Results 76 - 100 of 1334

<< Start < Prev 1 2 3 4 5 6 7 8 9 10 Next > End >>

Author:Zone Zero
  Open Society Foundations Documentary Photography Project Moving Walls 19 Application Guidelines     Overview The Open Society Foundations invites photographers to submit a body of work for consideration in the Moving Walls 19 group exhibition. Moving Walls is an exhibition series that features in-depth and nuanced explorations of human rights and social issues. Thematically linked to the Open Society Foundations’ mission, Moving Walls is exhibited at foundation offices in New York and Washington, DC and includes 6-7 discrete bodies of work. Moving Walls recognizes the brave and difficult work that photographers undertake globally in their documentation of complex social and political issues. Their images provide the world with human rights evidence, put faces onto a conflict, document the struggles and defiance of marginalized people, reframe how issues are discussed publicly, and provide opportunities for reflection and discussion. Through Moving Walls, the Open Society Foundations honors this work while visually highlighting the mission of our foundation to staff and visitors. For participating photographers, a key benefit of the program is to gain exposure for both the social justice or human rights issues they photograph, and for themselves as photographers. When the tour ends, photographers may keep their professionally-produced exhibition to use however they wish. To view images from our recent exhibitions, please visit:     Areas of Interest Since its inception in 1998, Moving Walls has featured over 100 photographers whose work addresses a variety of social justice and human rights issues that coincide with the Open Society Foundations’ mission. Each Moving Walls exhibit includes six to seven distinct bodies of work that address issues or geographic regions where the Open Society Foundations are active. Priority is given to work whose subject has not been recently addressed in Moving Walls.   Listed below are some topics that are focus areas for the Open Society Foundations and about which we are interested in receiving submissions. Please note that photographers are welcome to submit their work for Moving Walls even if their subject area is not included on this list. All work submitted will be considered for exhibition. In addition to the focus areas listed below, please visit our website ( for a complete listing of priorities and programs.   Muslim communities in Europe Women in post-conflict countries Global pretrial detention (not United States) Public health issues in Africa, including access to essential medicines, access to health care, palliative care Climate change Economic downturn in the United States, including the foreclosure crisis Images that reframe mainstream media representations of African American men and boys Detention of immigrants in the United States Youth movements, especially political participation in voter registration, policy reform efforts, public education Reconstruction and rebuilding in Haiti Physical and mental disabilities in Eastern Europe or Central Asia, focusing on integration or inclusion Political violence, especially in Latin America and Africa Elections in Uganda and Nigeria     Who Can Apply Any emerging or veteran photographer who has completed a body of work on a human rights or social justice issue may apply for Moving Walls. Work in progress may be submitted as long as a substantial portion of the work has been completed. We will accept any genre of photography that is documentary in nature and is not staged or manipulated. In addition, priority will be given to work that addresses issues and geographic regions of concern to the Open Society Foundations. Seven portfolios will be selected based on the quality of the images, the project’s relevance to the Open Society Foundations, and the photographer’s ability to portray a social justice or human rights issue in a visually compelling, unique, and respectful way. Moreover, Moving Walls values work by photographers who have a long-term investment in a community or issue. Photographers working in their home countries, women, emerging artists, and people of color are also encouraged to apply. The Open Society Foundations does not discriminate based on any status that may be protected by applicable law.     Emerging Photographer Travel Grant To support the professional advancement of photographers who have not received much exposure, an additional travel grant will be provided to select Moving Walls photographers to attend the opening in New York and meet with local photo editors and relevant NGO staff. Recipients must apply for the travel grant after being chosen for inclusion in the Moving Walls exhibition. The grant is subject to the applicant obtaining the necessary visa to the travel to the U.S. Recipients will be determined based on, among other things, prior international travel experience, prior attendance at workshops and seminars outside their home communities, publication and exhibition history, awards, and potential impact on their professional development.     Application Process: Please go to http: // t o access our online application system. You will be asked to submit the following materials: 1) application cover page 2) a project statement* (600 words maximum) describing the project you would like to exhibit; 3) a short narrative bio (250 words maximum) summarizing your previous work and experience; 4) your curriculum vitae; 5) 15-20 jpg images Optional materials: 6) Multimedia: Moving Walls has the capacity to exhibit multimedia in addition to (but not in place of) the print exhibition. A multimedia sample should be submitted only if it complements or enhances, rather than duplicates, the other submitted materials. The sample will be judged on its ability to present complex issues through compelling multimedia storytelling, and will not negatively impact the print submission. If you are submitting a multimedia piece for consideration, please post the piece on a free public site such as youtube and include a link. If the piece is longer than five minutes, let us know what start time to begin watching at. *NOTE: The one-page statement is intended to give the Selection Committee a better understanding of the project. Non-native English speakers should describe their projects as accurately as possible, but do need not be concerned with the quality of their English. Complete submissions must be received at the Open Society Institute-NY by 5pm (Eastern Standard Time) on Friday, April 1, 2011.     