Tuesday, July 06, 2010

World's first reverse image search engine "TinEye."

Idée develops advanced image recognition and visual search software. Idée created the world's first reverse image search engine TinEye.


http://www.tineye.com/

TinEye

TinEye is a reverse image search engine. You can submit an image to TinEye to find out where it came from, how it is being used, if modified versions of the image exist, or to find higher resolution versions.

TinEye is the first image search engine on the web to use image identification technology rather than keywords, metadata or watermarks. It is free to use for non-commercial searching.

TinEye regularly crawls the web for new images, and we also accept contributions of complete online image collections. To date, TinEye has indexed 1,572,822,693 images from the web to help you find what you're looking for. For more information, please see our FAQ, and for some real TinEye search examples, check out our Cool Searches page.





Sunday, June 20, 2010

Happy Father's Day Dad!

Charles Henri Albert (Bert) Lessard Photo of our Dad by my sister Marion Lessard

Happy Father's Day Dad!


Bert Lessard, originally uploaded by The MediaMentor .

Bert Lessard

Mt. Rushmore from the Canadian side

Mt. Rushmore from the Canadian side

Submitted by Candy in Bovey.

Uploaded by Northern Community Radio on 4 Nov 09, 12.46PM MDT.

Thursday, June 17, 2010

An eye for art: Young Hay River painter experiments with photography

An eye for art
Young painter experiments with photography  

Some of Micayla's Frozen Eyes photos as a slide show on Flickr

Daron Letts
Northern News Services
Published Monday, June 14, 2010

HAY RIVER - Micayla Gammon looks at things a little differently now.

NNSL  photo/graphic

Painter and sketch artist Micayla Gammon, 18, is exploring the creative potential of digital photography. - photos courtesy of Micayla Gammon

Earlier this month the 18-year-old painter and sketch artist participated in a five-day workshop presented by the Frozen Eyes Photography Society at Diamond Jenness School.

Yellowknife instructors Dave Prichard and George Lessard led the workshop for Gammon and almost a dozen other students from May 31 to June 4.

Although Gammon is an experienced visual artist, it was her first introduction to professional digital photography equipment and techniques.

"There is so much that I never knew was involved in photography," Gammon said. "We went over the operation of the camera, manual and automatic, and we learned about the history of cameras as they developed over the years. For the first few days we just ran around taking pictures. I'm learning that you can take thousands of pictures and only a couple of them are really good."

Gammon began painting and drawing as a young child growing up on an acreage near Stoney Plain, Alberta. Her family moved to Hay River two years ago.

"She has been interested in art since she was very very small," said Gammon's mom, Nancy Gammon. "She practiced and tried and drew and drew and we gave her lots of opportunities to experiment with different things and she has enjoyed it and excelled at it."

As a self-taught painter and home-schooled student, Gammon immersed herself in the work of master artists from centuries past, and studied paintings by American illustrator Norman Rockwell, Ontario naturalist Robert Bateman, and German pop artist Sebastian Kruger.

"Part of the reason why I enjoy art and taught myself so easily was because I wasn't comparing myself to anybody," she said. "I didn't have that much pressure around me. I was free to enjoy life."

In her paintings and sketches, Gammon communicates through realism. She paints wildlife, from raccoons to tigers, sketches portraits in pencil and charcoal, and composes detailed Northern landscapes in acrylic and watercolour.

In her photos, however, she explores abstraction, experimenting with angles and textures

"It's a fun way to express the way I see life," she said. "I love taking what I see and trying to put a different interpretation on it. I find it's a whole lot easier with photography to say something in an image without words. It's not so much about snapping the shot – it's about what your mind is seeing. People can see it and they can immediately understand it. It creates an emotional impression, not so much an intellectual one."

During the Frozen Eyes workshop, Gammon focused her gaze on machine parts, huskies, and trash, and aimed her lens skyward to capture the contours of tall trees and buildings against the clouds.

She and the other students also documented the NWT Track and Field Championships and shot images to submit to a GNWT anti-drug poster campaign next fall.

"It (was) a great week to learn," she said.

Last week Gammon picked up a paintbrush again and joined Diamond Jenness art teacher Karen Gelderman to work on a 24-foot mural to be installed later this year at Aurora College. The mural features the Hay River landscape, including the bush, river and lake.

"Micayla is quite an artist in her own right," Gelderman said. "She is self taught and has been doing a lot of interesting work on her own. Photography fits well with that."

