's Bazar.

It was not clear whether the two would be allowed to travel back to Myanmar.

The lawyer said the two were charged with "false impersonation" and providing "false information" after police accused them of using tourist visas to enter the country, instead of journalist visas.

Cox's Bazar police, however, earlier told AFP the pair were also "primarily accused of espionage".

An award-winning photographer from Bangladesh also arrested with the pair was later freed.

Scores of foreign journalists have poured into Bangladesh's southeast to cover the Rohingya exodus.

The UN has accused Buddhist-dominated Myanmar of waging an ethnic cleansing campaign against the stateless group.

Minzayar Oo and Hkun Lat arrived in Cox's Bazar in early September on assignment for Hamburg-based magazine Geo to cover the refugee crisis, which has strained relations between Muslim-majority Bangladesh and Myanmar.

The lawyer described Minzayar Oo as "an award winning photographer whose work was published in reputed dailies and magazines including the New York Times, Guardian and National Geographic".

The New York-based Committee to Protect Journalists has urged Bangladesh to release the photographers and drop all charges against them.

"The Bangladeshi authorities should not criminalise covering a major world story," said CPJ Deputy Executive Director Robert Mahoney said last week.

"Both local and international journalists reporting on the Rohingya story must be allowed to work freely," he said.

Source: In India : Bangladesh frees Myanmar photographers

Why GoPros Are Useful For Photographers

GoPro cameras are a craze that has swept the world over the last few years, making a compact, lightweight and high spec camera available to the masses of people wanting to capture their adventures that don't want to be carting a heavy DSLR up a mountain with them. If you're not sure what exactly a GoPro is, or what it can be used for, then this article should shed some light on the issue.

GoPros aren't going to suddenly become the go-to camera for slow shutter speed and meticulous landscape work, but they do have their place in a photographer's arsenal and here, we'll explore these possibilities as we discover why a GoPro camera is useful for photographers. 

What is a GoPro?

We know that a lot of you will already be aware of GoPro as a brand and what they make but just in case you're new to it - GoPro is a brand that specialises in action cameras. These cameras have a wide range of uses as we will go into below, but they were primarily designed for attaching to yourself or your equipment when taking part in sporting activities. There are quite a few models on the market, all designed to be rugged, compact and very transportable. Here are the newest 2 available currently:

GoPro HERO5 Black

The HERO5 is GoPro's latest offering and has 4K video capabilities as well as the ability to take 12-megapixel stills in single, burst and time-lapse modes. It's waterproof to 33 feet without housing. It can be activated using voice commands. 

Buy on Amazon

GoPro HERO5 Session

The Session is the smallest and lightest GoPro camera available. It has a versatile cube shape and is waterproof to 10m. It features easy one-button control and is capable of 4K video and 10-megapixel stills in single, burst and time-lapse modes. It can also be controlled hands-free with voice commands. 

Buy on Amazon

But aren't they just for adrenaline junkies?

The short answer is a resounding no! Let us expand on this answer for you. GoPros are a great camera to have on you when you don't want to, or can't take a larger camera. They can fit in your pocket easily and are so light you'll hardly notice it. 

They turn on at the single press of a button and immediately start recording - great for capturing those spontaneous moments when it's impractical or happening too fast to whip out and set up a larger camera. 

If you're planning an exotic holiday, GoPros are a great alternative to a compact camera as they are waterproof without a case and can capture impressive 4K video under the waves. The wide range of accessories available for them allows you to easily use the camera and keep it safely with you in the waves, too. 

GoPro cameras can allow you to capture memories that might otherwise happen too fast to be captured. 

You're talking about video - I want to take photos!

While GoPros are primarily created for capturing video, they do now have stills capabilities, and impressive ones at that. The GoPro HERO 5 can capture 12-megapixel stills - allowing you to produce a 24x36 print without losing quality. They can shoot in single shot, burst, and time-lapse modes as well. 12 magapixels is the same amount you'll find in the much larger Olympus Tough TG-5, for example. 

Although the GoPro camera will struggle in low light as it doesn't have the ISO capabilities of a DSLR, it is still more than capable of family photos and images taken in good light. The wide-angle lens is great for capturing your surroundings. 

So how can I take a decent shot with a GoPro?