Review and Selection Process: Phase 1: Applications will be reviewed and selections made by a committee of foundation staff and the exhibit curators, Susan Meiselas and Stuart Alexander. In evaluating the work, the committee considers the quality of the photographs and their relevance to the Open Society Foundations’ overall mission and activities. In addition, the committee aims to select a diversity of issues and geographic areas in order to avoid repetition of topics shown in recent exhibitions. To view images from our recent exhibitions, please visit:   We tend to receive between 150-200 submissions each round. For Moving Walls 19, we plan to select seven bodies of work.   Phase 2: The selected photographers will be designated wall space and encouraged to visit Open Society Foundations offices in New York in order to meet with our curators and prepare installation plans. Please note that travel to our NY office is not part of Moving Walls payment and is not a requirement. Photographers who are unable to travel to New York may correspond with our curators by e-mail or fax and submit their installation plans electronically. While curators work closely with photographers to determine an installation plan, final curatorial decisions are at the discretion of the Moving Walls curators and selection committee. During this time, the selected photographers will be invited to apply for the Emerging Photographer Travel Grant.     Time Frame: Applications are due by 5pm E.S.T. on Friday, April 1, 2011. To participate, you must be available to follow the exhibition schedule detailed below. Moving Walls 19 is scheduled to open on November 30, 2011. The approximate duration of the exhibition in New York is nine months. After the New York exhibition closes, the Open Society Foundations will select (at its discretion) a portion of the exhibition to travel to its Washington, D.C. office for an additional nine months. Please note that, in connection with prior Moving Walls exhibitions, certain photographers have been asked to participate in subsequent exhibitions in Baltimore, Maryland (in conjunction with the Open Society Foundations office located there) and in New York City (at the Columbia University School of Social Work and John Jay College of Criminal Justice). Should you be selected, the decision to participate would be entirely yours and a separate agreement would be executed.     Exhibition Schedule: Participating photographers must be abl e to commit to the foll owing exhibition schedule: April 1, 2011: Deadline for submissions. Early June 2011: Notification of participants. June-July 2011: Selected photographers meet with curators to plan their shows. Selected photographers invited to apply for the Emerging Photographer Travel Grant. July 2011 Deadline for selected photographers to submit detailed budgets and installation plans. August 2011 Deadline for submission of the following: - Artist’s statement, bio, captions, and other wall texts - High resolution jpeg files of each exhibition image foruse in exhibition-related printed materials and for inclusion on our website. - Recipients of the Emerging Photographer Travel Grants notified. September 2011: Deadline for photographers to have their completed prints delivered to the framer. Photographers are responsible formaking these arrangements. November 30: 2011 Opening reception     Payment: Upon selection, photographers must submit a budget application for printing, drymounting, and other production costs. Once the budget is approved, participants will be responsible for working within this budget and must use Open Society Foundations-approved labs. We will then pay for standard framing and window matting or back-mounting. In addition, selected photographers will receive a $2,000 royalty payment. When the exhibition tour is completed, photographers will receive the framed and matted work. The Open Society Foundations will cover the costs of returning work up to $750 for photographers based in the United States and $1250 internationally. Any shipping costs that exceed these amounts will be the responsibility of the photographer. The Open Society Foundations will offer travel grants to emerging Moving Walls photographers to attend the opening in New York and meet with local photo editors and NGOs. Applying for this grant is optional. Recipients will be determined at our discretion.     Licensing: By participating in the exhibit, you grant the Open Society Foundations a nonexclusive, irrevocable, fully paid-up, royalty-free, and worldwide license in perpetuity to reproduce, distribute, publish, make derivative works from, and publicly display the work for purposes relating to the Open Society Foundations Documentary Photography Project, including, but not limited to, the following formats: Exhibition invitation Exhibition wall texts Exhibition catalog Educational or promotional material for the exhibition Open Society Foundations’ website or any successor or comparable medium of display   In addition, you grant to the Open Society Foundations a nonexclusive, irrevocable, fully paid-up, royalty-free, and worldwide license in perpetuity to reproduce and publicly display the work on our website, or any successor or comparable medium of display, solely for the Open Society Foundations non-commercial advocacy or educational purposes. In any and all uses, the Open Society Foundations shall provide a photographer’s credit and identify it as related to Moving Walls 19.     If you have any questions, please contact the Documentary Photography Project at (212) 547-6909.      
