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Tablet Apps October 11, 2011

Posted by bohdan.warchomij in : Publications, Publishing , add a comment

There are things happening in App Land. Mike Nichols, the well known National Geographic contributor, has dropped his website for an iPad portfolio. Michael Mack has started to publish using the iPad, Agency Balcony Jump which features photographers Philip Toledano and Nick Turpin has produced an app. Balcony Jump’s application has been designed by Teleportfolio, a platform used by photographers such as Morgan Silk and Shamil Tanna to showcase their work. “I contacted them three months ago after I had seen Silk’s application,” Tim Paton tells BJP. “I thought it looked really nice, and since the app is based on a template, it was a lot cheaper to produce than if we had developed our own.” Also, he adds, “it can easily be updated.”

Post Magazine has been pitched as the world’s first independent fashion magazine for the iPad. See the BJP article on the potential of this format.


Photo Philip Toledano
Photo Philip Toledano

Photo Philip Toledano
Photo Philip Toledano

Photo Nick Turpin
Photo Nick Turpin

A few days after it launched in August, John Knight and Jackson Solway, respectively executive editor and CEO of Once Magazine, boarded a plane for Perpignan, France. Their goal was to meet with photographers, editors and agencies at the Visa Pour l’Image photojournalism festival. And most of these potential clients listened with interest, as the magazine’s managers plan to share their revenues with the featured photographers – “after Apple takes its 30% cut, of course,” says Knight. “We will cut photographers a check every six months for two years, depending on how their work sell.”

The idea for Once Magazine came to Solway even before Apple had announced the release of its iPad. “There were rumours that such a tablet would be coming,” he tells BJP. “I think people like storytelling. So we thought about doing stories on the iPad.” With a couple of friends, Solway started working on the concept for Once Magazine, and that’s when Knight came into the fold. “We knew each other from college,” says Solway, and “he had moved to San Francisco and heard us talking about the magazine. He said: ‘I have to be part of this.’”

As with most new enterprises in California, Once Magazine was first built out of someone’s bedroom – in this case, Solway’s. Of course, now, the team has moved to new offices in San Francisco. “The great thing about being in this city is the enormous support network that exists there,” says Solway. “Also, when people find out that we’re not in New York, it opens-up the collective imagination of photographers. They think that we must be tech-savvy.”

To develop the app, Knight, Solway and the team behind Once Magazine had different options. “We could have outsourced the development, tied ourselves to an app-building firm, build it ourselves or buy into an existing platform.” In the end, they chose the latter. “We selected Woodwing, because it’s great for what we wanted to do, and also because we didn’t think we would have been able to handle the development of the app in addition to gathering all the editorial content.”

PUSH POP PRESS Next Generation Digital Publishing August 6, 2011

Posted by bohdan.warchomij in : Publishing, Technology , add a comment

Push Pop Press acquired by Facebook

Last year Push Pop Press set off to re-imagine the book. They created a new way of publishing and exploring text, images, audio, video and interactive graphics, then teamed up with Melcher Media and Al Gore to create a new kind of book.

The result is Al Gore’s Our Choice, which was released earlier this year. The response has been incredible. Tech columnist David Pogue of The New York Times summed it up by saying:

“this is one of the most elegant, fluid, impressive apps you’ve ever seen. It’s a showpiece for the new world of touch-screen gadgets.”

Software developer Mike Matas demos the first full-length interactive book for the iPad — with clever, swipeable video and graphics and some very cool data visualizations to play with.

Now they are taking their publishing technology and everything they have learned and are setting off to design the world’s largest book, Facebook.

Mike Matas  and Kimon Tsinteris are the Co-founders of Push Pop Press

Mike Matas: A next-generation digital book | Video on TED.com



CrowdBooks August 2, 2011

Posted by bohdan.warchomij in : CrowdBooks, Photography Books, Publishing , add a comment

Kickstarter, Emphas.is are  funding platforms for artists, designers, filmmakers, musicians, journalists and photographers that are reaching a select and literate audience that is interested in contributing to projects that they see as worthwhile. A new kid on the block is Crowd Books whose aim is to set up a community  to allow photographers – looking to publish and edit their projects – to connect with Internet users wishing to financially support photographers and artists. The projects are funded by what is called “participative financing” – or “crowd-funding” -, a funding method already used in the music and film industry among others. When the necessary financing for the project is reached, CROWDBOOKS commits itself to finalize and to commercialize the project by putting it on sale on the CROWDBOOKS website and eventually through other selling points discretionarily chosen by CROWDBOOKS.
Benefits to the project contributors will be dependent on the dollar amount funded, with different contributions equaling a different level of benefit. In general order, the benefits are as follows:
A copy of the book for which you participated in the funding
A copy of the book + a print
A limited edition copy of the book + a deluxe box