It's true that GoPros don't offer you the wide range of shooting options that you'll get with a DSLR, and nor do they have scene modes or filters built in. But for capturing the raw moment of a scene, in good light, the GoPro is a very capable option. There is exposure control, to help if a scene looks too dark or light.

Getting used to shooting well with a GoPro will take practice - getting used to what will work and what won't with the wide angle lens, and positioning the camera so that you get no unwanted objects in the foreground and background can be tricky at first. 

The GoPro HERO5 has a touchscreen, enabling you to preview and playback your images to see if they're up to scratch. 

Think outside the box and capture images that are original - the GoPro has a wide range of attachments allowing you to capture yourself doing something as simple as walking in a new light. 

Use a bit of forethought to envision how you could take an interesting photo on your next adventure. Spontaneity can be great but sometimes it pays to research and plan to photograph in a specific place at a specific time. Try not to shoot in the middle of the day - morning or late afternoon sun is often best. 

Make yourself familiar with the settings so that you can experiment with the camera to quickly and effectively achieve your shots. Otherwise, your frustration with not knowing how to achieve what you want can get in the way of your creativity. 

Invest in gear to help you achieve great images. If you cycle a lot, invest in a handlebar mount. If you rock climb, consider a chest harness. Even if you simply hike, a head mount can give a unique perspective for your adventure and will capture a human view of the scene without you having to unmount it. 

I need more persuading. Why should I invest in one?

If you've read this far then there's a strong chance you're considering GoPro as a purchase. That's great. Here are the main reasons why we think one will complement your photography:

Wide range of accessories 

There are a lot of accessories, mounts, and casings available for GoPro enabling you to keep it safe, and to hand no matter what your activity. From handles to give you a steadier shot to clips enabling you to attach the camera to a surfboard or skateboard, it really doesn't matter what your activity is - the GoPro will fit around you. Even simply stowing it in your pocket when not taking your DSLR means you've got something to capture life's wonderful spontaneous photo opportunities. They always happen when you least expect them when out and about! 

Compact and lightweight

As we've mentioned before, the size and shape of the camera mean that it's easily slipped into a pocket and won't be a bother to you. Even when you do take a DSLR or mirrorless camera out too, the GoPro presents a quicker and easier way to shoot video and photograph on the fly with simple one-button operation. 

Wide angle versatile lens

The wideness of the GoPro lens means it has the capabilities to shoot in a lot of different situations and is especially ideal for those that want to photograph landscapes, or people in the landscape while out and about. It's great for showing people the view of a place, and images can be sent via Wi-Fi or Bluetooth to your smart device for sharing on social media. 

We know that GoPros aren't going to suit everyone but if you want a simple to use a camera that can capture photos and videos in an instant in a compact and lightweight body then a GoPro camera could be for you. 

Get yours now

Check out our 10 Best Action Cameras article for more choices
Source: Why GoPros Are Useful For Photographers

Spy Photographers Get a Peek Inside the New Audi Q8

Auto News Spy Photographers Get a Peek Inside the New Audi Q8 What's McLaren up to With This... Share Tweet Subscribe Get AutoGuide.com in your Inbox

Like AutoGuide.com on Facebook Previous ImageNext Image PreviousNext

View Large

There aren't very many buttons to be seen within the cabin of the new Audi Q8. 

The production Audi Q8 is expected to make its debut sometime next year and the prototype being seen here is still covered in camouflage. The SUV however, has been spotted completely uncovered so we already have a good idea of what its exterior will look like. But this is the first time spy photographers have managed to snap photos of the Q8's interior, revealing a mostly sleek surface with minimal physical buttons and knobs.

SEE ALSO: Production Audi Q8 Spotted Completely Uncovered

The new Q8 isn't expected to arrive in the U.S. until 2019 and should be powered by a 3.0-liter turbocharged V6 engine with around 354 horsepower and 369 pound-feet of torque. There will also be a high-performance RS variant, sporting a 4.0-liter twin-turbo V8 engine, as well as a plug-in hybrid e-Tron model.

