Where did Conscientious go?

If anyone (like me) was wondering why every time they went to their Conscientious bookmark all they got was “The requested URL /weblog/ was not found on this server.”

here is the answer:

The host company of the popular photography blog Conscientious ( has had some techinical problems, and photographer Joerg Colberg who maintains the blog has not been able to get the it restored. So in the mean time, while the company is trying to figure out the technical issues he will be posting at:


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The media, YOUR media: sharing our experiences with the world

Yesterday was an extraordinary day in history, OUR history. We watched, listened, photographed, filmed and otherwise captured a piece of it for ourselves, and to share. TODAY is one of those days – like the day after the November presidential elections – to be sure to log onto to the home page of the Newseum in Washington, DC and click on “Today’s Front Pages” to marvel at how words and images make a difference in our lives, to see our ability to communicate to the world with the tools at our fingertips.

The inauguration’s broad overage began on Saturday, with many media companies encouraging you, the public, to participate by submitting imagery to share with a broader community, to be part of history! By mid-day, on January 20th, the oath of office taken by our 44th President, CNN was beginning to broadcast images sent in by those in Washington and other places in the world via the telecast and the CNN website. Images that the public had shared through CNN’s “iReport” program. Branded “The Moment” viewers were invited to submit their pictures to [listen to CNN’s John King talking about how “they are coming in by the thousands,” and utilizing a format called PHOTOSYNTH (Microsoft technology)].’s website wrote about this, too – check it out here.

The NY Times created an on-line album of images, as well, titled “Picturing the Inauguration: The Readers’ Album,” which is “organized in the order received.” Late afternoon today the @Times email I subscribe to came to my inbox, sharing the top 5 viewed features on with a subject line that goes like this: “The Inauguration, Exclusive Photos And More.”  Your work is popular!!   (You have to be a “member” however to share your work with the world; read the agreement here.)

To Share, forever…

CNN’s “iReport” tells you that the photos you send in will be subject to’s Terms of Use.

NY Times “Gadgetwise” branded its official online photo-sharing site as Photobucket and will publish The Official Barack Obama Inaugural Book “You might just have a shot,” it tells us – “you will be contacted by email if selected for inclusion.”  Or you can create your own book with your own personal photos using Photobucket. You have to sign up as a member of Photobucket to upload content.

Although not an advocate of giving up or even sharing your copyright, I do find that the challenge of communicating effectively online is of great interest to me. On the 17th, The Times published a profile of its interactive news collaborative as a part of its “Talk to the Newsroom” series, inviting your questions through January 23rd. The discussion on the website includes such topics as ‘the elements of good interactive design.’ The group of staffers was also recently profiled in New York Magazine.

And there’s an interesting story that has surfaced concerning the red/white/blue portrait we all know by now of Barack Obama, used with HOPE, PROMISE, CHANGE and other words of optimism in posters, buttons, bumper stickers, t-shirts and more. I’ve never seen a credit to the maker on any use. On yesterday’s FRESH AIR radio show from WHYY heard on NPR, Terry Gross had as her guest SHEPARD FAIREY. From the website:

“Shepard Fairey’s illustration of Barack Obama was one of the most iconic images of the campaign — Obama’s face and the word “hope” rendered in red, white, and blue.

Fairey says he made the image to spur voters’ belief in Obama as a leader. The image was never officially adopted by the campaign, however, because of legal issues related to the original photograph he used.

The iconic poster differed from Fairey’s previous work. The image was unusual, Fairey says, because his political art is usually negative.

“I felt that Barack Obama was an unusual candidate, a special candidate, and that it was worth putting my efforts into making something positive,” he told NPR in a Jan. 2009 interview.

Now Fairey is spreading the message of hope again, this time as the official designer of the Obama inauguration poster.

Fairey spawned the “Obey” street art movement, which in turn was the inspiration for a line of clothing, and he has designed album covers for several well-known bands, including The Black Eyed Peas and the Smashing Pumpkins. He’s the founder of Studio Number One, a Los Angeles-based design company.”

Listen to the show here.

NPR featured an earlier story about this iconic image (October 28, 2008); you can listen to it here.