Gammon plans to work on several new paintings this summer. She hopes to hold a solo exhibit at the Hay River Centennial Library later this year.

Instructors with the Frozen Eyes Photographic Society will host a workshop in Fort Liard this summer and are discussing plans to visit Tlicho communities and present workshops in Yellowknife, as well.

Wednesday, June 16, 2010

Internews Teams with National Geographic to Train Crimean Youth in Photography

Internews Teams with National Geographic to Train Crimean Youth in Photography

National Geographic Photo Camp Map of Ukraine and the Crimean region

From June 14-18, 2010, a group of high school students from the Crimean Republic of Ukraine will go to the Crimean coast to learn about and document the Black Sea's importance as a vital economic, cultural and historical resource with National Geographic's Pulitzer Prize-winning photographer Jay Dickman.

Watch a slide show of the youth campers on their first day at the photo camp:

http://ow.ly/1Zc0i


Dickman and National Geographic contributing photographer Matt Moyer will lead the students through training on photographic vision, equipment and technique, and creating a story through photography, while fostering discussion with the students about their photos and experiences.

The theme of the camp is "what does water mean to you?" The youth will photograph, edit and design a portrait of the Black Sea and the Crimean coast, with special attention to the region's natural environment, economic resources and the students' own connection with water.

You can hear from the youths while they are at the workshop in June because Jeri Curry of Internews will be covering the adventure! Follow her live tweets as she introduces us to the Ukranian teenagers and helps to bring their voices to a global stage. Use the hashtag #photocamp to join the online conversation!

The Paley Center for Media Celebrates the National Geographic Photo Camp: Crimea

The Paley Center is partnering with Internews to help bring the work and excitement of the National Geographic Photo Camp in Crimea to the world community.

More Information




Sunday, June 13, 2010

What Should You Charge a Client Who Wants to “Go Viral” with Your Images?

What Should You Charge a Client Who Wants to "Go Viral" with Your Images? | @BlackStar Rising
http://ow.ly/1XZrv #photography

[excerpt]

James Cavanaugh recently posed this question to members of LinkedIn's ASMP group: "A client wants you to create photographs that they can use on social sites so they can 'go viral' to promote their company. It means potentially countless people may use your copyrighted work. How would you approach such a request?"

I suggest handling the job as an all-rights assignment. Forget about copyright. Make sure you earn enough from the assignment to cover your costs, overhead and profit. Since it is highly unlikely that your name will remain attached to social network uses, do not discount your price based on some imagined promotional value.

And do not worry about — or expect to earn anything from — residuals, but do retain the right to license other non-exclusive rights to use the images.

There is no way we will ever control the use of imagery made available on social network sites, so stop agonizing over it, accept the paradigm shift of our industry and adapt to the new reality.

You have two choices. Either establish a fee that makes it worthwhile to produce the images without any hope of residuals, or refuse to do the job. Do not factor in, in any way, a potential value for residual use of the images.

Calculating Your Fee

There is a simple formula for calculating what the fee should be. First look at all your overhead expenses to operate your business, not counting expenses specifically applicable to shooting various jobs. Assume $75,000.

Add what you need in take-home pay before taxes. Assume another $75,000.

Thus, the jobs you produce need to generate $150,000 annually.

Now, estimate how many jobs you will be able to do in a year given the pre- and post-production time and marketing time involved with each one. Let's say 100.

Divide the number of jobs into the total you need to produce, and you get an average of $1,500 per job.

You should charge that fee per job, plus all the expenses related to the particular job. (Obviously, your own numbers may be higher or lower than these illustrative figures.)

Some jobs will take a lot longer than others. If the job is not going to take much time you might want to charge less, but when thinking about time involved do not forget pre- and post-production time, waiting time and travel. For those jobs that take a lot longer or are a lot more complicated, you want to charge proportionately more than your calculated average.

In some cases, you will want to take into account the value the customer will receive from using the images produced and add appropriate fees — for example, charging more if the images are to be used in a major ad.

[...]




