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World Press Photo 2013. I'd like to see the raw file!

It seems strange that on ls there are no posts about the WPP 2013…I.E.: Are you curious to see the raw file of the WPP photo of the year?

by Federico Caponi at 2013-02-20 09:06:37 UTC | Bookmark | | Report spam→

Hi, you should read this from Allen of Photoshelter (not too far from what I think): Darkrooms are Irrelevant and The Truth Matters

by Tanguy Gilson | 20 Feb 2013 20:02 (ed. Feb 20 2013) | Arsenal Bastille, Paris, Afghanistan | | Report spam→
Thanks Tanguy, discussion is going on on that link…but still silence from the author and winner of wpp picture of the year…I still wait to see the raw file, but probably we will never see it…

by Federico Caponi | 21 Feb 2013 08:02 | Warsaw, Poland | | Report spam→
The picture as originally published, to me, looked better and more believable. As entered in WPP it did look like a movie poster. Oddly, the light is so good in that picture that it actually works against the believability of the photograph.

by John Robert Fulton Jr. | 21 Feb 2013 15:02 | Spring Lake, Michigan, United States | | Report spam→
More on the same topic;


This problem is far from new, but needs discussion.

by John Louis Lassen Perry | 22 Feb 2013 18:02 | Liberty Corner, New Jersey, United States | | Report spam→
Not a big deal. But Paolo’s caption fiasco is…….

by Andy Levin | 22 Feb 2013 18:02 | New Orleans, United States | | Report spam→
Thanks John Louis for sharing the link.

I’m… astounded. I can see that the article has been published today; I wonder if WPP is going to release a note about it…

by Laura Larmo | 22 Feb 2013 19:02 | Milan, Italy | | Report spam→
Hei…let’s be serious…we are talking about the top of photojournlism, and Mr Paolo Pellegrin is a master, both in ethics and in photography. Read this:


by Federico Caponi | 22 Feb 2013 20:02 | Warsaw, Poland | | Report spam→
Hi people, where were all the comments when in the past WPP were awarded portraits of toys mimic classic images of photojournalism or images captured from Google cameras? This edition of WPP is one of the most respectable, if someone wants a ranking. Have the vices of almost all first world photojournalist awards, the awarded photos are basically the most viewed in the occidental first world by predominant media. But ok, this is another discussion. About the retouch of the main image of this WPP, I don’t see nothing from other world. Yes Truth matters, I wrote a lot about this in my blog. And I don’t see any confusion of the truth in the photo mentioned. The two kids were killed by a missile strike, their deaths were unnecessary. If nobody had a claim of the caption of this photo so I don’t see what are bad with both published versions. What is the supposed meaning of this photo, is clear or not? The magic light that fill the shadows exists, at less based in the two photos published in the first link given in this post. So. I don’t know what moved the bad comments.
The thing about Paolo is more confusing to understand under all the cross information and I don’t know from first hand how was published this story. Hope more clear information give more light to this issue.
This carry me to a very important point. All these discussions, if honest and without bad intentions, are good and healthy for the journalism. But we don’t need to wait until the annual awards. We need to be critics too with publications that are not credible, that encourage bad productions and force the meanings to sell more publicity. All the year we need to be critics. The awards, if have some fail, are the top of an iceberg that is a lot more big.

by Hernan Zenteno | 23 Feb 2013 02:02 | Buenos Aires, Argentina | | Report spam→
I believe that all the matter about the wpp photo of the year 2013 is a lot more simple: as a photographer I watch it and wonder how was it made, how heavy was postproduction, how the light was able to bounce that way and so on…only AFTER this formal and aesthetic speculations I realized what was the picture about. I mean thet transforming a tragic event picture into an illustration, we risk to transforms real life in fiction…

by Federico Caponi | 23 Feb 2013 09:02 | Warsaw, Poland | | Report spam→
Hi Federico. You are asking a aesthetic debate but I am most interested in the Pellegrin issue cause there I note a more relevant question about photojournalism. I paste here my comment in the NYTimes blog Lens.

I hate to recon cause I am almost a fan of Pellegrin work but his explanations only obscures the situation. I don’t see how this photo fits the story that have excellent moments documented. I don’t understand his position about put a military men, whose task is photography, posing with a gun to refer a story that is in another place. I don’t see the link. Yes, guns are not pro peace. But this don’t match the story. The excuse about the name of the portrayed man is futile like if him was a young student of journalism. He can forget his name but not who he are. If he don’t talk enough with his subject is a direct indicator that that subject was used because could be a potential impressive and shocking image. This is not fair.
Something that almost nobody mentioned is how this work was used. I appreciate the good edition that made Die Zeit cause their editors excluded this image that nows generated this controversy. At the same time, some US awards give a price of this photo alone. This make a point about good edition and talk very well or bad about the editors. Magnum itself was created to avoid the bad edition or the incorrect captions by some publishers. As a latin american third world photojournalism I know that this is a common problem here that nobody internationally pay attention. This is an issue that matters. Is not a misunderstanding, I don’t believe so. I would like a serious reply from WPP, PoY and others big names, included Magnum whose books and images I admire.

by Hernan Zenteno | 23 Feb 2013 17:02 | Buenos Aires, Argentina | | Report spam→
Reading the blog Iconic photos I found this comment wrote by Susan Meiselas during a debate about art appropriation. The first phrase can be very well related to the Paolo Pellegrin issue about his portrayed man with a gun. I paste the paragraphs here cause I think would be of interest.
“No one can ‘control’ art, of course, but it is important to me in fact, it is central to my work that I do what I can to respect the individuality of the people I photograph, all of whom exist in specific times and places”…
“There is no denying in this digital age that images are increasingly dislocated and far more easily decontextualized. Technology allows us to do many things, but that does not mean we must do them. Indeed, it seems to me that if history is working against context, then we must, as artists, work all the harder to reclaim that context. We owe this debt of specificity not just to one another but to our subjects, with whom we have an implicit contract.”
Susan Meiselas, Harper’s Magazine february 2007. On the rights of molotov man. Appropriation and the art of context.

by Hernan Zenteno | 03 Mar 2013 14:03 | Buenos Aires, Argentina | | Report spam→
WPP and other organizations often present news photos more as fine art photos. This leads us to focus more on the aesthetics of the photo rather than on the situation that the news photo is supposed to represent. War, poverty and other forms of violence become romantic.
This is only a contributing factor to the larger problem of veracity in the news media that Hernan is pointing out.

by Barry Milyovsky | 03 Mar 2013 16:03 (ed. Mar 3 2013) | New York, United States | | Report spam→

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Federico Caponi, Photographer Federico Caponi
Warsaw , Poland
Tanguy Gilson, Photographer Tanguy Gilson
Trekking Solo In The Wilderness , Iceland
John Robert Fulton Jr., Photographs John Robert Fulton Jr.
Indianapolis, In , United States
John Louis Lassen Perry, Photoanthropologist John Louis Lassen Perry
Califon, New Jersey , United States
Andy Levin, Andy Levin
(photo workshop, photography wo)
New Orleans , United States
Laura Larmo, Photographer Laura Larmo
Milan , Italy
Hernan Zenteno, Photographer Hernan Zenteno
Buenos Aires , Argentina ( EZE )
Barry Milyovsky, totally unprofessional Barry Milyovsky
totally unprofessional
(emperor of ice cream )
New York , United States


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