Crowd Books 600

Nowness January 6, 2011

Posted by bohdan.warchomij in : New Media, Publishing , add a comment

Nicholas Carr in his blog Rough Type writes:

“Ripeness,” Shakespeare told us, “is all.” The Bard did not anticipate the realtime web. On the New Net, ripeness is nothing. Nowness is all, as David Gelernter tells us in his essay “Time to Start Taking the Web Seriously.” Web 2.0 was supposed to bring us a creative outpouring of “social production.” Instead it’s tossed us into the rapids of instant communication. The Web has become a vast multimedia telephone system, where everyone is on the same party line, exchanging millions of bite-sized updates and alerts with every tick of the clock. Google, Facebook, Twitter: the Net’s commercial giants are locked in a fierce competitive battle to speed up “the stream.”

To read more see the link below:


“When Moët Hennessy – Louis Vuitton (LVMH) shuttered its long-standing e-commerce site last year, the news dismayed loyal followers and logo-lusting shoppers alike. But the multi-billion dollar luxury products group knew exactly what it was doing, as you can tell from its new site — Nowness.com — that not only replaces the defunct eLuxury.com but proves that LVMH has its finger on the pulse of luxury, fashion, art, consumers, and its own mission.

The Nowness concept is deceptively simple: present one “feature” a day on fashion, art, culture, or travel. The product is complex: independently produced short films, photographic slide-shows, and culturally-relevant content that encourage discovery and inspiration rather than direct commerce.”  Some of the fashion and culture photographers featured on the site are Ryan McGinley and Miles Aldridge.

Lydia Dishman on B Net writes:



Photo Miles Aldridge Copyright
Photo Miles Aldridge Copyright

Vanessa Winship at PhotoEspana September 12, 2010

Posted by bohdan.warchomij in : exhibition, Photography Festivals, Photojournalism, Portraiture, Publishing , add a comment

The Descubrimientos (Discovery) award that Photoespana has been running for the last few years has ‘discovered’ the talented Vanessa Winship  which means she will have a solo exhibition in Madrid at next years festival. It is great news for Vanessa who  in 2008 was awarded first prize in the stories and portrait category of the World Press Photo for her images of Anatolian schoolgirls published in Sweet Nothings.

From the series 'Sweet Nothings' by Vanessa WInship
From the series ‘Sweet Nothings’ by Vanessa WInship

Adam Pretty / The Big Picture August 26, 2010

Posted by bohdan.warchomij in : Australian photographers, Journalism, Publishing , add a comment

On Saturday, Singapore welcomed young athletes from around the world in a ceremony opening the inaugural Youth Olympic Games. This  first ever Summer Youth Olympics, an event designed to be celebrated in the same tradition of the Olympic Games – involved competitors  between 14 and 18 years of age. This year, 3,500 athletes from more than 200 countries competed in 184 events in 26 sports. The amazing Australian photographer Adam Pretty was there and the Boston Globe’s Big Picture ran a story on the event.

Photo  Copyright Adam Pretty Getty Images
Photo Copyright Adam Pretty Getty Images

Tokyo Symphony August 23, 2010

Posted by bohdan.warchomij in : New Media, Photojournalism, Publications, Publishing , add a comment
The exploration of issues of publication for photojournalists continues to be tackled in innovative ways. Paradox in the Netherlands is working on telling photographer stories in an innovative way. Ed van der Elsken’s Magnus Opus of his work in Japan is available on the Paradox website. Kadir van Lohuizen also is working on his story on American Migration called Via Pan Am with Paradox. It is in the pipeline.
PARADOX creates projects in photography, video and media related arts. The interaction between social, economic and technological change is central to most thematic and
monographic projects developed. PARADOX’ activities include travelling exhibitions, film production, book and electronic publishing and organising workshops and symposiums.
Photo Ed van der Elsken

Photo Ed van der Elsken

In the last years of his life Ed van der Elsken worked on what should have been his audiovisual magnum opus: Tokyo Symphony. The installation was meant to be his homage to Japan – a land that had embraced him personally as well as as a photographer and author.
The installation was never finished due to his early death at age 60. It was thought that the collection of 1,600 images, which is currently stored at the Nederlands Fotomuseum in Rotterdam, was all that remained of this ambitious project. In 2007, researcher Frank Ortmanns discovered five audiotapes belonging to the project. Fascinated by this missing piece of the puzzle, Ortmanns approached Paradox to discuss the possibility of posthumously realizing Tokyo Symphony. Taking into account Van der Elsken’s fascination with AV technology, it was concluded that a contemporary approach to this installation would be most appropriate. In other words: to make an installation as if Van der Elsken were still alive.