Discuss this story on our Audi Forum

Filed under: Audi Crossovers Featured Articles German Luxury Cars Spy Photos SUVs Tags: Audi, q8, Spy Photos Share Tweet Subscribe Get AutoGuide.com in your Inbox

Like AutoGuide.com on Facebook More Auto News... Know something we don't?Send us your Tips! Like us on Facebook Follow Us on Twitter Get AutoGuide.com News Fast

Car Comparisons 2017 Toyota 86 vs 2017 Mazda MX-5 Miata RF

2017 Mercedes-Benz E43 AMG vs BMW M550i Comparison Two big, fast sedans with all the luxury you want.

2017 Honda Civic Si vs Volkswagen GTI Comparison It's not easy being the middle child.

Honda Civic Type R vs Subaru WRX STI vs VW Golf R vs Ford Focus RS: Sport Compact Comparison The all-new Honda Civic Type R takes on the competition in the ultimate showdown for sport compact supremacy.

2018 BMW 540i vs Genesis G80 Sport Comparison The Genesis does 85 percent of what the BMW can and at a much cheaper price.

2018 Toyota C-HR vs 2017 Honda HR-V Comparison Toyota uses style, features and driving dynamics to fight Honda's practicality.

Top Video Pick Honda Civic Type R vs Subaru WRX STI vs VW Golf R vs Ford Focus RS: Sport Compact Comparison     CLOSE X Honda Civic Type R vs Subaru WRX STI vs VW Golf R vs Ford Focus RS: Sport Compact Comparison Aug 24, 2017 The all-new Honda Civic Type R takes on the competition in the ultimate showdown for sport compact supremacy. READ FULL STORY Most Fuel Efficient Compact SUVs

Honda HR-V

Mazda CX-3

Nissan Juke

Car Buying Tools

Find a Dealer near your area

Free dealer Price Quote

Vehicle History Report

Source: Spy Photographers Get a Peek Inside the New Audi Q8

Why GoPros Are Useful For Photographers

GoPro cameras are a craze that has swept the world over the last few years, making a compact, lightweight and high spec camera available to the masses of people wanting to capture their adventures that don't want to be carting a heavy DSLR up a mountain with them. If you're not sure what exactly a GoPro is, or what it can be used for, then this article should shed some light on the issue.

GoPros aren't going to suddenly become the go-to camera for slow shutter speed and meticulous landscape work, but they do have their place in a photographer's arsenal and here, we'll explore these possibilities as we discover why a GoPro camera is useful for photographers. 

What is a GoPro?

We know that a lot of you will already be aware of GoPro as a brand and what they make but just in case you're new to it - GoPro is a brand that specialises in action cameras. These cameras have a wide range of uses as we will go into below, but they were primarily designed for attaching to yourself or your equipment when taking part in sporting activities. There are quite a few models on the market, all designed to be rugged, compact and very transportable. Here are the newest 2 available currently:

GoPro HERO5 Black

The HERO5 is GoPro's latest offering and has 4K video capabilities as well as the ability to take 12-megapixel stills in single, burst and time-lapse modes. It's waterproof to 33 feet without housing. It can be activated using voice commands. 

Buy on Amazon

GoPro HERO5 Session

The Session is the smallest and lightest GoPro camera available. It has a versatile cube shape and is waterproof to 10m. It features easy one-button control and is capable of 4K video and 10-megapixel stills in single, burst and time-lapse modes. It can also be controlled hands-free with voice commands. 

Buy on Amazon

But aren't they just for adrenaline junkies?

The short answer is a resounding no! Let us expand on this answer for you. GoPros are a great camera to have on you when you don't want to, or can't take a larger camera. They can fit in your pocket easily and are so light you'll hardly notice it. 

They turn on at the single press of a button and immediately start recording - great for capturing those spontaneous moments when it's impractical or happening too fast to whip out and set up a larger camera. 

If you're planning an exotic holiday, GoPros are a great alternative to a compact camera as they are waterproof without a case and can capture impressive 4K video under the waves. The wide range of accessories available for them allows you to easily use the camera and keep it safely with you in the waves, too. 

GoPro cameras can allow you to capture memories that might otherwise happen too fast to be captured. 

You're talking about video - I want to take photos!

While GoPros are primarily created for capturing video, they do now have stills capabilities, and impressive ones at that. The GoPro HERO 5 can capture 12-megapixel stills - allowing you to produce a 24x36 print without losing quality. They can shoot in single shot, burst, and time-lapse modes as well. 12 magapixels is the same amount you'll find in the much larger Olympus Tough TG-5, for example. 