Wednesday, 30 March 2011
Author:Zone Zero
    2011 Tierney Fellowship Centro Fotográfico Manuel Álvarez Bravo Application Instructions: The Tierney Fellowship was created in 2003 by The Tierney Family Foundation to support emerging artists in the field of photography.  The primary goal of the Fellowship is to find aspiring artists who will be tomorrow's leaders and to assist them in overcoming challenges that photographers face at the start of their careers.    The Fellowship includes the following: * $5,000 cash grant * Mentorship in developing a new body of work over a period of one year * Participation in organized critiques and meetings with the Advisory Board and Fellows * Posting of final project images on the Tierney Fellowship website * Participation in a group exhibition of the final project images * Potential exhibition of final project at your institution (dependent on gallery space) Upon completion of final projects, all Fellows are required to submit a short written report explaining how the program has influenced them as photographers. Each Fellow is also required to provide three final prints, chosen by the Committee, for the archives of the Foundation. Application Requirements: * Personal Information (name, contact info, etc.) * Images (JPG format, max height 700 pixels, max width 1000 pixels) * Artist Statement * Biography / CV / Resume * Statement of Purpose (What will you work on during the project year?) Applications are only accepted online. In order to apply, please log on to and use the User ID and Password (get it by email: / under the HOW TO APPLY section where you will create your own personal login. Login privileges are not transferable.  Your submission will be reviewed by the Partner institution you are affiliated with.  All submissions not verified by a partner institution will be deleted. Submit application materials online on or before friday may 27, 2011. No late applications will be accepted.
Saturday, 19 March 2011
Author:Applewhite, Ashton
Friday, 18 March 2011 | Read more
Author:Zone Zero
  ABCS es un diccionario  que pretende difundir la cultura, el entorno natural y la identidad de Sudcalifornia. Contiene nuestras palabras cotidianas, por ejemplo playa, chinolear, maleconear o ¡puchi! Queremos que esas palabras se ilustren con las fotos que tú has tomado. Elige una o varias de las 900 palabras que existen en ABCS. Para publicar en este gran libro colectivo de fotografía, necesitas ingresar a la página de internet Ahí encontrarás la lista de palabras que contiene el diccionario y los pasos para participar con tus fotos.   CONVOCATORIA   Bases:   Podrá participar toda la población de Baja California Sur, México, incluyendo a las personas que no residan actualmente en el estado. La(s) fotografía(s) deberá(n) describir o representar al estado de Baja California Sur, su gente y sus actividades en el contexto de cada día de acuerdo a la lista de vocablos regionales. Únicamente se aceptará el envío electrónico de fotos en formato JPG, de 4 a 10 MB (megabytes); cámaras compactas 3 megapixeles en adelante, en tamaño grande, large y/o fina; el lado más largo de la imagen debe medir como mínimo 1300 pixeles, a una resolución de 250dpi, en blanco y negro o a color. No se aceptarán fotografías que hayan sido publicadas previamente. En caso de que se trate de fotografías impresas o negativos se deberán escanear o digitalizar con las características antes descritas. Las fotografías recibidas no podrán tener ninguna