The immersive installation based on hundreds of unknown colour slides confronts the viewer with various traditional as well as contemporary and little known aspects of Tokyo: from demonstrations in Shibuya to weddings and memorial celebrations, from girls wrestling and karaoke in Harajuku to the Tsukiji fish market. Van der Elsken switches constantly from intimate portraits to lively street scenes. The spatial multi-screen design of the installation, which is accompanied by a soundtrack based on his original recordings, adds to the dynamic experience of the strange mixture of tradition and modernity that characterises the metropolis of Tokyo. Through the harmonic as well as disharmonic interplay of various audiovisual elements, the installation can be seen as a true modern symphony about urbanism and eastern culture – a symphony that reflects the notion of the all absorbing and omnipresent urban environment.

Ed van der Elsken

Ed van der Elsken´s photographs are represented worldwide in the collections of several renowned institutions including the Stedelijk Museum (Amsterdam), the Chicago Art Institute, the Kawasaki Modern Art Museum, the Special Collections Department of the University Leiden and the Museum of Modern Art (New York).
Even before his 1956 breakthrough with Love on the Left Bank, Van der Elsken attracted attention in international exhibitions such as Edward Steichen’s The Family of Man (1955). Further important exhibitions followed, such as Sweet Life (Amsterdam, 1968), Masters of European Photography (London, 1973), Van der Elsken´s Amsterdam (Amsterdam, 1979), L´Amour à Saint Germain des Prés (Tokyo, 1986) and De ontdekking van Japan 1961-1988 (Amsterdam, 1988/1989). Also posthumously: Once Upon a Time (Amsterdam /Tokyo, 1991), Long Live Me! (Paris /Amsterdam /Porto /Modena /Antwerp, 1996 – 2006), and Documenta X (Kassel, 1997). His most influential photo books include Een liefdesgeschiedenis in Saint Germain des Prés(1956), Bagara (1958), Jazz (1958), Sweet Life (1966), Amsterdam! (1979), De ontdekking van Japan (1988) and Once Upon a Time (1991).

Big City Press July 16, 2010

Posted by bohdan.warchomij in : Australian photographers, German Photographers, Hijacked, Publications, Publishing , add a comment

Robert Cook
Associate Curator of Modern and Contemporary Photography and Design
Art Gallery of Western Australia (2010)

Opening Speech at launch of Hijacked 2 Australia Germany ART GALLERY OF WEST AUSTRALIA

Laura Beilby and Mark McPherson
Laura Beilby and Mark McPherson

The Hijacked project was initiated by Mark McPherson in 2005 as a photocopied ‘zine. It took what was cool about where ‘zine culture ended up going via the American post-punk and skate scenes, by riffing off the way those publications worked against hierarchical culture to create liberating peer-based zones of exchange. So because the ‘zine format functioned for McPherson as a guerrilla platform, to announce the work of peers and to shape a society of creative equals, it expressed the general evolution away from the zine genre’s fan-roots as DIY printed love songs to movie stars and pop icons made by spotty bedroom romantics. This is a way of saying that Hijacked, in its various forms, has always been about framing, not fandom per se. While there is undeniably love in it, it is, therefore, not devotional, and, now, in its current state of hardcover monumentality, it might be seen to stand on the opposing pole to the intricate first person longing of the world’s other great uber zine, Stop Breathing. In my mind, in ‘zine culture in general, that is where Hijacked now stands. There is Stop Breathing – almost obsessively over-thought singly authored analyses of the world of mostly American indie music – and there is Hijacked – sprawling, restless, decentred, local and international, shooting from the hip, yet obsessive in its own delirious way. Both began life in lo-fi formats and expanded to be all they could be, while staying true to their defining visions.

Hijacked’s vigorously loose ambit was facilitated in the title. In an overt way it allowed other artists to take over, to hijack it and take it to their own destination. Thus, early issues were also produced by outstanding Perth creatives such as Thomas Jeppe, Conor O’Brien, Marcus Canning and Hannah Mathews. In a covert way, the idea of hijacking also, I believe, granted a kind of permission to lift practices from the context of their production and give them a new meaning through this violence. It is more forceful than cultural jamming, it is latently heavy, and this weight is supported by the horizontal field, the sense that Hijacked works, figuratively at least, in the manner of Fugazi and, later, The Evens -(where possible) no stage, no difference between audience and creator.

