Shepard Fairey admits to wrongdoing

October 17, 2009

In a strange twist to an already complicated legal situation, artist Shepard Fairey admitted today to legal wrongdoing in his ongoing battle with the Associated Press.

Fairey said in a statement issued late Friday that he knowingly submitted false images and deleted others in the legal proceedings, in an attempt to conceal the fact that the AP had correctly identified the photo that Fairey had used as a reference for his “Hope” poster of then-Sen. Barack Obama.

“Throughout the case, there has been a question as to which Mannie Garcia photo I used as a reference to design the HOPE image,” Fairey said. “The AP claimed it was one photo, and I claimed it was another.”

New filings to the court, he said, “state for the record that the AP is correct about which photo I used…and that I was mistaken. While I initially believed that the photo I referenced was a different one, I discovered early on in the case that I was wrong. In an attempt to conceal my mistake I submitted false images and deleted other images.”

via Los Angeles Times.


Best Friends Photo Contest

October 17, 2009

Best Friends Photo Contest:

Submissions will be accepted from Oct 14 until December 22, 2009. To enter your submissions electronically, please visit http://www.bestfriendsphotocontest.com and register. Once the registration process is complete, you will receive an e-mail confirmation. Simply log on to the web site to upload images from your computer. Images formatted in JPEG or TIFF measuring at least 1,000 pixels on their long dimension are preferred. Images may be color profiled in sRGB, Adobe-1998 or not color-managed. For more information on electronic submission guidelines, please read our FAQ.

An entry consists of a single image ($12 per image). Individuals may pay to enter an unlimited amount of times.


Yes, They’re Real.

October 17, 2009

Okay, so did we mess with January Jones’ cleavage?

No, absolutely not.

Why on earth is anyone saying that?

People think that a person will look the same in every photograph, but that just doesn’t happen. You can have two pictures in the same light, same clothes, same setting, and just a couple of seconds of difference, just the way you move your hands or the way you hold your neck, will change how your body looks. Also, she’s a smaller woman—she’s pretty thin, so it might throw a person off to see her looking this way.

Do lighting and perspective matter at all?

Terry likes to work with harder lighting, and that can create a stronger shadow—that, and body position and perspective could give the illusion that her breasts are bigger.

via  The Q: GQ.


Copyright delays

April 15, 2008

PDN lets us know of the backlog at the Copyright Office.  I suspect this is digital cameras fault.

The U.S. Copyright Office says it has an eight-month backlog for processing paper registrations.

The quicker alternative, registering online, is still in the testing phase and is only available to people who have signed up as beta testers.

In an announcement posted on its web site last week, the Copyright Office blames the backlog on the transition from paper to electronic applications.


LensWork to stop newsstand sales

April 13, 2008

Essentially for environmental reasons, the magazine will be subscription only.  Cheers to that!

All decisions contain a moral component. And that goes for business decisions, too.

So, we are taking a stand based on an industry-wide “blind eye” to the waste in the magazine and periodicals business. LensWork #75 is the last issue we will distribute via magazine newsstands. (This change affects newsstand buyers only. There will be no change for subscribers. You will still find LensWork in camera stores.)

Why the newsstand change? Quite simply, we can no longer in good conscience participate in a distribution paradigm that creates such inherent waste of our precious natural resources.


Bernie Boston 1933-2008

April 10, 2008

Frank Van Riper talks about his friendship withBernie Boston, perhaps best known for his “Flower Power” photograph.

His 1967 photo “Flower Power,” a runner-up for the Pulitzer Prize, was perhaps the most iconic photo of the turbulent 60s, showing a long-haired antiwar protestor shoving carnations into the gun barrels of MPs during an anti-Vietnam protest at the Pentagon.

Bernie had the ability so common in great photographers and journalists (and in great artists in general) to be fascinated by everything around him. People especially fascinated him—their foibles, their faces, their triumphs and tragedies. But almost never their position or their power.

His wife Peggy, who met him when they worked together on the Washington Star recalls:

“I started at The Star on April 24, which happened to be exactly one year after Bernie started there. He began hanging around the promotion department, where I worked, admired my long hair (who didn’t have long, straight hair in 1968?) asked me to come to his place so he could take pictures, and on our third date romantically said, ‘We should get married.’”


“The soiling of Old Glory”

April 10, 2008

Slate takes a look at Stanley J. Forman’s photograph during the 1976 Boston busing crisis.

One of the events he probably had in mind was the controversy over busing that erupted in Boston in the mid-1970s. A single photograph epitomized for Americans the meaning and horror of the crisis. On April 5, 1976, at an anti-busing rally at City Hall Plaza, Stanley Forman, a photographer for the Boston Herald-American, captured a teenager as he transformed the American flag into a weapon directed at the body of a black man. It is the ultimate act of desecration, performed in the year of the bicentennial and in the shadows of Boston’s Old State House. Titled The Soiling of Old Glory, the photograph appeared in newspapers around the country and won the Pulitzer Prize in 1977. The image shattered the illusion that racial segregation and hatred were strictly a Southern phenomenon. For many, Boston now seemed little different than Birmingham.