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Madrid,
March 11, 2004.
by
Julio López Saguar
I
would like to symbolize yesterday’s attacks in
Madrid with this image. I took this photograph yesterday
at Alonso Martínez station, about an hour after
the attacks. Many should not have been there. I should
not have been there; I should have been in Atocha station
half an hour earlier
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FOTOMOVIL.
On-Line Photography.
by
Julián Gallo.
On
the last two weeks of January 2004, I trained journalists
Alejandra Polack and Juan Martinelli of the Argentinean
radio talk show “La Cornisa” (The Cornice)
anchored by journalist Luis Majul, in the use of the
cameras in their cellular telephones, this would allow
instant publication on-line of the photographs during
the program.
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Remixing
reality with narrative media.
by
Fran Ilich.
It
is no coincidence that in spite of the fact that the
special effects and computer-generated images in The
Matrix might appear wholly unreal to us, there are
details (and not just a few) that talk of our times
and reality. Not unusually, millions of people identify
with the film’s metaphors.
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This
letter carries the outrage of my saliva and the fears
and aspirations of my many artistic communities. Written
6 months ago, it is one of my humble attempts to contribute
to our clarity and valor, in the era of the Blue Dragon. |
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The "Labyrinth
of Light", was the highlight exhibition
during ZoneZero's Tenth Anniversary Colloquium held
in Mexico City. The exhibition consisted of most
of the 8000 images that are at present in ZoneZero,
these were organized according to some major topics,
such as "Wars", "Urban Landscape", "Sex", "Peace", "Our
Diversity" and in turn these were accompanied
by music which were in synch to the mood of the images
as organized by our staff in ZoneZero.
The
kaleidoscope of images that came into being was breathtaking,
as the combinations of images that emerged kept the
viewers enthralled for hours with a seldom repeating
iterations of pictures. |
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Specialist
Carlos Abreu defines a photo reporter as the most
underestimated professional of the communications
area and reckons that over the last hundred years
they have been deemed as mere assistants of the writing
journalists, when in reality their work is as –if
not more- demanding.
The
derogation towards photo reporters is evidenced by
the fact that most professionals in the Venezuelan
press did not complete their studies and started
out by mere chance, without any photography background,
and had to learn in the streets.
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The
heart of Zeros and Ones
At
the beginning of the 21st century, however, the photograph
has been reincarnated. A digital capture is not a singular
thing. It is a starting point, a point of departure
that can go off in many directions at the same time.
The photograph as artifact has been transformed into
an electric chameleon with a throbbing heart of zeros
and ones.
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The LA
Times fires a photographer
We
found that the photographer Brian Walski has been dismissed
from the LA Times for no valid reason. It seems that
the newspaper does not fully understand that the CONTENT
of the image he sent in, was not altered in it's essence,
even though he combined two consecutive images.
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Exposure
to light
By
Peter Howe
It
is ironic that in the more than thirty years that I've
been associated with photojournalism some of the most
reliable income it has provided has been from writing
articles predicting its imminent demise.
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Kiss
The Past Good Bye
An
Epitaph for Creative Camera
By Peter Turner
I
am writing with a sense of regret. No: tears are more
to the point. The magazine I edited for many years
is no more. Creative Camera, lately retitled 'Dpict'
is no longer part of the photo firmament, and I weep
at its passing. The Arts Council of England decided
to cut off funding to the magazine, even though it
raised 60% of its income through sales.
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