Industry News, 1: The Costly Business of Book Publishing
If you’re thinking of creating a photo book, you might want to take a look at the overview of the publishing business recently featured at PDN. “Print runs are low, production costs are high, and bookstores and online retailers are pressing for discounts,” notes writer Kris Wilton. Publishers can either charge prohibitively high prices for books, or find new ways to defray costs—which is why we are now living in the age of the artist-funded book … and Kickstarter. “It’s a hard business to get a book off the ground,” says Lesley Martin, publisher of the book program run by the Aperture Foundation, which is one publisher who won’t ask photogs to pay for their own publishing projects.
In Focus: Visual Journalists Talk About Covering Ferguson, MO
The images of the police force of Ferguson, MO confronting protesters over the fatal shooting of 18-year-old Michael Brown by one of its officers have shocked the world. Journalists at the scene in Missouri have faced a double challenge: first, dealing with police hostility; and second, covering the underlying story—not just filming the SWAT teams, tear gas grenades and angry exchanges, but capturing the emotions and experiences of the city’s residents. News Shooter features extracts of interviews with three visual journalists in Ferguson—Salima Koroma, a Time video producer; photographer David Carson, of the St. Louis Post-Dispatch; and NY Times video journalist Brent McDonald.
Mapping Color By Robert Meganck, Chair Communication Arts, VCU, Matt Wallin, Associate Professor, Communication Art, VCU and Peter Martin, Affiliate Faculty, Physics, VCU Although color is a concern of disciplines as diverse as art, science, business and medicine and has experts in disciplines as diverse as the breakfast cereal industry and the Pentagon, it is arguably one of the most widely misunderstood yet most used visual principles. This misunderstanding stems from the...
Latin American Fotografia: Brazilian Photographer Jose Diniz
Photographer Jose Diniz was born in Niteroi, Brazil, and now lives in nearby Rio de Janeiro. But he says that he has always had a strong emotional relationship with the central Brazil's Cerrado region--a landscape of savannahs and rivers sprawling across the country's central highlands. "It is a very important part of Brazilian culture, mainly through connections with literature," Diniz notes. It was there, in 2012, that he shot his Latin American Fotografia-2 winning series "Vertentes."