firma, sello o alguna otra marca de identificación digital. Las fotografías de estudio no serán elegibles y consideradas por el comité de selección. Tampoco se aceptarán fotografías que hayan ganado previamente otros concursos de fotografía. En lo que toca al material recibido es de la autoría del participante y cuenta con las autorizaciones correspondientes para el uso de imagen, monumentos históricos o artísticos o cualquier otro tipo de autorización relacionada con la(s) fotografía(s). En caso contrario se harán responsables de cualquier acción legal o de otra índole eximiendo a ABCS de cualquier responsabilidad. Cada participante podrá subir hasta un máximo de 2 fotografías por vocablo; el número de vocablos en los cuales se puede participar es ilimitado. Al término de esta convocatoria, se seleccionarán las fotografías para la publicación del libro “abcs, Diccionario Fotográfico de Sudcalifornia”. Los participantes deberán proporcionar los siguientes datos en el formato correspondiente: nombre completo, correo electrónico, teléfono, municipio y población. Cualquier cambio de domicilio por parte de los concursantes, deberá ser notificado al organizador al apartado de Contacto en   Para registrarse, el participante deberá leer, entender y aceptar los requisitos antes mencionados y otorgar:   Conformidad y aceptación para que el comité de selección determine y resuelva de forma unilateral e inapelable aquellas disposiciones contempladas y no contempladas en las presentes bases. Conformidad y aceptación para recibir por cualquier medio de información relacionada con las actividades de este proyecto, pudiendo solicitar libremente el no envío de dicha información en cualquier momento. El periodo de registro y recepción fotografías será a partir del 11 de febrero al 14 de mayo del 2011. ABCS conservará las fotografías y podrá utilizarlas para actividades culturales, editoriales y de difusión, otorgando los créditos correspondientes. Las fotografías recibidas no serán tomadas en cuenta en los siguientes casos: Si el participante incurre en cualquier conducta que implique descrédito, difamación o calumnias en contra de cualquiera de los organizadores, patrocinadores o miembros del jurado de este concurso. El participante (s) deberá haber obtenido las autorizaciones correspondientes para el uso de imagen, monumentos históricos o artísticos o cualquier otro tipo de autorización relacionada(s) con la fotografía(s). En caso contrario, esto podrá ser motivo de descalificación.     Criterios de selección:   Interpretación de los vocablos. Originalidad. Estética.   Las imágenes seleccionadas que formarán parte del Diccionario se publicarán en una sección especial de este sitio web.    
Wednesday, 16 March 2011
80. Blue Eyes
  ZoneZero joins visual artist, Miguel Ruibal, in inviting you to participate in this project titled "Blue Eyes" to launch our new issue dedicated to autobiographical work.     1. Download PDF   2. Images must have the following specs: 72 dpi resolution 1024 pixels maximum wide or length Compressed in JPEG format, in quality 8 at the most   3. Include the following information: Author's name Country A short text to tell us about your experience during the process   4. Send pictures to the following address, from march 16 to april 6, 2011 to:   All submissions will be reviewed by Miguel Ruibal and the ZoneZero editorial team for possible future publication within our site.   Thank you for participating and sharing your work with us!  