Sony develops a rollable OLED screen

Saturday, June 12, 2010

ENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID - Call for entries | FILM, VIDEO, MULTIMEDIA



---------- Forwarded message ----------
From: Rencontres Internationales Paris/Berlin/Madrid <info@art-action.org>
Date: 12 June 2010 10:49
Subject: Press release [EN, FR, ES, DE] Call for entries | FILM, VIDEO, MULTIMEDIA

--

Please find below some information about our current call for entries for the next Rencontres Internationales Paris/Berlin/Madrid that will take place in Paris on early December at the Centre Pompidou, and in Madrid and Berlin in 2011.
By spreading out this information we would like to encourage artists, filmmakers and organizations to propose their work.
More information concerning the Rencontres Internationales is available on our website: www.art-action.org
We thank you a lot for spreading out and forwarding this information as widely as possible.

Best wishes
The festival' staff

If this message do not appear entirely: click here

festival

#PRESS RELEASE [IN ENGLISH] [EN FRANÇAIS] [AUF DEUTSCH] [EN ESPAÑOL]

  C A L L   F O R   E N T R I E S back
   
  ||||||| CALL FOR ENTRIES
||||||| UNTIL JULY 10, 2010: WITH REGULAR MAIL SENDING
||||||| UNTIL JULY 10, 2010: WITH VIDEO UPLOAD
||||||| www.art-action.org

||||||| RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID
||||||| FILM / VIDEO / MULTIMEDIA

The call for entries is open until July 10, 2010, for the 'Rencontres Internationales' that will take place in Paris at the Centre Pompidou from Nov. 25 to Dec. 4, 2010, and in Madrid and Berlin in 2011.
Those three events will feature an international programming focusing on film, video and multimedia, gathering works of artists and filmmakers recognized on the international scene along with young artists and filmmakers.

ANY INDIVIDUAL OR ORGANIZATION CAN SUBMIT ONE OR SEVERAL WORKS. THE CALL FOR ENTRIES IS OPEN TO FILM, VIDEO AND MULTIMEDIA WORKS, without any restrictions for length or genre. All submissions are free, regardless of geographical origin... [click here >>>]

• FILMS AND VIDEOS - any film and video format
* Video / Experimental video
* Fiction, exp. fiction / Short, middle and full length
* Documentary, exp. documentary
* Experimental film
* Animation

• MULTIMEDIA
 * Video installation, multimedia installation * Net art * Multimedia concert, multimedia performance

TO ENTER A WORK, CLICK HERE >>> www.art-action.org/call
You may choose between two types of registration:
• Until July 10, 2010: Entry form to use with regular mail
• Until July 10, 2010: 100% online entry form with video upload

PLEASE FORWARD this information to creative organizations, art networks, production organizations, artists and filmmakers you are in contact with.

The 'Rencontres Internationales' offers more than a simple presentation of the works. It introduces an intercultural forum gathering various guests from all over the world - artists and filmmakers, institutions and emerging organizations - to testify of their reflections and their experiences, but also of artistic and cultural contexts that are often undergoing deep changes.
The 'Rencontres Internationales' reflects specificities and convergences of artistic practices between new cinema and contemporary art, explores emerging media art practices and their critical purposes, and makes possible a necessary time when points of view meet and are exchanged.
The event aims at presenting works to a broad audience, at creating circulations between different art practices and between different audiences, as well as creating new exchanges between artists, filmmakers and professionals.
It seeks to contribute to a reflection on our contemporary culture of image via a compelling program opened to everyone..

PARIS/BERLIN/MADRID
In 2007, the Rencontres Internationales, which initially took place in Paris and Berlin, opened up to a third city: Madrid. The event constitutes a unique artistic and cultural platform in Europe for artists, professional networks and various audiences. The venues in the three cities are in particular the Centre Pompidou in Paris, the Haus der Kulturen der Welt in Berlin, the Reina Sofia National Museum and the Spanish Cinematheque in Madrid.

The 'Rencontres Internationales' is a non-commercial event without competition, supported by French, German, Spanish and international institutions: the.. [click here >>>]
   
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National Geographic publishes manipulated photo

National Geographic publishes manipulated photo | Regret the Error http://ow.ly/1XDe0 #photography #journalism Image http://ow.ly/1XDgf

Sunday, May 23, 2010

PHOTOGRAPHY Hunters Of The Far North: Eskimo & Aleut by Kiyoshi Yagi

#PHOTOGRAPHY
Hunters Of The Far North: #Eskimo & #Aleut by Kiyoshi Yagi
http://ow.ly/1OSy2
#Siberia #Alaska #Canada #Greenland

[excerpt, see photos at the above URL]

He works in a manner that has completely disappeared in my part of the world, photographing on 8 by 10 inch sheet film – the size of a magazine page – and printing them on hand coated paper.