Although the GoPro camera will struggle in low light as it doesn't have the ISO capabilities of a DSLR, it is still more than capable of family photos and images taken in good light. The wide-angle lens is great for capturing your surroundings. 

So how can I take a decent shot with a GoPro?

It's true that GoPros don't offer you the wide range of shooting options that you'll get with a DSLR, and nor do they have scene modes or filters built in. But for capturing the raw moment of a scene, in good light, the GoPro is a very capable option. There is exposure control, to help if a scene looks too dark or light.

Getting used to shooting well with a GoPro will take practice - getting used to what will work and what won't with the wide angle lens, and positioning the camera so that you get no unwanted objects in the foreground and background can be tricky at first. 

The GoPro HERO5 has a touchscreen, enabling you to preview and playback your images to see if they're up to scratch. 

Think outside the box and capture images that are original - the GoPro has a wide range of attachments allowing you to capture yourself doing something as simple as walking in a new light. 

Use a bit of forethought to envision how you could take an interesting photo on your next adventure. Spontaneity can be great but sometimes it pays to research and plan to photograph in a specific place at a specific time. Try not to shoot in the middle of the day - morning or late afternoon sun is often best. 

Make yourself familiar with the settings so that you can experiment with the camera to quickly and effectively achieve your shots. Otherwise, your frustration with not knowing how to achieve what you want can get in the way of your creativity. 

Invest in gear to help you achieve great images. If you cycle a lot, invest in a handlebar mount. If you rock climb, consider a chest harness. Even if you simply hike, a head mount can give a unique perspective for your adventure and will capture a human view of the scene without you having to unmount it. 

I need more persuading. Why should I invest in one?

If you've read this far then there's a strong chance you're considering GoPro as a purchase. That's great. Here are the main reasons why we think one will complement your photography:

Wide range of accessories 

There are a lot of accessories, mounts, and casings available for GoPro enabling you to keep it safe, and to hand no matter what your activity. From handles to give you a steadier shot to clips enabling you to attach the camera to a surfboard or skateboard, it really doesn't matter what your activity is - the GoPro will fit around you. Even simply stowing it in your pocket when not taking your DSLR means you've got something to capture life's wonderful spontaneous photo opportunities. They always happen when you least expect them when out and about! 

Compact and lightweight

As we've mentioned before, the size and shape of the camera mean that it's easily slipped into a pocket and won't be a bother to you. Even when you do take a DSLR or mirrorless camera out too, the GoPro presents a quicker and easier way to shoot video and photograph on the fly with simple one-button operation. 

Wide angle versatile lens

The wideness of the GoPro lens means it has the capabilities to shoot in a lot of different situations and is especially ideal for those that want to photograph landscapes, or people in the landscape while out and about. It's great for showing people the view of a place, and images can be sent via Wi-Fi or Bluetooth to your smart device for sharing on social media. 

We know that GoPros aren't going to suit everyone but if you want a simple to use a camera that can capture photos and videos in an instant in a compact and lightweight body then a GoPro camera could be for you. 

Get yours now

Check out our 10 Best Action Cameras article for more choices
Source: Why GoPros Are Useful For Photographers

WD G-Technology unveils portable, rugged SSD for photographers

Western Digital has announced the launch of a new portable storage drive under its G-Technology brand: the G-Drive mobile SSD R-Series. This USB-C storage drive is marketed specifically at photographers and other content creators, and is formatted to work with Mac computers out of the box, though it can also be used with Windows if reformatted.

To complement its portable nature, Western Digital has housed the SSD in a rugged water- and dust-resistant body able to withstand drops from 9.8ft / 3m onto a concrete surface and up to 1,000lbs of pressure. The drive itself, which is offered in capacities up to 2TB, has a maximum transfer speed of 560MB/s. Western Digital will launch the R-Series some time this year at the following prices:

500GB: $200

1TB: $380

2TB: $700

Press Release

New G-DRIVE mobile SSD R-Series Will Provide Content Creators with a Larger, Faster, and Rugged Portable Solution

SAN JOSE, CA – Sept. 14, 2017 – Western Digital Corporation (NASDAQ: WDC), a global data storage technology and solutions leader, today announces the new G-Technology® brand G-DRIVE® mobile SSD R-Series device, the fastest G-Technology portable SSD. With the latest-generation USB-C™ connectivity and transfer speeds up to 560MB/s*, digital content creators will be able to unleash their creativity in new places and work with large creative files like videos, photos and music faster.