Tuesday, 15 March 2011
Author:David Miklos
    What is a memory? Something you have or something you have lost?   These words are part of a voice-over by Marion Post, the character played by Gena Rowlands in Another Woman, my favorite film, where Woody Allen pays tribute to Ingmar Bergman and Wild Strawberries. In both movies, the main characters reminisce about their lives during their last few moments.   At one point in the Woody Allen film, Marion explores a box with his mother's mementoes: photographs, books. The images come to life in his memory. And the book, a collection of poems by Rainer Maria Rilke, contains a page in which he discovers one of his mother's tears, dried and preserved on paper, at the end of the poem entitled, "Archaic Torso of Apollo": “For here there is no place that does not see you. You must change your life.   I mention this because I feel it has a great deal to do with my relationship with writing, in other words, with the reasons that move my pen or my fingers on the keyboard when I link one phrase with another. I would go so far as to say that everything I have written is based on a photograph, a portrait that is the cornerstone of my existence.   I quote myself. I will now read a few words from La piel muerta (The Dead Skin), my first published novel, and I would ask you to imagine the portrait it describes:   I look at the photograph, the only one. In the center of the photograph you can see the head of a sleeping baby, wrapped in a striped, pastel colored blanket: blue, white, yellow, white, pink, white and then blue again. A hand uncovers the face, the profile. You can see the baby’s closed eye, heavy eyelid, tiny nose, broad forehead, his temple covered by a translucent hair, with part of his ear. Above his head is a window, an open space beyond the image. A shaft of light illuminates the baby’s head and most of the blanket. That is where the spectator’s gaze falls and before that, that of the photographer, in this case, a ticket collector, not your father. The rest of the image, hidden in the penumbra, is protected by a veil of shadow. The hand uncovering the baby’s hand, my hand, is a woman’s. In the top left hand corner of the portrait, you can see a portion of her face, my face, barely lit by the reflection of the light that illuminates the baby, you. You can see a broad smile, my satisfied smile, and the smile produces an expression that can only be described as fulfilled. An eye, my eye, hidden under glasses with heavy black frames. The woman is wearing a high-necked, light woollen sweater. In the lower right hand corner, you can see one of her thighs, my thigh and a piece of pleated skirt. The arrangement of the features comprising the image –the baby’s illuminated head, the smile of the woman in the shadow, the idea of the space on the other side of the window- suggests that the train is traveling from north to south and from east to west. A keen observer would say, quite rightly, that the baby was just born a few days ago, perhaps a week ago. The woman, me, perhaps a couple of decades ago. Then there is what the light does not show.   Although this photograph exists, it was not taken on a train: it was taken by my father in the cabin of an airplane that was taking us from San Antonio, Texas, to Mexico City. It was my first trip, so it was not an outward bound trip. Nor was it a return trip (although it was for my parents). It was, quite simply, a voyage of initiation. A trip that marked the start of an existence: mine as my parents’ child. I am adopted. My mother was never pregnant with me. But, as I say in the text I have just read, then there is what the light does not reveal.   If the image I describe in great detail in my first novel is so important for me, it is because it represents, both actually and metaphorically, a pregnancy. The cabin of the plane in which my parents and I were travelling is in fact a uterus. And as soon as the plane leaves and we disembark, I will be given birth to. How could I have avoided turning all this into a literary motif, or literature, how could I not have narrated it or revealed it as a watershed of an existence, mine?   The voice, the person who narrates and describes this portrait is the voice of a mother. The dying mother who lends meaning to The Dead Skin, whom her son visits and accompanies during her last days, during what becomes a long series of days of evocation and silence.   Who am I? Where do I come from?   These questions are a sort of negative waiting to be developed and returned to its positive, obvious side. However, after taking a photograph, of emptying the camera’s contents, processing them in a dark room and turning them into a printed, experienced image, time has elapsed and, in the developed light, our eyes have changed.   What is it that light does not reveal? I ask now.   And I don’t say much more.   Let these words serve as an appetizer and give rise to a dialogue between a photographer, a writer and you, all gathered here together.      