Eskimo and Aleut, by Kiyoshi Yagi

The Eskimo and the Aleut, the hunters of the far north, reside across four countries from the Chukotka Peninsula in Siberia (Russia), through Alaska (U.S.A.) and Canada, to Greenland (Denmark). They live mainly along the coast and partly in inland mountain country of Arctic Alaska and Canada. The Aleut live in Komandorskie Ostrova in Siberia and the Aleutian Islands in the southwest of Alaska.

Existing beyond the most distant horizons of most of earth's inhabitants, the cultures of these native peoples are under unprecedented pressure from the outside world. They have experienced dramatic social changes within the last half century and also significant decline in the number of people who can speak their first languages.

The prohibition of speaking any native languages started at school from the beginning through to the middle of the 20th century in most areas of the north of America to assimilate the Native people. Consequently, the English language has become the major language for young people, and today many of them have difficulties in communicating with their elders who are, on the other hand, unable to understand English. If this pattern continues, it is only a matter of time until their native languages and cultural values completely disappear. Without their native languages the youth are in danger of losing a significant part of their cultural identity.

I have started traveling to Native villages with my 8×10 large format camera to photograph northern hunters in the family portrait style since 1994. I always include more than three or more generations to capture diverse values and historical backgrounds in one frame. The vast northern landscape and still life such as hunting equipment are also vital part in my project to show how people are dependent upon the harsh northern environment that surrounds them. The 8×10 inch negatives are printed on hand coated platinum-palladium papers that have rich tonal range and superb storage stability. It is my ultimate goal to complete my project by uniting Eskimo and Aleut people irrespective of national boundaries.



Monday, May 17, 2010

PBS video of Ursula K. LeGuin novel "Lathe of Heaven"

The best science fiction film I have ever seen.

Tuesday, May 11, 2010

Arctic Stock Images

Arctic Stock Images « Images and footage from the #Arctic circle & #Antarctica http://ow.ly/1JAIe

Arctic Stock Images

Professional royalty free stock images and footage for commercial and personal use

Arctic Stock Images is a royalty free stock photography archive aiming to provide customers with affordable stock images and footage from the arctic and Antarctica. We have a vast archive of high quality images from the arctic region covering all kinds of topics - taken by more than 70 photographers specializing in arctic photography.

Find arctic photos of GlaciersPolar Bears, Penguins, Inuits, Cities and much more.

Categories


Friday, May 07, 2010

Yellowknife filmmakers are delivering a message to ITI Minister Bob McLeod today

Yellowknife filmmakers are delivering a message to ITI Minister Bob McLeod today

Daron Letts
Northern News Services
Published Friday, May 7, 2010

SOMBA K'E/YELLOWNIFE - Southern film producers who phone the NWT Film Commission to ask about shooting a television or film production in the territory are greeted by a friendly and familiar voice.

NNSL  photo/graphic

Great Slave MLA Glen Abernethy: ITI should develop a NWT film commission.

"Your call has been forwarded to an automatic voice message system," she says. "At the tone, please record your message. When you have finished recording you may hang up..."

The commission's web page on the GNWT Department of Industry Tourism and Investment (ITI) website is only slightly more helpful. It introduces visitors to a small selection of goods and services needed by visiting film crews, such as catering. Out of seven Yellowknife restaurants listed, three no longer exist. The site also underestimates Yellowknife's population by about 1,000 people and misspells "writing" and other simple words.

"There is not a real film commission in the NWT," said Great Slave MLA Glen Abernethy. "But there is a significant opportunity here, I believe, to support the film industry and not necessarily with a lot of money. Hopefully we can convince ITI to establish an NWT film commission."

Abernethy and Yellowknife Centre MLA Robert Hawkins are joining several members of Yellowknife's film industry this afternoon to ask ITI Minister Bob McLeod to launch an independent feasibility study into the value of building a proper film commission in the territory. Weledeh MLA Bob Bromley is out of town and is not able to attend the meeting.

"We are the only province or territory that has no film commission, technically, to speak of," said Jay Bulckaert, one of the professional filmmakers who initiated today's meeting. "We want the government to really hear from us. We're here. We're serious. We're professional. We exist."

Filmmakers Pablo Saravanja, France Benoit and Amos Scott are also meeting with the minister today.

