Michel du Cille, a Washington Post photojournalist who won the Pulitzer Prize three times for his dramatic images of human struggle and triumph, and who recently chronicled the plight of Ebola patients and the people who cared for them, died Dec. 11 while on assignment for The Post in Liberia. He was 58.
He collapsed after returning from a village in the Salala district of Liberia’s Bong County, where he had been working with Post reporter Justin Jouvenal. He was transported over dirt roads to a hospital two hours away but died of an apparent heart attack.
Mr. du Cille won two Pulitzer Prizes for photography with the Miami Herald in the 1980s and joined The Post in 1988. In 2008, he shared his third Pulitzer, with Post reporters Dana Priest and Anne Hull, for their investigative series on the treatment of military veterans at Walter Reed Army Medical Center.
All shot with a Canon EOS 7DII and the Canon 400mm Super telephoto. Oceanside pier this very morning.
In 2011, photographer Jessamyn Lovell was at SF Camerawork, a gallery in San Francisco, discussing a project she was working on when her wallet was stolen. Of course this resulted in a series of unauthorized purchases and theft charges, and left Lovell feeling very angry. So angry in fact that she didn’t simply replace her cards and move on with her life, she actually decided to track down her thief and turn the whole thing into a photo project.
Lovell hired a private investigator named Pete Siragusa who was actually able to locate the scam artist, one Erin Coleen Hart. Lovell never confronted Hart, instead she began following her and photographing her in public places.
“This woman entered my life without my permission,” Lovell says, “and I then used that experience without her permission to create something new.” (source)
Last month, Lovell exhibited 34 images from her photo project “Dear Erin Hart” at SF Camerawork, the same gallery where her wallet was originally stolen. She made a point to mail an invitation to Hart for the opening reception of the show.
This September, Airbus took to the skies to capture photos of five of its massive test and development A350-900s. The photo shoot was meant to celebrate the certification of the company’s latest twin-engine, wide-body jetliner.
It was also probably one of the most expensive photo shoots we’ve ever come across.
At a cool $300 million for each of the five A350-900s, the cost of the subjects alone totals $1.5 billion dollars. Initial capital aside though, the cost to actually perform the shoot is equally nauseating for us plebs.
Mr. Levy’s existential question was recalled this month when Lincoln Center for the Performing Arts agreed to pay Avery Fisher’s descendants $15 million for permission to expunge his name from Philharmonic Hall, in return for other inducements, in hopes of luring a much larger donor willing to subsidize a projected $500 million renovation.
In 1973, Mr. Fisher, the music philanthropist, gave $10.5 million to repair the building with the stipulation that his name appear in perpetuity.
“Perpetuity is usually a matter of negotiation now,” said William D. Zabel, a lawyer representing the Fisher family, who had threatened to sue on their behalf 12 years ago when Lincoln Center considered changing the name at that time without its permission.
“It’s like in ‘Alice in Wonderland’: ‘When I use a word, it means just what I choose it to mean — neither more nor less,’ ” he said.
This time, both sides came to a mutually satisfactory agreement for the right price.
Here’s another short clip documenting how I shoot arthropod macros in the field. Special thanks to Kathleen Neeley for filming the outdoor scenes.
Studio photographers own their light. They set up as they wish. Me, well I had to rent. Many thanks to the good folks at Wooden Nickel where I rented a small Arri light kit. The “baby kit”. 1 light (1000 watt) with barn doors, scrims (light reducing filters in 1 stop increments) and 2 more lights at 650 watts. We used it all.
After shooting the fires of manufacturing so many times I wanted to step it up, “own” the light so to speak. With crucial assistance from Kevin we got underway. Kudos to him for the setup. Me…. Well I gave him the camera settings from past experience and coordinated composition. And BTW I’m the guy in the silver suit. That was pretty interesting, I have renewed respect for Jose and Robert who work that furnace a couple hours a day at least.
Stunning beauty, just amazing stuff.
If you’ve ever used an underwater housing, you know what it feels like to dunk your several thousand dollar DSLR underwater for the very first time. You know it’s safe, you double checked everything, you probably already tested the seals, but the moment of truth still frays your nerves.
Imagine, then, how filmmaker Chris Bryan felt when he put his $50K Phantom Flex, $45K Phantom Miro M-320S, and $140K Phantom 4K Flex inside his own custom-built underwater housings and took them out into the waves for the first time?
As much as I like to drive out to somewhere spectacular in pursuit of good landscape I often find it smart to shoot right at home. It also got me thinking about the kinds of images where most of the consumer cell or point and shoot cameras just can’t quite pull it off. The pinhole/small sensor approach has it’s limits. This time I brought along a spray bottle to spice things up. The time of day was the worst almost noon on a clear day. But that’s the exercise-Use that better gear to pull off a nice shot despite limitations of circumstance. Take a minute to focus on exposure and composition.
What did I learn? in the end this is a pinhole shot, F32 has the aperture closed most of the way. the span from foreground to back on the plant is almost a foot. But it’s a big sensor pinhole shot. It’s a shot that any inexpensive DSLR or full function mirrorless can get. And given a little better than point and shoot cameras you could too.
Shot on my 7D and with a 60mm Canon macro. Stopped down to f32 to get the depth of field. Plenty of light, exposure was 1/30 with the ISO at a clean 400. Camera was mounted on a Manfrotto “Magic arm”. A good accessory for macro. Puts a camera on a table edge or handrail solidly.
April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Out-numbered, out-gunned, and with a rookie soldier thrust into their platoon, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
Director: David Ayer
Writer: David Ayer
Stars: Brad Pitt, Shia LaBeouf, Logan Lerman
More: Fury (2014) - IMDb
If you are a fan of WW2 action films this cannot possibly disappoint. If wartime combat violence puts you off, stay far away.
Now this is the way to make a film. Pre production was extensive and well funded. Kinda like what one thinks for an epic. Old school practical sets like an entire small town. Brought in real tanks from collectors/museums. Shot on film, using the maximum possible amount of practical effects where CG surely would have saved time and money the look is perfect. Real Sherman tanks, being driven and crewed by the cast. Great big landscape complete with hedgerows. One good hint at the detailed authenticity brought by using real tanks is when a crewman opens or shuts the hatch you can see the strain of the armor steel weight. Not acting.
The ensemble cast had a chemistry that was very evident. Brad Pitts acting has matured profoundly over the years and it pays off here. Judging by the ladies reactions I was with he looked great. Shia Lebeuf utterly destroys recent critics of his acting chops. Shia LeBeof trained for months with a national guard unit and shadowed a military chaplain. He may be losing his mind off camera but for this film he was nothing short of excellent.
Cinematography and sound design were beyond reproach.
That all having been said to be fair the combat violence if right up there ala Saving Private Ryan. Intense, close, grisly, and shocking. Old trope.-The tank hatches lack a simple lock to keep swarming enemy soldiers from just yanking the hatch open to attack the crew. The character development was lopsided. Flawless for our cast, weak with the enemy. That is forgivable because it reflects how Wardaddy sees the SS/Nazi units. A deadly pestilence to eradicate. Not the locals or young draftees but the hard core dead enders.