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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.”

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

Photo Book Now Competition April 4, 2010

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

UKRAINE / Ilichovsk / Harbor Photo Rafal Milach
UKRAINE / Ilichovsk / Harbor Photo Rafal Milach

Rafael Milach from Poland won  Blurb’s Photography Book Now competition in 2009. The 2010 competition has launched for the third year running . In addition to $25,000, the grand prize winner will also be given the opportunity to show their work at ICP, the Annenberg Space for Photography, and the George Eastman House. The competition defines the potential of self-publishing.

Mus Mus December 13, 2009

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Mus Mus is a digital salon and collaboration that explores photography in a deeply philosophical way:

“mus-mus is a collaborative photography space that yokes ideas and images together in an experimental and playful way that seems most appropriate for an internet based salon of an increasingly post-consumer world. In keeping with this ethic we prefer a mildly anonymous position and ‘authorlessness’. Keeping mouths shut about who we are, we hope you will better know the pictures, projects and ideas.”

It incudes two important essays, one by Darius Himes and one by Ulrich Baer, that travel from the invention of photography through to the digital revolution, which is changing our perception of the world as we travel.

“The Digital Revolution

Fast forward 150 years. Photography has been theorized and debated within the parameters described above: as a melancholic medium that harbors news of our own mortality. But finally the history of photography is freed from the shackles of this restrictive understanding. Thanks to the digital revolution in the media, photography can finally unfold its true potential. “The digital environment allows image-makers to veer from a conventional, Newtonian view of the world to one that considers countless views,” as Fred Ritchen points out in After Photography (New York: Norton 2009, 1). The ease of digital photography allows us to invent new realities – just as previous photographers, from Marville and Atget to Cartier-Bresson invented a certain view of Paris that has stuck with us until today.”

Ulrich Baer “Paris and Photography as the Prospect of Possibility”

In 1908, the Young Turks of the Committee of Union and Progress revolted against the despotic Sultan Abdu’l-Hamid. This brought to an end the centuries-old Ottoman Empire and paved the way for a semi-secular government based in the ancient city of Constantinople. With that singular, revolutionary act, all political and religious prisoners throughout the Empire were freed. Abdu’l-Baha Abbas, the man in a white turban pictured in the middle of this photograph, tasted freedom for the first time since childhood. He was 65 years old.
In 1908, the Young Turks of the Committee of Union and Progress revolted against the despotic Sultan Abdu’l-Hamid. This brought to an end the centuries-old Ottoman Empire and paved the way for a semi-secular government based in the ancient city of Constantinople. With that singular, revolutionary act, all political and religious prisoners throughout the Empire were freed. Abdu’l-Baha Abbas, the man in a white turban pictured in the middle of this photograph, tasted freedom for the first time since childhood. He was 65 years old.

Abdu’l-Baha in Paris

Darius Himes


Didier Lefèvre December 1, 2009

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By Emmanuel Guibert, Didier Lefèvre and Frédéric Lemercier. Translated by Alexis Siegel

Into War-Torn Afghanistan With Doctors Without Borders.


Part photojournalism and part graphic memoir, “The Photographer” tells the story of a mission of mostly French doctors and nurses who traveled into northern Afghanistan by horse and donkey train in 1986, at the height of the Soviet occupation, led by Dr. Juliette Fournot, who spoke Dari, dressed as a man and commanded the respect of the French and Afghans, including the village chiefs and local warlords..

The narrator and photographer is Didier Lefèvre, who passed away from  heart failure in 2007 and never saw his contact proofs enter this strange and powerful new fictional world.

This book is worth looking up for the inisight it gives into the illuminating power of photography and the work of photographers.

The graphic novel tells the first person account of Lefevre’s journey  into 1980′s Afghanistan with MSF.

Didier, quoted from The Photographer, accurately nails what the photographic process is about:

“But of course being able to produce a technically good picture doesn’t mean you’ll make great pictures. For great pictures you really have to tear your eyes out. I want to pour all my energy into improving my photography. I want to take good pictures.”

The book has been reviewed in the New York Times:


Medecins Sans Frontiers have a story about The Photographer on their site also:


Atlas Monographs MAX PAM November 19, 2009

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atlasmonographinvite BLOG

Invitation to the launch of Atlas Chronicles at New Edition Bookstore in High Street, Fremantle

Max Pam is one of Australia’s most important contemporary photographers. Working as a professional since the early 1970s he is among a handful of Australians to make a substantial impact on the intensely competitive international photographic scene.

Atlas Monographs is a compression of nine travel journals, beginning with Pam’s most recent work (Karakoram 2006) and shifting back through the decades to his first journals begun in 1970. The journals map, through text, photo and marks on paper his engagement with the cultures he has travelled through. Just as importantly, the journals provided the engine room for his development as a photographer and a writer and an artist.

Altas Monographs continues the amazingly significant contribution of  Gianni Frinzi from T&G Publishing to Australian Photomedia publications.


Photo Bohdan Warchomij ATLAS_MG_9867 Blog

Max Pam at New Edition launch of Atlas Monographs

Dr Stefano Carboni Director WA Art Gallery Launches Atlas Monographs
Dr Stefano Carboni Director WA Art Gallery Launches Atlas Monographs

The Australian Photojournalist November 16, 2009

Posted by bohdan.warchomij in : Australian photographers, Competitions, Documentary, Education, Griffith University, Photojournalism, Publications , add a comment

The Australian Photojournalist has a special subscription offer on that is great value for money. One of my favourite photography publications it continues to publish great themed essays on issues of significance to us all.

Picturing Human Rights is Now Available to Purchase Online:


Photo Lori Grinker

Lori Grinker (b. 1957) began her photographic career in 1981. Her work has earned international recognition, garnering a World Press Photo Foundation Prize, a W. Eugene Smith Memorial Fund fellowship, the Ernst Hass Grant, The Santa Fe Center for Photography Project Grant, and a Hasselblad Foundation Grant, among others.

The issue features the work of Robin Hammond, Joakim Eneroth, Lori Grinker, Jodi Bieber, Kate Schermerhorn, Paolo Woods, Simon Norfolk, Alvaro Hoppe and Alejandro Bustos, Donald Weber, Janet Jarman, Gilles Sabrie, Henry Fair, Julian Medina, Shiho Fukada, Angela Blakely and David Lloyd, Peter Menzel, Lauren Greenfield, Karen Robinson, and, Alfredo D’Amato

On December 10, 1948 the General Assembly of the United Nations adopted and proclaimed the Universal Declaration of Human Rights. To commemorate this historic act the Australian PhotoJournalist has dedicated an entire issue to stories documenting global human rights abuses. Entitled Picturing Human Rights, this 272-page full-colour book features 19 stories from some of the world’s leading and most dedicated journalists.

Picturing Human Rights is now available to buy online for only AUD$30 (plus p&h). We also have a SPECIAL OFFER on purchasing Picturing Human Rights AND our two previous editions. While stocks last you can buy all three issues for only AUD$50 (plus p&h).

Picturing Human Rights is a landmark edition


The Centre for Documentary Practice (Submission)

The Centre for Documentary Practice (CDP) seeks to support an emerging documentary photographer who submits the best-judged folio that aims to Seek Justice. The prize, a Canon EOS 5D Mark II Premium Kit, is designed to contribute to the continuation of, or an extension of the submitted project synopsis. The CDP Award is free to enter and open to anyone meeting the eligibility criteria.
The folio, of up to 12 images, may be on any subject but must have the intent to be used to make a positive difference to the subject or the context in which the subject exists.

Entries close 30 November 2009.