Scott, a producer with the Native Communications Society, said they would like the minister to swiftly establish a film commission advisory committee composed of industry professionals who could help educate the department about the needs and concerns of independent filmmakers. A feasibility study would illuminate the benefits for private industries, such as hotels, restaurants, equipment rentals, commercial airlines, private charters, vehicle rentals and other transportation, as well as spinoffs of employment opportunities and tourism promotion.

The filmmakers also want the department to institute a full-time film commissioner who is knowledgeable about the industry and its potential, Scott said.

He would like to see ITI commit small funding to filmmakers to make short productions such as music videos that they could use to gain credibility for applying to federal grants to produce larger work in the NWT.

"Many of the government's funds that are out there don't accommodate film and TV and we need to change that attitude in government so it becomes a viable option in the territory," he said. "Being realistic, we have some short term policy goals that the GNWT can accomplish without very much money involved. The easiest thing they can do is provide up to date and relevant information on their website."

Saturday, May 01, 2010

Model release From Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Model_release

A model release, known in similar contexts as a liability waiver, is a legal release typically signed by the subject of a photograph granting permission to publish the photograph in one form or another. The legal rights of the signatories in reference to the material is thereafter subject to the allowances and restrictions stated in the release, and also possibly in exchange for compensation paid to the photographed.

Publishing an identifiable photo of a person without a model release signed by that person can result in civil liability for whoever publishes the photograph.

Note that the photographer is typically not the publisher of the photograph, but sells the photograph to someone else to publish. Liability rests solely with the publisher, except under special conditions. It is typical for the photographer to obtain the model release because he is merely present at the time and can get it, but also because it gives him more opportunity to sell the photograph later to a party who wishes to publish it. Unless a photo is actually published, the need (or use) of a model release is undefined. And, since some forms of publication do not require a model release (e.g., news articles), the existence (or non-existence) of a release is irrelevant.

Note that the issue of model release forms and liability waivers is a legal area related to privacy and is separate from copyright. Also, the need for model releases pertains to public use of the photos: i.e., publishing them, commercially or not. The act of taking a photo of someone in a public setting without a model release, or of viewing or non-commercially showing such a photo in private, generally does not create legal exposure, at least in the United States.

The legal issues surrounding model releases are complex and vary by jurisdiction. Although the risk to photographers is virtually nil (so long as proper disclosures of the existence of a release, and its content is made to whoever licenses the photo for publication), the business need for having releases rises substantially if the main source of income from the photographer's work lies within industries that would require them (such as advertising). In short, photo journalists never need to obtain model releases for images they shoot for (or sell to) news or qualified editorial publications.

Photographers who also publish images need releases to protect themselves, but there is a distinction between making an image available for sale (even via a website), which is not considered publication in a form that would require a release, and the use of the same image to promote a product or service in a way that would require a release. Whether or not publishing a photo via the internet requires a release is currently being debated in the 9th Circuit Court of Appeals. It is likely that any and all exposure to the public of unreleased photos via any vehicle will constitute civil liability for the photographer. As such, in a strict sense, photographers of unreleased photos, especially photographs primarily depicting recognizable people, have no meaningful claim to copyright in and to such works, since inherent in the constitutional right of copyright is a "right" to "copy," meaning to publish. Since most legal advisors now argue that any photo of a person for which a signed model release does not exist leaves a publisher susceptible to civil action, it cannot be argued that any "right to copy" inheres to such images. As a result, the thrust of current laws will gradually efface from public view all but commercial photographs (photographs commissioned to assist in the marketing of products) and so-called "news photographs," which have not historically been required to secure releases from their subjects but which bear the additional burden, should their legitimacy be legally challenged, of proving that the event photographed was "newsworthy" in nature.

Tuesday, April 27, 2010

Top 40 Nature Photographs in the history of photography.

Top 40 Nature Photographs - a set on Flickr

http://ow.ly/1DFbD

[See above URL for embedded links]

Slide show version http://ow.ly/1DFeV

The exercise of selecting the Top Forty Nature Photographs of all time in celebration of the 40th anniversary of Earth Day is both an honor and a tremendous challenge. It may not be possible to for anyone to create a definitive selection of the forty "best" or "most important" nature photographs, if only due to the vast variety of criteria that must be considered. We decided to try anyway.

The International League of Conservation Photographers, a fellowship of the top professional conservation photographers working today, was recruited to nominate nature photographs that the member photographers considered to be "the best," in whatever way they chose to define it. They were encouraged, however, to consider factors such as aesthetics, uniqueness, historical and scientific significance, or contribution to conservation efforts. The photographers were not permitted to self-nominate.

