Big show this week as Bill and Jeffery question what happens when it’s the process used to create the art that’s interesting, not the result. Also, where do we draw the line between photo manipulation and photo journalism? Plus, questions from the Google+ group and listener-suggested Alec Soth is our Photographer of the Week.
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On Taking Pictures #56: Then It Becomes RoboCop
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5by5 | On Taking Pictures #54: Whereâs Joseph Campbell When You Need Him?
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Weekend Confirmed Episode 160
Garnett Lee, Jeff Cannata, Ozzie Mejia, and Andrea Rene discuss Kickstarter, Monster Hunter 3 Ultimate, Gears of War: Judgment, and show a lot of love for the upcoming Far Cry 3: Blood Dragon.
http://www.shacknews.com/article/78708/weekend-confirmed-160-far-cry-3-blood-dragon-monster-hunter
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5by5 | On Taking Pictures #50: Tortured Plateau
To tag or not to tag? Folder structure, naming conventions, file formats and overall workflow ideas in this weekâs show.
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5by5 | On Taking Pictures #48: $500 and a Lollipop
Bill and Jeffery try to iron out the intricacies of copyright and usage, photography as part of a larger, happier life.
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5by5 | On Taking Pictures #46: 151 Lights and a News Desk
Bill gets fancy at the news desk, the importance of backups and technique vs gear. Plus, influential documentary photographer, Robert Frank as Photographer of the Week.
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TWiP #291: Image Use & Abuse | This Week in Photo
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5by5 | On Taking Pictures #43: Artistic Monkhood
Safe vs Experimental, to get good you need to stop trying to get good, and Jeffery’s monologue at 42:20 which is among the best things ever spoken on our show. Iconic war photograph Robert Capa is Photographer of the Week.
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Michelle H. Raheja – Redfacing Redux: The Afterlife of Native American Images
Professor Michelle H. Raheja (UC Riverside) – Redfacing Redux: The Afterlife of Native American Images For better or worse, Native American images have deeply influenced settler colonial visual culture since at least 1492. From engravings depicting the putative cannibalism and savagery of Indigenous peoples in the sixteenth through seventeenth centuries, to silent cinema and Western films in the twentieth century, to contemporary historical revisionist movies in the first decade of the twenty-first century, Native Americans have been central to European American colonial and nationalist fantasies. Indigenous peoples have also represented settler colonialism since invasion/contact as evidenced by the matachine dances and more recently in contemporary films by Native Americans that critique and re-present the distorted point of view offered up by most mainstream films. In particular, work by filmmakers such as Klee Benally, Marcelina Cárdenas, the Chiapas Media Project, Thirza Cuthand, Chris Eyre, Sterlin Harjo, Igloolik Isuma, Terry Jones, Shelley Niro, Sandra Sunrising Osawa, and many, many others has challenged entrenched stereotypes about Indigenous peoples and offered original, engaging, and insightful self-representations of historical and contemporary communities. This keynote interrogates what kind of impact, if any, this growing body of important work has had on the general public in the United States and what kind of burden we place on Indigenous filmmakers by expecting them to undo the racist imagery that has been in circulation for the past 500+ years. As I detail briefly in Reservation Reelism (2010), one week after I submitted the revisions of the manuscript to the press editor, I intimately became aware of the persistent, sometimes violent afterlife of mainstream images of Native Americans, despite the resurgence in Indigenous filmmaking during the past twenty years. In November 2008, my daughter’s public elementary school reenacted a Thanksgiving spectacle with children dressing in phantasmic redface costumes and representing Pilgrims as friendly, harmless neighbours. When I queried her school about why this practice would persist in comparison with the much less offensive methods employed to teach histories of other marginalized peoples, the ensuing uproar instigated local and national news coverage; threats of violence against my family; and various forms of electronic harassment that persisted for over a year. Although I employ a very local and personal anecdote to frame my discussion of the afterlife of images of Native Americans, I use it to open up a conversation about the mode of production of Indigenous film, its distribution, and the mass public’s recalcitrant refusal to reconsider Indigenous history through a different lens.
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Drones: War machine today, helpful tool tomorrow - NPR Marketplace - Directions Magazine
When you hear the word drone, images of warfare or high-tech surveillance come to mind. But the former editor-in-chief of Wired Magazine and a young Tijuana programmer have a different idea. They believe drones will revolutionize our everyday lives. Text: http://www.marketplace.org/topics/tech/drones-war-machine-today-helpful-tool-tomorrow
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