Tuesday, 15 March 2011
      We are delighted to announce the 2011 European Publishers Award For Photography.   Now in its eighteenth year, the European Publishers Award for Photography is a major initiative to encourage the publication of contemporary photography.   Open to photographers world-wide, the competition is a unique collaboration between five European Publishers – Actes Sud (France), Apeiron (Greece), Dewi Lewis Publishing (Great Britain), Kehrer Verlag (Germany) and Peliti Associati (Italy).   The competition requires the submission of a substantial, completed and unpublished photographic book project. The winning project is then published in book form by each of the publishers, in their own country and in their own language, resulting in one of Europe's most extensive cultural collaborations.   The 2011 Jury will be held in France and the publisher Actes Sud will be the Project Leader.   Details of the 2011 Award are now available online   Dewi Lewis Publishing. 8 Broomfield Road, Heaton Moor, Stockport SK4 4ND, England Website: Join Us on Twitter:     To download our full catalogue use the following link      
Monday, 14 March 2011
Author:Rosenberg, Mariana
Friday, 11 March 2011 | Read more
    In just over a year, as a pure viral phenomenon, 17 million people have enjoyed Her Morning Elegance on Youtube. We would like to share with you and your community this tremendous pop-art phenomenon. Today it is the most successful stop-motion video ever. It has been screened at The Cannes Lion International Festival of Creativity, Le Hors Piste Film Festival, SXSW and The Los Angeles Film Festival. It has inspired the art community and in return gained a nomination in the 52nd Grammy Awards. The music video was created with 2096 still photographs that were shot and sequenced to create the sense of movement. Recently the artists have released The Making of Her Morning Elegance in order to better demonstrate process involved in the project.  After transforming the stills into motion, the artists have decided to break the video down back into its original form. The stills have been exhibited in galleries worldwide and are now being offered for sale. These single-edition signed and numbered photographs are being offered directly by the artists through the Her Morning Elegance Gallery. We invite you to explore the gallery and own a piece of music and photographic history.     The HME Gallery Team Links:  Video - Gallery - Making of Video -  
Tuesday, 08 March 2011
Author:Giogli, Stefano
Friday, 04 March 2011 | Read more
Author:Pedro Meyer
                    As Agent J whose identity was scratched out and re-booted in the 1997 Hollywood Blockbuster “Men in Black”, the men in this picture await for passengers whose identity, as far as they are concerned, is simply reduced to a name in a placard.   How will a driver actually know that the person they were supposed to pick up is the correct one? If all they have to go by is a name, what stops somebody else from coming along and simply saying “Hi I am Mr Clark”, for instance.   What is to keep someone with the exact same name being picked up by a driver and taken to a destination that is not their own?   I have to admit that I have had the temptation many times, had I had the needed time on my hands, to explore where such an adventure of taking on someone else's identity would lead me to.   The internet lends itself in a way to something akin to such an experience, with the added advantage that you can get out of this given adventure, at any moment you choose to. I for instance, never know if the person I am writing to in a chat or an email is who they say the are, or who I imagine them to be.   People tell me all the time about such dangers, being very aware of the ease to adopt a false identity in the internet, yet they acknowledge little of the fact that in real life we can easily be fooled as well, as it can be the case of the “Men in Black” in the picture above.   The funniest thing happened to me once. I was a the post office picking up certified mail when the man in charge asked me for a form of identification. In jest, I pulled out of my shirt pocket a passport picture I happened to be carrying around that day. The man took a look at the picture, glanced at my face, made sure I looked like the photograph, and then promptly handed me over the registered letter. He just asked me to a sign a form confirming I had received the piece mail. In a sense, a photograph of myself became prove of my identity.   I wonder how does any of this differ with the drivers picking unknown passengers at the airport?   Share with us your own stories of identity and photographs.   Pedro Meyer Mexico City February 2011    
Wednesday, 02 March 2011
Author:Douglas Mc. Culloh