And the Huffington Post shared news of the acquisition of Fairey’s original collage by the National Portrait Gallery (January 7, 2009).

The National Press Photographers Association (NPPA) ran a story on January 15th about the Philadelphia Inquire photographer Tom Galish’s blog search to learn who’s photograph was the model for the poster: Jim Young (Reuters). So will we see the poster, a limited-edition version of which is now for sale on the DNC’s website, carrying a credit to Young as photographer?? The Shepard Fairey says he did “stylize and individualize” from the original, but that he as of that interview did not know who the photographers was.

I flew across the country today, and from every TV set in three airports the sounds and images of January 20, 2009 were the soundtrack for my day. The mood was up beat; people were decidedly more patient with the challenge that is airline travel today and with each other. Day One is winding up soon here in the East, and the website for the White House has launched, not to be missed: At 12:01 p.m. yesterday, as the keys to the White House changed, the door was open – a completely new feeling.  It is a symbol for communication and the promise of transparency in the Obama administration. If you click on this link you will find a post from Macon Phillips, the Director of New Media for the White House called “Change has come to” Has it ever.

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En Foco’s “New Works” Photography Awards: Deadline July 7

From the EnFoco website:

“New Works Photography Awards

En Foco’s New Works Photography Awards is an annual program selecting three or more U.S. based photographers of African, Asian, Latino, Native American, or Pacific Islander heritage through a national call for entries.

It acts as a creative incubator, enabling artists to create or complete an in-depth, photographic series exploring themes of their choice, and providing the infrastructure for a professional exhibition of their new work in the New York area. A photographic artist’s work can be in any photo-based style or genre (documentary, autobiographical, landscape, abstract, digital, pinhole, alternative processes, etc).

NEW WORKS #12 Deadline: July 7 2008

JUROR: Deborah Willis, curator, author, photographer and Chair of the Photo & Imaging Dept at NYU/TISCH

Guidelines and Entry Forms can be downloaded HERE
The New Works #11 Winners and Honorable Mention recipients were selected by juror Melissa Harris, Editor in Chief of Aperture Magazine:
Kesha Bruce, Adriana Katzew and Donald Daedalus – Winners
Charlie Grosso, Myra Greene, Esther Hidalgo and Wanda Acosta – Honorable Mention Awardees

The 2007-08 Winners receive:

a $1,000 honorarium;
professional tripods from Bogen;
camera bags from Lowepro;
Gift Certificates from Print File;
Gift Certificates from Modernage Custom Digital Imaging Labs;
a feature article in the Spring 2008 issue of Nueva Luz,
an exhibition in New York (at El Taller Boricua Gallery – opening reception May 30, 2008 with wines provided by Casa de Vinos)
a photographers page on

Read about New Works #10 here”

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Call for Submissions: Daylight Magazine and Daylight Multimedia

From the October Newsletter:
Daylight Magazine is currently interested in seeing bodies of work focusing on the themes:
Socialism in Latin America
Climate Change

In addition, Daylight Multimedia is beginning to schedule content for its monthly downloadable podcasts. If you have a two minute presentation consisting of sound and images send inquires to:”

NOTE: On the website, there is a SUBMISSIONS link for more information.

The October podcast is now available for download here, featuring the work of Stephen Dupont, the winner of the 2007 W. Eugene Smith Award, and Danny Wilcox Frazier, the winner of the 2006 Center for Documentary Studies/Honickman First Book Prize.

“Founded in 2003, Daylight Magazine is the biannual printed publication of Daylight Community Arts Foundation (DCAF), a non-profit organization dedicated to promoting the use of photography as a tool for effecting social change. By reimagining the documentary mode through collaboration with established and emerging artists, scholars and journalists, Daylight Magazine has become one of the premier showcases for contemporary photography.

In addition to publishing Daylight Magazine, DCAF seeks to help underrepresented communities share their stories by distributing cameras, establishing darkroom and digital imaging facilities, administering photographic workshops, and curating local and traveling exhibitions. Ultimately, DCAF’s goal is to provide these communities with access to the resources and equipment necessary to participate in the global visual dialogue.