"Larger and more powerful cameras breed larger file sizes and that has brought about an important need for equally large and powerful storage solutions," says Brian Matiash, G-Technology G-Team ambassador. "I need to know that my drives will not only keep up with the growing demands of my photo and video workflows, but also ensure that they can endure the environmental rigors of wherever my work takes me." With G-Technology's G-DRIVE mobile SSD R-Series, not only do I get an additional 2TB of capacity beyond what my laptop is limited to with blazing fast file read and write speeds, I also get peace of mind knowing that these drives will stand up to the unpredictable and inclement conditions.

Working with large 4K RAW video means large file sizes and is undoubtedly one of the largest pain points for content editors. Saving time means getting more done, which means booking more jobs over the course of a year. Featuring transfer speeds up to 560MB/s*, the G-DRIVE mobile SSD R-Series device will enable editors to quickly save and edit large video, photo and audio files in real time with speeds fast enough to keep up with your content.

Rated R for Rugged

When the luxury of indoor production isn't an option, the G-DRIVE mobile SSD R-Series device is built using hand-picked components to withstand tough conditions in the field and provides a rugged solution you can trust. In addition, it will have an International Protection Rating of 67 (IP67) for water and dust resistance and has been tested to withstand up to a 3-meter drop on a carpeted concrete floor and 1000 lbs of pressure (crush resistance).

Think Big. Travel Light.

When preparing for outdoor production, limiting the space and weight of gear is vital. The G-DRIVE mobile SSD R-Series device is compact in size, and will give photographers high-capacity storage without sacrificing speed. With capacities up to 2TB, the G-DRIVE mobile SSD R-Series device is a lightweight, pocket-sized solution that will enable photographers and editors to keep 4K footage, RAW photos, and more to edit and save, wherever, whenever.

Being an on-the-go photographer requires being confident and secure with tools to work with. The G-DRIVE mobile SSD R-Series device is protected by an industry-leading five-year limited warranty and is designed to provide high-performance storage for years to come.

Pricing and Availability

The G-DRIVE mobile SSD R-Series device offers a 5-year limited warranty and will be available at select G-technology resellers around the world this year with up to 2TB capacities.

Manufacturers Suggested Retail Price (MSRP) in the U.S. will be $699.95 for 2TB, $379.95 1TB, and $199.95 500GB, USD, respectively from g-technology.com and will be available this year through G-Technology resellers around the world. For more information on G-Technology offerings, please visit www.g-technology.com.

Source: WD G-Technology unveils portable, rugged SSD for photographers

Excio seeks photographers, artists, museums to join background photo app

Excio co-founder and chief executive Ana Lyubich holding one of Wellington Public Library's books which is used in the app.

Whether it is a photo of your favourite book cover, or a portrait from an obscure artist, there is something for everyone's "small billboard".

And while most mobile phone owners choose to have family photos on their home screen, some people prefer scenery, or artwork.

"If you don't like to put your family images there, it's just another screen and with most of the being five-and-a-half inches now, it's like a small billboard in your pocket," Wellington app designer Ana Lyubich​ said.

Photographers, museums and artists sign up to the app and list their images on it.

"You look at it about 100 times a day, and can close and open different apps, but the home screen is always there, so why do you use it for something meaningful."

READ MORE: * Size matters: Phones are as big as they can get

And that is where Excio comes in.

The app shows an array of home screen backgrounds for mobile devices.

Excio is an app which provides mobile users with an array of home screen backgrounds, as well as provide exposure to photographers, artists and museums.

Lyubich, the co-founder and chief executive of Ad Cloud, the company behind Excio, said it offered more than 2000 images to choose from, including book cover illustrations and work from exhibits.

Most of the photos were from New Zealanders, of New Zealand, however, there were also images of art from galleries in the US, she said.

You swipe down on the image to find out more information about it, including the photographer, artist or illustrator.

Lyubich, with her partner Vlad Dolgov​, were now gearing up to tackle the Chinese market, she said.