  Art Museum, Central Academy of Fine Arts, Beijing, China   The Great Picture is a history-making gelatin silver photograph three stories high by eleven stories wide. The image was made using a shuttered Southern California F-18 jet hanger transformed into an enormous camera obscura -- the largest camera ever made. The Great Picture Project artists are Jerry Burchfield, Mark Chamberlain, Jacques Garnier, Rob Johnson, Douglas McCulloh, and Clayton Spada -- The Legacy Project.     This remarkable photograph is a marker of the border crossing as we move out of 170 years of film and into the era of digital dominance. The Great Picture was made using the oldest of image technologies -- a camera obscura. But within minutes of completion, the image leaped into pixel form and traveled around the globe. The Great Picture has been featured in hundreds of publications from art journals such as Art in America, Photographie, AfterImage, and Black & White Magazine to newpapers and periodicals such as the Los Angeles Times, Chicago Tribune, Der Spiegel, and The Guardian. A major book is forthcoming. The Central Academy of Fine Arts is one of the China's leading art institutions and is housed in a new building designed by Arata Isozaki, an internationally known Japanese architect.   THE GREAT PICTURE March 8 through 27, 2011, Art Museum, Central Academy of Fine Arts, BeijingOpening Reception with the Artists: Tues., March 8, 2011, 3:00 to 5:30 p.m.Artist Presentation: Wed., March 9, 2011, 6:00 to 8:00 p.m., Auditorium Room, CAFA Art MuseumAddress: No.8 Hua Jia Di Nan St., Chao Yang District, Beijing, P. R. China, 100102  
Monday, 28 February 2011
    The fifth edition of Colors of Life International Photo Contest proudly supports Every Child matters   An International Photography Competition organized by Colors of Life representing an opportunity for Photographers worldwide to submit and exhibit their work In United States and Europe.   The 30 final images will be submitted to an international jury for the selection of the Competition winners: First, second and third prize (US $ 1500,1000, 500 respectively). In addition, a collective exhibition of the 30 final selected photographs in the Competition will be held in USA in different venues during 2012.   Entry Fee: US$ 40 (forty) to submit up to three images   “Every Child Matters”   Preferred subjects for photographs submitted are those related to the issues focused on by Every Child Matters, i.e. health care, education, poverty and violence and abuse, each as it involves children. The goal of this year’s competition is to produce a documentary-style exhibition from the 30 finalist photographs that will be utilized by Every Child Matters in exhibitions and other events to call attention to its efforts on behalf of children.   CONTEST DETAILS   Open to all photographers.   All forms of photographic medium are eligible.   Printing and framing of selected finalist images will be provided by Colors of Life with the support of its sponsors.   Call for entries: May 1- June 30, 2011   Additional information and submission: Event Contact Information: Email:    
Thursday, 24 February 2011
HSBC cumple 30 años de presencia en España. Tres décadas apoyando y colaborando estrechamente con las empresas e instituciones españolas públicas y privadas para ayudarlas a llegar a lo más alto. Poniendo a su servicio el conocimiento local del banco y su presencia y capacidades globales, como “El banco local del mundo”. Treinta años, apostando por el potencial de este país, creyendo en sus capacidades y acompañándolo en su trayectoria hasta convertirse en una de las principales economías mundiales.   Treinta años ayudando a las empresas españolas a traspasar fronteras y abrir nuevos mercados y nuevos horizontes.   HSBC ha vivido intensamente todos los acontecimientos económicos, financieros, sociales y culturales vividos en España en estos 30 años, en los cuales ha consolidado una estrecha relación tanto con los principales actores empresariales del sector público y privado, como con las personas y costumbres españolas, y quiere celebrarlo. (read less)   Dentro del marco de actos conmemorativos de su trigésimo aniversario, HSBC convoca un Concurso fotográfico que quiere recoger y premiar las mejores imágenes que definan y resuman lo acontecido en España en estos últimos 30 años.   Los trabajos deben recoger imágenes tomadas a lo largo de estos últimos 30 años en España, que representen de alguna forma acontecimientos, cambios sociales, culturales, económicos, etc., vividos a lo largo de esas tres décadas. El Concurso busca seleccionar aquellas imágenes que ilustren lo acontecido en España, en una de las etapas más decisivas de su historia reciente, en cualquier ámbito. En este sentido, el contenido de las fotografías, siempre que se circunscriba al periodo de tiempo señalado, puede ser tan amplio como el autor considere, centrándose en paisajes naturales, rurales o urbanos, personas, objetos, etc., que simbolicen o representen de alguna manera lo sucedido en esta etapa.   1º Premio: 5.000 euros 2º Premio: 4.000 euros 3º Premio: 3.000 euros   Participa hasta el 15 de abril   Los trabajos deberán remitirse por correo postal o vía e-mail:  