We invite interested individuals to initiate and manage self-representative photography projects using Daylight Community Arts Foundation as an umbrella to apply for funding. By working with photographers all over the world we have built a network of succesful satellite projects. Join us!

For more information please write to us:”

Subscribe and support this important magazine!

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September 2007 issue of Digital Journalist ON LINE NOW: Issue marks 10th year of continuous monthly e-publication!

From an email just in from Dirck Halsted, Founder, and Ron Steinman, Executive Editor:

The September 2007 issue of The Digital Journalist is now online at

The month began early for us with the start of our new segment called “Breaking News” in which we successfully revealed that many photos claimed by recently deceased photographer Joe O’Donnell were not his to claim. We plan to use this segment whenever we believe we have something special to pass on to our readers that they may not read about anywhere else. So, as the saying goes, stay tuned for future revelations.

For our main feature, former National Geographic photographer Steve Raymer, in his “Images of a Journey: India in Diaspora” cover story, gives a look in words and pictures of some of the more than 25 million Indians who have left the sub-continent in search of a better life. There is also an accompanying essay by Nayan Chanda that further puts Raymer’s photos into context.

Our second feature could not be timelier. With the 6th anniversary of 9/11 looming, Allan Tannenbaum, in his “The Hidden Victims of 9/11” feature, also in words and moving photos, documents the sick and dying first responders and others who worked for days and weeks on the destroyed site where the Twin Towers once stood. Tannenbaum writes, “A health crisis of epic proportions is emerging, caused by the attack itself and the government response to the attacks.”

E-Bits Editor Beverly Spicer comments on the current state of photographic workshops and conferences, and thinks the evolution of photojournalism from still to video journalism is a process nearly complete. She presents the latest news from photo conferences and will keep us informed via her blog on the Visa Pour l’Image international photojournalism festival this month in Perpignan, France.

In Dispatches, Marianne Fulton presents three dispatches: Dai Kurokawa reporting on the Thailand-Burma border. [“We have chosen to stay with Kurokawa’s use of ‘Burma,’ though most media refer to the country by the military government’s choice of ‘Myanmar.’ People in the adjacent countries do not use the imposed name—it is a political choice. And, as I understand it, the U.S. government does not recognize the name or government.”] Michael A. Shapiro visited Pine Ridge Reservation in South Dakota, staying with a remarkable family who helps many children while dealing with the alcoholism of a son. In Afghanistan, David Bathgate observes heroin addiction and sees firsthand one of the country’s very few treatment centers.

Leica has in the marketplace its first digital SLR model, the M8. We are fortunate to have two reviews of this much-anticipated camera. One is by our own Roger Richards and the other review is by photographer Bruno Stevens, who took the camera with him on a six-week assignment in Iran. Rogers’ and Stevens’ opinions, reached independently, are that the camera, despite a few weaknesses, is wonderful.

In our “Photojournalism” section, Mark Loundy in Common Cents offers sound advice to community-based photographers; Bill Pierce in Nuts and Bolts discusses his abiding love and search for the best camera bag he can find; PF Bentley discusses compression, what he has learned, its value and benefits. And, as always, Chuck Westfall’s Tech Tips offers helpful and insightful answers to our readers’ questions.

In their Ethics column this month, “No Good Reason to Duck and Cover,” Mark Doremus and Karen Slattery discuss transparency and accountability as two very important tenets of journalism.

Peter Howe has a personal column about politics, America, 9/11, and as tough as things appear, he has hope for the future.

In our “New Media” section, Terry Heaton has another provocative essay about TV in the postmodern world, while Ron Steinman writes about the simplicity of political campaigns in the past and, because of the Internet, their complexity today.

In two lifestyle essays, Jim Gabour’s Letter From New Orleans takes us back to a time before Katrina when he worked on a commercial in his home city. In “Reel Love,” we hear from Francene Cucinello, a new contributor, about her fascination, weakness and attraction to photojournalists. Told with a smile on her face, it is a good laugh, nonetheless.