I dwell on this because I think the original ethos pulses through its relaunch as the hardcover book. The first outing, published in 2008 to great success, saw McPherson and co-editor Max Pam bring Australian artists together with American. The tone was post party, hung-over soulful, humans and spaces merging in a graphic liquid bath. It was like two New Worlds, two products of the colonial oceanic slough faced each other and asked, what the hell brought us here? And what the hell are we gonna do with these cars, in these hotel rooms, with these inked skins? Hijacked 1, answered these questions visually in wildly entertaining ways.

This volume sees McPherson joining fellow editors Ute Noll and Markus Schaden to create a dialogue between German and Australian photographers. And in it, the feel is ‘post hurricane’. The cobwebs are gone and the old and the new world stutter and speak with and at other, their gestures, their communications opening out the implicit politics that structure post war Germany and contemporary colonial Australia. As such, issues of freedom, of movement, of desire, of the world as ‘troubled playground’, shape the work. And so there is a celebration of youthful vigour and a tremulousness thanks to the awareness that the adolescent and recently adolescent mindset are in no way separate from the dangerous voyage of history, and the architectural and human structures that we live through. What this book shows is that we are always hemming ourselves in, always challenging those boundaries. It is in this way that the political and the aesthetic are carefully unified in the project. And it’s a coolly complicated thing, obvious and not so, and it’s something the fine essays circle in ways both dense and airy. These essays sit discreetly between the two hemispheres’ art works, functioning as a dividing wall of interpretation that might be seen as being both respected and broken down by the photos themselves. Easts and Wests, Norths and Souths, push together, imagistically, against the words that would contain them in the middle. It’s a smart layout, but then everything is smart about this project.

And as such, I want to pay a small tribute to Mark McPherson. Though he has collaborated, and drawn on many, many people’s energies, Hijacked is basically a testament to his force and his energy. He has a lot personally at stake in this. It is not a career, but a drive that has caused him to make this. He has a brave and a wonderful vision and I am kind of in awe of it. In his essay in this book, Alasdair Foster quotes Henry Miller, saying that ‘chaos is the score upon which reality is written’. I think that sums up so much, not just about this book, but about Mark’s energetic approach to making culture, to being in a way our most important young photo curators and editors in this country. He is reaching out, refusing to be pinned by the local, and is making a new kind of global community of artists.

Beyond the book, is the tour of the exhibition. It is currently on show at the Australian Centre for Photography, where I am told it looks amazing. It is moving around not just eh country but the world, and will make an appearance in Perth at the John Curtin Gallery July-September 2011, something of a significant homecoming for the material, and I am positive it will look incredible in the crisp spaces of the exquisite gallery.

Before that, you have the book. It is available from our shop right now and I need to say that all sales from the book shop go toward assisting the gallery fund a range of activities, exhibitions especially. I would like to congratulate Mark, Ute and Markus on their achievements, all the incredible photographers several of whom are here tonight, and also the brilliant Fabio Ongarato and his team for the impeccable graphic design. Inspiring people all. Thanks for coming and have a great evening.

Photographers Suzie Fox and Jackson Eaton with Hijacked 2
Photographers Suzie Fox and Jackson Eaton with Hijacked 2

Robert Cook Curator Art Gallery of West Australia
Robert Cook Associate Curator of Modern and Contemporary Photography and Design
Art Gallery of Western Australia

Robert Gardner Fellowship in Photography June 20, 2010

Posted by bohdan.warchomij in : Australian photographers, Awards, Degree South, Documentary, Publishing, Robert Gardner Fellowship in Photography , add a comment

Gardner Photography Fellow, 2010

Following an international search, the Gardner Fellowship committee awarded the Fellowship to Stephen Dupont, a prize-winning Australian photographer whose work has appeared in the New Yorker, Vanity Fair, Time, and Rolling Stone, among other publications. Dupont will be working on a project entitled Guns and Arrows: The Detribalization of Papua New Guinea.

Over the past six years, Dupont has traveled to Papua New Guinea, photographically documenting its changing face and the powerful impact of globalization on the fabric of its traditional Melanesian society. Guns and Arrows, the proposed project, will continue this work. From the recasting of tribal society into an urban proletariat and the effects of violence and lawlessness in Port Moresby to the westernization of traditional society in the Highlands, it will be an in-depth study of cultural erosion as well as a celebration of an ancient people. He plans to use 35mm, 6×6, panoramic, and Polaroid formats for documentary street photography, landscapes, and portraiture; weaving single images, contact sheets, composites, and video grabs into multiple forms: a traditional exhibition at the Peabody Museum, a book with the Peabody Museum Press, and an interactive web presentation.

