The iPad business model for news: Strategies publishers must embrace There’s been a lot of hand-wringing in the journosphere about what newspapers ought to be doing vis-a-vis the iPad. If publishers adopt their usual defensive stance and take a slow approach, they’ll miss the iPad boat. Or the iPad rocketship, as the case may be. Kenneth Li of the Financial Times reports that “Newspaper and magazine publishers are stumbling over key issues such as sharing subscription revenues as they consider deals to offer digital versions of their products on Apple’s upcoming iPad digital media device.” In addition to the revenue share, publishers are kvetching about control of information. But Richard Tofel of ProPublica, blogging at The Daily Beast last week, opined that “the iPad could kill newspapers” because (italics added): …online advertising revenue, on a per reader or per impression or any other relevant basis, lags so far behind print revenue that it seems destined to never catch up — never to come even close. Nonetheless, I’ll hazard a prediction.
Tourist Snapshots Essay: Rolf Potts Thailand, 2001 In the fall of 2001, while I was living in the south Thailand border town of Ranong, I had a brief love affair with an Australian woman named Eva. I first met her on the swimming-pool veranda of the aging hotel where I was renting a studio for $150 a month. Travelers would occasionally pass through Ranong to renew their Thai travel visas at the Burmese border, and Eva had just returned from a visa run with a British couple I’d met the day before. Eva was tall and slim, with sun-browned skin, sun-bleached hair, and a slightly clumsy gait. After five days of this, Eva told me it was time for her to move on: She didn’t want to spend the rest of her holiday in a sleepy little border town, she said, and she had longstanding plans to explore the north of Thailand before she went home to Australia. At the time I met Eva I was working against deadline on what would eventually become my first book. “Aren’t you afraid I’ll show them around?” Washington, D.C., 1986
Cinemagraphs: Artists develop pictures with movement that take 'stills' to next level By Daniel Bates Updated: 09:11 GMT, 27 April 2011 It is, in their own words, ‘something more than a photo but less than a video’. Two artists have created a new way to to record your special moments - pictures with movement. The ‘cinemagraphs’ look like still photos but actually feature a subtle area of movement designed to grab your eye and keep you looking. Hair-raising: Cinemagraphs may look like stills, but they feature a subtle area of movement designed to grab your eye. Turning a page: The cinemagraphs work by using GIFs, a type of picture format similar to a JPEG which has been around since the invention of home computers but has come into its own with broadband internet In one shot of a crowded square, bodies are frozen in time, but one man quietly turns the pages of his newspaper. Another photo of a restaurant terrace is brought to life by the reflection of a taxi going past in the window. Only now with broadband internet are they bringing it to life with a startling effect.
Il était une fois les journalistes sur Twitter… W.I.P. demande à des invités de donner leur point de vue. Ici, Aurélien Viers, rédacteur en chef au NouvelObs.com, explique pourquoi il a envoyé, à ses équipes, un email sur l’utilisation journalistique de Twitter. Twitter et les journalistes? En mode passif, le réseau social sert d’outil de veille, d’alertes, et comme agrégateur de flux d’informations. En mode actif, ce couteau suisse peut aussi être utilisé comme moyen de diffusion par le reporter, qui délivre des infos, souvent depuis son smartphone, par tranche de 140 caractères. Enfin, le réseau permet de rechercher des contacts (interlocuteurs, spécialistes, etc.), d’entrer en relation avec eux – comme avec le reste du monde – et d’établir un dialogue en direct entre le journaliste et le public. En bref, Twitter = veille + information + communication + discussion. Comme ils le veulent? Tout dépend de la couleur que vous annoncez dans votre biographie, ces quelques lignes que l’on écrit à côté de la photo de son profil.
Shoot Hip or Die There’s a photograph in my living room that I took three years ago in a Vietnamese diner in Vegas. It’s of a girl I used to see, but do not think about anymore. It’s in black and white, and she’s crowded to the right side of the frame, eyes fixed on the lens, lips hanging open a little. A good image is created in a state of grace, the late photographer Sergio Larrain said. Fakery has always propped up photography in our untidy pursuit of glamor, from posing shots to skullduggery in the developing room. Actually, it’s a coup; you no longer need high-altitude software like Photoshop like I did, no longer need expensive hardware to crash photography’s beauty party. They’re all over Twitter and Facebook, vignetted to death, the blacks washed into purples or reds like old Polaroids. iPhones shoot with a rectangular frame, but the software chops it down to a square and slaps an arbitrarily aged border on the photo. Why? I am that aunt. The cosmic significance of Hipsta/gram is not physical.