In the September issue of Assignment Sheet, CNBC videographer Mark Neuling talks about a typical day in the business – or at least as much as there is a typical day where journalism is concerned. But, for newsbies and just plain folk who wonder about the process of getting pictures and sound on the air, reading Mark’s “A Few Days in the Life” will explain it all.

Also in Assignment Sheet, retired Newsday staff photographer Dick Kraus continues his thread on “Life Before Digital (Continued) (Once Again)” with a discourse on how communication between photographer and Photo Desk has gone from two tin cans and a string to cell phones.

There is now a new way you can help support The Digital Journalist and The Digital Filmmaker. As of this issue, we are partnering with B&H, probably the world’s biggest camera store. They ship around the world. We have designated them as the exclusive Platypus resource store. You can get anything you need for video, lighting, computers, digital and more. We are linking all our current Camera Corner reviews to B&H. We get a small commission on these sales if you come in through The Digital Journalist. So please buy through us so that we can continue to bring you these resources.

We hope you enjoy this issue that we believe has something for everyone.

Ron Steinman
Executive Editor”

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Fall PHOTO-EYE BOOKLIST On Stands and On-Line Now!

The Fall 2007 Issue of the Photo-Eye Booklist is out! You can view/purchase online by clicking here.

Here’s Darius Hime’ LETTER FROM THE EDITOR which will give you an overview of this issue’s offerings:

Truly it is easier to “speculate” about what Aristotle thought, even if such speculation must be supported by the most careful adduction of evidences, than it is to speculate, as Aristotle did, about the nature of things. –Mortimer Adler

To speculate about the nature of things, as the everyman philosopher Mortimer Adler encouraged in the short, lucid essay “Docility and History,” (The Commonweal, April 26, 1940) is to engage in philosophy rather than historical scholarship. And much of the history of the 20th century has been a battle zone of contention as to the value of such speculation based on the open doubting of the possibility of knowing the nature of things.

Photography too has played its role in this philosophical tug-of-war. The unquestioned veracity of photographic images and their ability to shed light on both delightful and dire worldly circumstances is a thread that has remained unbroken since the beginning of the medium. Reflected light forever captured on light sensitive materials has the ability to tell something of the “world out there.” Photojournalists from whatever age—starting with Roger Fenton and leading directly to James Nachtwey and younger practitioners like Cuny Janssen and Aaron Huey—have rested entire careers on this fundamental fact. But the amount of “truth” that an image can portray, and how easily that truth can be manipulated to the point of presenting entire falsehoods under a truthful guise, is a big part of the last 40 years of art and image making. The work of Cindy Sherman, Nikki S. Lee and the playful Joan Fontcuberta immediately comes to mind in this context.

In between these two points lies the rich diversity of artists using the photographic medium (in all of its historical variety).

The issue you hold in your hands celebrates that diversity. In our cover story, Richard Woodward has a conversation with British photographer Paul Graham about his newest project, a set of small books inspired by Chekhov short stories. Jen Bekman interviews the uneasy and very occasional fashion photographer Alec Soth on his new project from the Paris office of Magnum, Fashion Magazine: Paris Minnesota. Mary Anne Redding interviews the influential and enigmatic Lucy Lippard, and Avis Cardella, happily ensconced in her Parisian home, inaugurates a new column entitled “Roving Eye”.

We hope you enjoy this issue.


In our regularly featured column “PUBLISHING THE PHOTOGRAPHIC BOOK” Darius and I discuss limited edition artists books, interviewing photographers SEAN PERRY and HIROSHI WATANABE on their foray into self-publishing, and offer a listing of other artists’ websites to check out who are also self-publishing limited editioned books.

We hope you will pick up this issue (and take good care of your books!).

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Interesting article on Conservation of Digital Art in today’s

Today’s edition of has an extensive piece on the issues relating to conservation and preservation of digital and media-based art intitled “Conserving Pixels, Bits, and Bytes” at this link. Author Jaquelyn Lewis looks back at important exhibitions that showcased contemporary pieces and notes the institutions that made early commitments to aquiring work, such as the Walker Art Center in Minneapolis. I hope you will read this interesting piece.

You can sign up for this free e-newsletter here.

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