Raskol Polaroid portrait of raskol (“criminal” in Tok Pison) Samson Maipe inside the Kips Kaboni (Red Devils) safe house in Kaugare Settlement, Port Moresby, Papua New Guinea, 2004. Copyright Stephen Dupont.

Stephen Dupont – first Australian to be awarded the
2010 Robert Gardner Fellowship in Photography

Esteemed Australian photographer, Stephen Dupont, is the first Australian to be awarded the prestigious 2010 Robert Gardner Fellowship in Photography at Harvard’s Peabody Museum of Archaeology and Ethnology.

A self-taught photographer, Stephen Dupont has captured photo essays from some of the world’s most dangerous regions including Afghanistan, Angola, Burma, Burundi, Cambodia, Congo, East Timor, Iraq, Israel, Rwanda and Somalia.

As part of the Award prize, the Fellowship funds an ‘established practitioner of the photographic arts to create and subsequently publish through the Peabody Museum a major book of photographs on the human condition anywhere in the world.’

For his project, Stephen has selected to travel to Papua New Guinea where he will spend 12 months working on Guns and Arrows: The Detribalisation of Papua New Guinea. Over the past six years, he has travelled to Papua New Guinea to photographically document its changing face and the powerful impact of globalisation on the fabric of its traditional Melanesian society.

“Guns and Arrows will be an in-depth study of cultural erosion as well as a celebration of an ancient people,” Stephen said.

As part of his project, he will also produce a major book profiling his Papua New Guinea photographs; conduct an exhibition and lecture at the Peabody Museum; as well as produce an interactive web presentation.

Stephen Dupont said he has been an advocate of FUJIFILM Professional films throughout his 21-year career, in particular FP-100C 5” x 4” instant colour film, Neopan ACROS black-and-white film and Velvia colour transparency.

FUJIFILM Australia National Manager – Professional, Kevin Cooper, said the 2010 Robert Gardner Fellowship in Photography is a fitting accolade for Stephen Dupont who has been recognised internationally for his outstanding photographic work that has captured the essence of so many cultures, which have often been war-torn at the time.

“He has worked in extremely high risk environments, including Afghanistan where he survived a suicide bombing,” Mr Cooper said.

Stephen Dupont has earned many other prestigious photography awards including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondent’s Prize; plus achieved first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys and the Leica/CCP Documentary Award.

In 2007, Stephen was also awarded the W. Eugene Smith Grant for Humanitarian Photography for his ongoing project in Afghanistan.

His handmade photographic artist books and portfolios are in the collections of the National Gallery of Australia, National Library of Australia, National Gallery of Victoria, Australian War Memorial, The New York Public Library, Berlin and Munich National Art Libraries, Stanford University, Yale University, Boston Athanaeum, Minneapolis Institute of Arts and Joy of Giving Something, Inc.

Australian Book Wins Best Photography Prize at PhotoEspaña June 18, 2010

Posted by bohdan.warchomij in : Australian photographers, Awards, Publishing , add a comment

Australian Book Wins Best Photography Book Prize at PhotoEspaña
Australian Book Wins Best Photography Book Prize at PhotoEspaña

Australian photographer Max Pam’s Atlas Monographs published by T&G Publishing Sydney has taken out the coveted “Best Photography Book Prize (International Category)” for the 2010 edition at PhotoEspaña in Madrid.

PHotoEspaña International Festival of Photography and Visual Arts is a major event in the annual calendar attracting an audience of more than 600,000 from around the world.

Atlas Monographs was named in the top 100 Best Photography Books of the Year for 2010, the only Australian book to make the list. Publisher Gianni Frinzi was advised of the win in the “Best Photography Book Prize (International Category)” this week. An Awards ceremony will be held in Madrid on 24th June.

“We are absolutely delighted with the win. Max (Pam) and I worked tirelessly to ensure the integrity and quality of the book. It is fantastic to be rewarded with this international prize,” said Gianni.

“T&G is focused on bringing the best of Australian photography to the world. This prize is not only recognition for Max Pam’s tremendous body of work, and for T&G. It is a real boost for Australian photography publishing. To my knowledge we are the first to win this prize in Australia.”

The PhotoEspaña jury comprised Juan Manuel Bonet, critic and former director of Museum Reina Sofia; Pep Carrio, photographer; Wim van Sinderen, curator at The Hague Museum of Photography; Miguel Lopez, Director of Antonio Saura Foundation and Alberto Corazon, designer.

Gianni Frinzi T&G Publishing


Max Pam, Brad Rimmer