Vanity Fair Monday May 5, 2025
In April, The New York Times hired a full-time director of photography responsible for podcasts. That may sound like a surprising move. but, notes Vanity Fair, podcasting is quickly moving to beyond mere audio. New York Times columnist Ezra Klein is now “a bona fide millennial onscreen hottie, staring straight into the camera and engaging a new kind of audience,” notes VF. The Atlantic just rolled out a YouTube podcast hosted by writer David Frum. Shows from MeidasTouch, The Bulwark, Crooked Media, and The Free Press are already fixtures on the platform.
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DP Review Monday May 5, 2025
Tamron has announced it will bring its popular 18-300mm f/3.5-6.3 Di III-A VC VXD (Model B061) telephoto zoom for APS-C mirrorless cameras to Nikon Z and Canon RF mount later this year. It’s the company's second RF lens, and the first third-party APS-C zoom lens with autofocus announced for Z mount. That's more groundbreaking than the long list of qualifiers might imply, notes DP Review: Nikon's lineup of APS-C-focused zooms includes just four lenses, leaving photographers with few options unless they’re willing to buy heavier, larger and more expensive full-frame lenses.
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By
David Schonauer Monday May 5, 2025
As we noted recently, Fort Worth police have returned artworks by photographer Sally Mann that were seized by its forces from the Modern Art Museum of Fort Worth in January, after a Texas grand jury
declined to take action against the museum over accusations it had promoted child pornography. Now it has been revealed just how extensively, and expensively, Fort Worth police investigated the … Read the full Story >>
HYPERALLERGIC Friday May 2, 2025
John Humble, who insightfully documented the urban landscape of Los Angeles with all of its messy contradictions, died on April 13 at the age of 81 as a result of cardiovascular issues, reports Hyperallergic. For five decades, Humble focused his lens on areas of the city often overlooked or dismissed. “Humble’s crystal-clear pictures are not one-dimensional critiques of L.A.’s inhuman artificiality,” critic David Pagel wrote in the Los Angeles Times in 1994. “Neither are they giddy celebrations of sunshine, stardom and seduction.”
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