Ad Feedback

Excio differs from other home screen photo apps because it allows users to swipe down from the image to find out the name of the piece and the artist or photographer.

From there, mobile phone owners could read a brief description of the image, and see more from the person who created it.

"All other apps … are like poster on the wall, you need to take down and put another one up from time to time, so it's just a static image that doesn't give you any information about the story behind the image," Lyubich said.

Some of the big names who use the app include Te Papa, Staglands Wildlife Reserve, and the Wellington City Library, using it as a tool to showcase art, exhibition pieces, books, and animals.

"What is interesting is that you can discover new content from artists and photographers who I have not heard of before … you get to see so many photos which are extremely beautiful," she said.

"There's a feeling of excitment when I look at my phone and see something new from someone I haven't heard about yet."

Lyubich hoped to grow the app in "as many parts of the world as possible", she said.

"And that's mostly to give exposure to all the talent that is in the world, because there is a lot of talent people who just don't have a way to break through and be discovered.

"I want to bring all these meaningful images to the screen."

The app is only available on Android phones, but would be available on iPhones within a year, she said.

 - Stuff

Source: Excio seeks photographers, artists, museums to join background photo app

New book celebrates black women photographers

In the 1980s, Jeanne Moutoussamy-Ashe an American photographer, wanted to document the contributions of black female photographers in the United States.

She dug through US Census reports and business directories to track down women like Jennie Louise Van Der Zee Welcome, who photographed the Harlem renaissance, or Elizabeth "Tex" Williams, the first black photographer in the Women's Army Corp during World War II. Moutoussamy-Ashe finally published Viewfinders: Black Women Photographers in 1986, updating it in 1993.

Since then there has been no other comprehensive compilation of the work of black women photographers.

More than 30 years later, Laylah Amatullah Barrayn, a photographer based in Brooklyn, is publishing an anthology of work by black women photographers descent, Mfon: Women Photographers of the African Diaspora. Barrayn's book, funded by a grant from the Brooklyn Arts Council as well as a crowdfunding campaign, features 100 female photographers of the African diaspora, including those based in the US, Africa, Europe, and the Caribbean. It's named after Mmekutmfon 'Mfon' Essien, a young Nigerian-American photographer who passed away in 2001.

The book is the beginning of what will be an annual publication. Barrayn and her partners will also be offering a grant later this year to a woman photographer of African descent. Quartz spoke to Barrayn about Mfon, which will be available later this month.

"The Girls Who Spun Gold". / Nydia Blas

Why did you name the book after Mmekutmfon 'Mfon' Essien?

I thought it would be really fitting to have it be in honor of Mfon, who was someone that I wanted to meet as an aspiring photographer back in the 1990s. I loved her sense of self and pride as a woman and as a Nigerian-American woman. She faced her illness, breast cancer, head on. She created art around her mastectomy and was a muse for many of the visual artists in New York City at the time. She died right before the opening of her seminal work, "The Amazon's New Clothes," part of the "Committed to the Image" exhibition at the Brooklyn Museum of Art.

How does Mfon diverge from Viewfinders, which you have described as an inspiration for the project?

The major difference between that text and our book is that I wanted to do something international and make a real statement. That's why I wanted to include 100 photographers. We also have a few essays from art critics, and the book is photo heavy. We have a range of genres represented from fine art and abstract to documentary and photojournalism.

How different is the world for black female photographers now compared to when that book was published?

Black women photographers have more exposure than they did in 1986, but nothing compared to our counterparts, white women photographers, who have much more exposure and opportunity. Black women photographers are grossly underrepresented across the board, unfortunately. I'm doing my small part to add to this conversation by creating this document. But it is the gatekeepers, the editors, and curators, who really need to do examine their processes of inclusion.

What are the biggest challenges for female black photographers? What about for female African photographers, from the continent or in the diaspora? I deliberately tried to include African Americans and continental Africans in the book to really bring home the fact that this is a global black community. The challenges for us is that editors, curators, and gatekeepers are committed to only engaging with a select few that, I suppose, maintain their comfort level.

Can you tell us about how you chose the photos for the book?

There are several photographers in the book that I've admired for a while. I was on Instagram a lot. When I was in Africa, I tried to go to exhibitions and check out the scenes in cities like Cairo, Adis Ababa, Dakar, and Cape Town. I did tons of Google searches. I had tons of conversations on and offline.