Naissance d’un photoreporter Texte de l’intervention de Hughes Léglise-Bataille au colloque “Enjeux de la photographie à l’heure d’internet” (Gens d’images), Maison européenne de la photographie, Paris, 7 décembre 2007, publié à l’occasion de sa disparition. Je m’appelle Hughes Léglise-Bataille, j’ai 39 ans, et dans la vie courante, je ne suis pas photographe mais banquier d’affaires. Mon histoire est celle de quelqu’un qui a découvert la photographie par hasard il y a tout juste deux ans, grâce à Internet en général et à Flickr en particulier. Cette histoire s’articule autour de 3 étapes, qui reflètent chacune des utilisations différentes de Flickr : Tout d’abord, en tant qu’espace communautaire de partage, d’apprentissage, voire de jeu;Ensuite, en tant que plate-forme de diffusion vers l’extérieur;Enfin, avec un grand point d’interrogation, en tant que ressource alternative aux circuits traditionnels de la photographie. Au printemps 2007 débute le mouvement anti-CPE.
Float Writing and photography – is a picture really worth a thousand words? | Sean O'Hagan | Art and design "For photographers, the ideal book of photographs would contain just pictures – no text at all" photographer Robert Adams once wrote. He went on to admit that he "once worked through more than a hundred drafts of a four-paragraph statement for a catalogue, all to find something that would just keep out of the way of the pictures". Finding words that keep out of the way of the pictures and yet shed light on the nature of photography is nonetheless something that Adams has excelled at, in two books of essays: Why People Photograph (from where that quotation is taken) and Beauty in Photography. Like Stephen Shore, he is a brilliant photographer who also happens to be a gifted and incisive writer. "At our best and most fortunate," he writes in Why People Photograph, "we make pictures because of what stands in front of the camera, to honour what is greater and more interesting than we are." "As I wade a stream, I think wordlessly of where to cast the fly.
Is the age of the critic over? Miranda Sawyer, broadcaster and Observer radio critic: 'Twitter has made it easier for critics to hear other people's opinions. Even then, though, you tend to hear similar views to your own' When I was writing for the Face, during the 1990s, I went to interview some boy racers: young lads who spent all their money souping up their cars in order to screech around mini roundabouts or rev their engines in supermarket car parks until their tyres smoked. The kids asked me who I was writing for. When I said the Face – a magazine that prided itself on representing all aspects of British youth interests – every single one of them replied: "Never heard of it." The point is that most people – especially those outside the high-culture capital of London – are involved in culture of their own choice, often of their own making. And mostly, those choices are ignored by the mainstream media. The reason why professional critics agree a lot is that they tend to be of a type. See www.bookslut.com
Comment les journalistes obtiennent-ils leurs informations? Le journal en ligne Mediapart a joué un rôle central dans l’éclatement de l’affaire Cahuzac, qui a pris une nouvelle ampleur mardi 2 avril après que l’ancien ministre du Budget a reconnu avoir possédé un compte bancaire à l’étranger «depuis une vingtaine d’années». Un rôle que le Premier ministre Jean-Marc Ayrault a lui-même salué. Comment les journalistes obtiennent-ils des informations[1]? Le but de tout journaliste d’investigation au sens large, qu’il s’agisse d’enquêter sur un scandale politico-financier ou sur la vie privée d’une star, est d’obtenir des informations que les personnes concernées veulent garder secrètes. publicité Les sources L’outil de travail le plus important du journaliste à la recherche d’informations est donc ses sources. Accès à l’information Dans le domaine juridique, les journalistes peuvent y demander et obtenir la déclassification d’un document, chose impossible pour un journaliste en France, où même les juges sont souvent déboutés pour de telles demandes.
Not Ruining the Photo Recently I spoke at a conference about the American conflict in Vietnam. This was the first time I had presented a paper at a conference and it was interesting to receive responses after the talk. Some people were really excited by what I had said, some people wanted to argue with me, some people wanted to quiz me, and one guy said this: “Do you think you are kind of ruining the photo by analysing it so much? I mean, these are iconic images, and you’ve got the photographers talking about them, talking about the moment they took them; don’t you think that you’re reading more into it than is really there?” It’s a familiar cry. First of all, I think it’s impossible for any analysis to ‘ruin’ the image. As an example of how meaning grows, rather than kills parts of itself off, we could look at a couple of images that I was in fact talking about during the conference. Nick Ut: 1972 It is an image that defined the morally reprehensible status of America’s war in Vietnam. Be Sociable, Share!
Photographer Raising $270,000 for a Camera That Can See through Walls Photographer David Yoder began photographing this mystery for the National Geographic starting in 2007, and soon began looking for a way to photograph the lost painting through the existing mural. He’s currently attempting to raise $266,500 through Kickstarter to develop a camera to do this. There are a number of clues suggesting that the legendary painting is still intact: first, in two other cases where Vasari covered works by other famous artists, he left them intact behind his new artwork. Second, the only words to be found in all of Vasari’s paintings in the building are found over where Leonardo’s painting was believed to be. In his search for a camera capable of shooting through five and a half inches of brick and plaster, Yoder met Dr. Using a particle accelerator straight out of a science fiction movie, the scientists recorded gamma ray signatures emitted from pigment samples that penetrated through the original bricks we had brought from the Palazzo Vecchio.