The Top Forty nominations, which represent a diverse spectrum of styles and genres and span over 100 years of the history of photography, are presented here. We hope you enjoy them, and that you will express your thoughts about the images that have meaning for you in each image's "comments" section.

Some of these photographs have been generously donated by the photographers or their representatives for the inaugural Christie's Green Auction in support of Conservation International, Oceana, Natural Resources Defense Council, and the Central Park Conservancy.


Four photographs by Ely photographer Jim Brandenburg are among the Top 40 Nature Photographs in the history of photography.

http://www.duluthnewstribune.com/event/article/id/167052/

[excerpt]

The collection was assembled by the International League of Conservation Photographers and includes some of Brandenburg's best-loved photos. The league made its selections to celebrate Earth Day, April 22.

"It's the strangest feeling I've ever had in my life," Brandenburg said from his home in Ely. "Somehow, it's a combination of embarrassment, humility — and pride, because it's your peers."

The Brandenburg photos include a white wolf leaping between ice floes in the Canadian Arctic, a gray wolf peering among trees in northern Minnesota, an oryx on a sand dune in Namibia and bison in Minnesota's Blue Mounds State Park.

The collection includes the work of photographic giants such as Ansel Adams, Ed Weston and several National Geographic photographers. Brandenburg, who grew up near Luverne, Minn., spent more than three decades as a photographer for National Geographic magazine, traveling the world on assignment.

Friday, April 23, 2010

Photography and writing with light

Drawing With Light [Flash Player]
http://cybermuse.gallery.ca/cybermuse/youth/dwl/default_e.jsp

Light is fundamental to photography. It illuminates the subject being photographed, and records its image on the film. The word "photography" comes from the Greek and means to draw or to write (graphos) with light (photos). From the 5th century BC to the present, we have been fascinated by images formed by light. Photography was invented when these images were first "fixed" or made permanent in the 19th century. It has changed forever the way we see the world. Drawing With Light looks at light in photography, from early scholars' observations on the behaviour of light, to the digital revolution of the 21st century. Photographs from the collections of the National Gallery of Canada and the Canadian Museum of Contemporary Photography illustrate technical developments in photography, and its ability to communicate information and ideas about the world around us.

The Virtual Museum of Canada (VMC) has created an informative and imaginative website about photography and writing with light.  After entering the exhibit, visitors will find boxes with the small colored triangles in the corner near the top of the page, which are the different topics that are covered to "illustrate the principles of light and the technical evolution of photography."  Visitors will find that there are the topics of "Early Observations", "Camera Obscura" "The Inventors", "The Pinhole Camera", "The Modern Camera", "The Art of Photography", and "Going Digital".  There is also a link to "Gallery", which is divided up by the aforementioned topics.  Visitors should not miss the exhibition that was curated by teenagers called "Illumination".  It features responses by Canadian teens to images from the permanent collection of the Canadian Museum of Contemporary Art.  Many of the responses are in poetry form, and belie the youth of the writers. [KMG]

Wednesday, April 21, 2010

NYTimes mass photo project to capture "A Moment in Time"

NYTimes mass photo project to capture "A Moment in Time" | Digital Cameras & Camcorders | ZDNet.com http://ow.ly/1ByWC

http://lens.blogs.nytimes.com/2010/04/08/about-3/

Amateur and professional photographers alike are being invited by the New York Times to submit digital photographs of a single moment in time — specifically, 11am EDT, May 2 — to its Lens photography blog. I've always been a fan of the "Day in the Life" series of photo books created by photographer Rick Smolan and writer David Elliot Cohen, but this project, while not entirely original, is even cooler in a lot of ways.

The goal is to create an entirely Web-built image of one moment in time across the world, and anyone with a camera (or even camera phone) is invited to submit images via a Web form that will be active from 11am EDT on Sunday, May 2 to 11am EDT on Friday, May 7.  The assumption, of course, is that everyone will have a digital camera (or will have to scan in a film image) since submissions are only being accepted electronically. There are already over close to 8,000 photographers confirming they'll participate, on the project's Facebook page.

Monday, April 19, 2010

Photographing Iceland’s Fiery Volcano

April 18, 2010, 6:34 pm

Photographing Iceland's Fiery Volcano