What do you hope the book achieves?

I think it's important to create a record. I would hate for another 30 plus years to go by and virtually nothing about the work that women photographers of African descent goes documented. I want aspiring photographers to be inspired by the work, effort, and sacrifice these women have made to become storytellers and photographers.

Agencies

Source: New book celebrates black women photographers

Photographers Mert and Marcus Talk 20 Years in Fashion, 'Selling Dreams' and Collaborating With Taylor Swift

Since meeting at a party in the early '90s, photographers Mert Alas and Marcus Piggott (or Mert & Marcus as they're better known to most of the world) have been a joint creative force to reckon with. In the two decades since the pair started collaborating from a DIY East London loft-turned-studio, they've brought an element of highly-stylized glamour to the fashion world.

The pair are known for their polished, hyper-saturated images and unapologetic use of digital manipulation, creating fantasies in picture form in projects that run the gamut from Kate Moss' high-fashion, 60th anniversary Playboy cover to the edgy album art for Taylor Swift's highly-anticipated upcoming album, Reputation. Now, with 20 years in the industry to their credit, Mert and Marcus are looking back at their work with their first retrospective book, a limited-edition, 400-page glossy tome from Taschen titled simply, Mert Alas and Marcus Piggott.

We spoke to the photographers about their two decades in fashion, Instagram, and what Taylor Swift's new album sounds like. See some of their most iconic images from the book above.

When did you two first start creating images?

Mert Alas: Twenty years ago. In 1994, we met and started sort of making pictures and then from 1995, we were doing photos of ourselves and our friends at home, nothing to do with fashion, just a lot of portraits and nudes, and then in 1997, we started doing this.

Marcus Piggott: We'd call up friends at night and be like, 'come over,' we were always excited about doing something. I had studied [photography] for about 10 years before that anyways, so we were always taking pictures. We met and we started working together.

Do you both shoot and edit?

Mert: We give birth to the idea together, we shoot together, we'll swap the camera because we only have one camera on-set. So he might say, 'give me the camera, I have some angle here that I'd like to try' and vice-versa. And then we will edit together and we have a team of artists, digital artists and printers that we work with. We go over all the details ourselves.

Do you only shoot digital?

Marcus: Well, we do now. You know, never say never because film is so great, but after years in the darkroom, printing, digital just gives you so much freedom.

Mert: It's fast.

Marcus: You're not chasing the Polaroid, you know? You're not trying recreate something over and over again.

What would you say is more important to you two as image makers in your style, the editing of the photo or the shot itself?

Mert: The shot, always the shot! Sometimes we have an idea, and the idea is a dream, it's the middle of the night, there's a moon, there's a wolf, so we paint that idea onto a photograph by shooting different elements and putting them together, and finessing it. I always prefer getting the shot, of course, as a photographer, but I also love making something out of nothing. Putting elements together and creating an image.

You were on the forefront of digitally altering images to make them fantastical. What inspired you to create really stylized, staged photos?

Marcus: Well, as much as they are staged, they're really quite loose as well.

Mert: It was not really a plan, we would do a photograph and then it would be like, "Oh my god, maybe the sky should be like this." It was kind of following our fantasies and dreams a little bit, falling into that, not being concerned with the reality, you know? We are artists, we're not journalists, so we're meant to be selling dreams. For us, it was like, "Let's make the sky red! Let's make her eyes bigger." There were details that you could change and in the end, it isn't so fake that people think, "Oh my god, this is like a drawing," it's in the borderline, so you feel like it's a dream. Our photography has a dream-like sense: how can we portray dark dreams in a beautiful way, in beautiful packaging? So you look at it, you like it, there's some darkness in it. It's a camouflage of our dark side.

How did you two meet and how did you start collaborating creatively together?

Mert: We met at a party in England. We became very close, very quickly, we had a very interesting bond when it came to art, creativity, music, and fun.

Marcus: In our home, there was always an element of playing or fun or cameras, but then we kind of fell into it and gave it our life and our passion. We gave a lot of our life, really. Most of the 2000s, we spent at home, making photos. It was our passion together.

You two were on the same page for that.