Friday, 18 February 2011
90. Form
Author:Grace Quintanilla
  "Interview to Enrique Metinides" by Grace Quintanilla Dur: 7:03 min "Form" is now available for iPod video
Tuesday, 15 February 2011
Author:Grace Quintanilla
  "Interview to Enrique Metinides" by Grace Quintanilla Dur: 7:20 min "The Metinides Boy" is now available for iPod video
Tuesday, 15 February 2011
92. Anecdotes
Author:Grace Quintanilla
  "Interview to Enrique Metinides" by Grace Quintanilla Dur: 8:25 min "Anecdotes" is now available for iPod video
Tuesday, 15 February 2011
Author:Metinides, Enrique|Ricardoni, Véronique
Monday, 14 February 2011 | Read more
Author:Mariana Rosenberg
  PDF download Result of the workshop by Mariana Rosenberg   In August 2010, I participated in the Eyes, Wings and Roots Project of CONACULTA (National Council for Culture and the Arts) by giving a children’s photography workshop for 16 boys and girls in Hueyotlipan, Tlaxcala. For a week, the participants photographed their environment with analogous cameras every day. Teaching photography not as an end but as a means gives a child the tools to be able to discover the power of his vision and freedom. By editing photographic sequences, they managed to create personal histories that discovered subjective ways of seeing in terms of a genuine visual narrative. Each individual experience combines with collective work that makes it possible to find out about the social and cultural environment of a community. For years I traveled throughout Mexico photographing various communities and attempting to move away from a folkloric, anthropological point of view. As a result of the teaching experience I obtained by giving workshops in Guelatao, I realized that the best way to get closer to a population through photography is by giving the locals cameras.  
Sunday, 13 February 2011
Author:Elisa Rugo
JavaScript Slideshow - TinySlideshow Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir photos/02-Alleman-Sunshine_Noir.jpg Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis. Thomas Allaman - Sunshine Noir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam ut urna. Mauris nulla. Donec nec mauris. Proin nulla dolor, bibendum et, dapibus in, euismod ut, felis.
Thursday, 10 February 2011
    It is discouraging to read the figures about deaths, shoot-outs, arrestees and people that have been mutilated as a result of drug violence in Mexico. But it is even worse to constantly find images of corpses or body parts lying in pools of blood that look barely human or to listen to the news against a background of shooting and gun smoke. We could try to put events into perspective. We could use figures to show that wars are much more violent, that the number of deaths counted are always in addition to a vague number of missing persons and an increase in poverty due to the countless people that have had to move. However, one could say that the homicide rates are higher in Brazil, Colombia, Venezuela and many other Latin American countries or that drug trafficking is much more serious in the United States and Europe. However, it is impossible to get rid of the perception of constant danger and easy to give in to fear. But above all, it is worth stopping for a minute to wonder: Who profits from our fear and what role can photography play in this issue?   Alejandro Malo Read More...     Galleries                             From our Archive                           Magazine In the Place of Coincidence Author:Véronique Ricardoni Pac Man – Notes on the Violence in Mexico Author: Ulises Castellanos The Church of Gun Author: Jennifer Clement     Podcast Interview to Enrique Metinides by Grace Quintanilla "Who is Dayani Cristal" Trailer Film by Marc Silver                        
Tuesday, 01 February 2011
Tuesday, 01 February 2011 | Read more
Author:Papapetrou, Polixeni
Wednesday, 26 January 2011 | Read more
Author:Ling, Elaine
Monday, 17 January 2011 | Read more
    Oportunidad de trabajar con la legendaria Kelly Cutrone como fotógrafo(a) oficial durante la semana de la moda en NYC. Esto incluye pase VIP (all access pass) por tres días y gastos de vuelo y alojamiento (si es necesario). Kelly Cutrone, la fundadora y CEO de la empresa People’s Revolution, se ha asociado con Talenthouse con el fin de encontrar aspirantes a fotógrafos que tengan la capacidad de trabajar con ella durante la semana de la moda en NCY. Además de formar parte del equipo de Cutrone por tres días, el fotógrafo seleccionado tendrá acceso especial para obtener la toma perfecta de un desfile de modas y acceso a una fiesta VIP, en donde también podrá fotografiar.   Fotógrafos de todo el mundo están invitados a presentar tres de las mejores fotos de sus portafolios antes del 20 de Enero del 2011.   Para más información por favor visitar:  
Wednesday, 05 January 2011

<< Start < Prev 1 2 3 4 5 6 7 8 9 10 Next > End >>Page 4 of 54

Share This