Mert: Same page, but at the same time, very different people. Most of our greatest photos are the result of a giant fight that we probably had. That's the way it worked and still does. We just had a fight ten minutes ago [laughs].

Marcus: I think it's important not to just be satisfied, that you're willing to keep pushing.

Mert: In this world, people surround you, especially when they work for you, and everything you do is "great." And you can easily fall into that "greatness" if you were alone. But we never had that! It was always, "it can be better" or "it's not working" or "the light is sh-t," so there was always a little dissatisfaction in what we were doing and at the same time, trying to impress each other.

Marcus: And, you know, it's someone where you value their opinion. Pushes you along.

Mert: We both do some personal work ourselves, even though before I would show it to anyone, I would show it to Marcus. It's almost like our inner voice, outside of us.

How do you stay inspired after 20 years in the business?

Mert: It's very hard, but what drives us is the force and love of life. We're both very into life, love, fun, friendship, culture. Anything and anyone who's got anything to say, a dancer, a singer, a painter. Or dreams. We both have very vivid dreams.

Marcus: You have to stay inspired, don't you? We take a nice summer and we take a good Christmas break and that's good for recharging.

What's changed about your creative process since you two started taking photos?

Mert: colorThe industry's changed. Society's speed of acknowledgment has changed. Everything is available, information is everywhere. You can get something in two hours instead of waiting for a book to come out. Instead of waiting for someone to tell you about something, you can Google it. Because we didn't have Internet when we started, we didn't have Instagram, we didn't have any of that, so everything for us was a fantasy and we weren't two rich kids where we could buy loads of books, so to learn, we had to go to the library and look at photos and digest them.

I think it's the inevitability of having so many sources out there; in my opinion, it's reducing the creative juice of mankind. We stop thinking and asking, "What should be the color? What should be the location? What should be the light?" We are so full of references, we just look and we say "Oh, I should do that hair, that light, that location [claps] — I'm a photographer!" Some good, some bad. I feel lucky to have gone through that process where we actually made it out of nowhere.

I see that both of you are on Instagram, do you feel like that's something that's really changed the way we see and consume and create images?

Mert: Why am I on Instagram? I am on Instagram because it's not something that is serious, it's not something that relates to my work so much, I post something that I might have worked on every now and then, but most of the time, it is of my family, my dog, my cat, my face, my leg, whatever. So it's almost like this selfish satisfaction of our fast society, like "Oh we did a picture, everyone loves it, haha!" It's random.

I don't dislike the kinds of photos that people do, I actually get inspired by a lot of them and I show them to Marcus, like "Look at these kids, they're amazing and they do it all on iPhone and it looks great." It is what it is. I like the fact that a lot of kids now have a voice of some sort so that they can actually show things that they couldn't have otherwise afforded to do. They can't do a photoshoot, they can't get a camera, they don't have a studio, they don't have models. And it looks great, and I like that.

You often feature strong, powerful women in your work and it's become somewhat synonymous with your work – why such strong feminine energy? Is it because of commissions?

Marcus: I think it's personal taste. We both had very strong mothers and that was a big influence on the type of work that we do. But I think it's what attracts us. I like a strong, intelligent, powerful person whether it be male or female.

Mert: I like a woman when I don't define her solely as her sexuality but also defining her bravery. So for instance, for me there are two types of nude: you could be a sexy girl, you know what I mean [gestures] or you could be completely nude and still not be the sexy that we are all thinking of. We like a woman who has got balls [laughs], that has an identity, a power, a strength, is an authority as opposed to being just a sweet, feminine figure.

You two just shot the Taylor Swift album cover for reputation; what was it like working with her? Was it a collaboration?

Mert: Amazing! Super collaborative; she's got the most incredible photographic eye. The first time that we worked with her years ago, we connected then and there. I like when someone has an opinion and a point of view and Taylor had an incredible point of view. We had a lot of different ideas to do before the shoot and then the day of, we were changing everything, like maybe we should do this, maybe we should do that. It was totally fruit of collaboration. She's a very cool chick.

Did you listen to the new album?

Mert: Yeah!

Did you listen to the whole album?

Mert: Not the full album, but what we heard, it's good.

Source: Photographers Mert and Marcus Talk 20 Years in Fashion, 'Selling Dreams' and Collaborating With Taylor Swift