Senin, 31 Januari 2011

Egypt protest: 'Carnival atmosphere' among demonstrators

For many in Tahrir Square in central Cairo, the days are starting to take on a familiar pattern.
After nearly a week of demonstrations, many people now sleep here. There are a few tents and pieces of cardboard that serve as beds on a small patch of grass in front of a government building, the Mugamma.
"We get just four hours sleep or so and then we wake up to start the protest again," said Samah al-Dweik, who has not been to her home in Maadi, just outside the city, since Friday.




"We do not know how long we will have to continue. Only if Mubarak goes, will we go home. I am ready to stay a long time. We are all the same."
While shops and restaurants around the square are closed, some entrepreneurs have set up stalls selling the Egyptian rice dish, koshari, and sesame seed snacks.

“Start Quote

You see them with smiles on their faces. They are discovering their own strength”
End Quote Wael Khalil Movement for Democratic Change
As demonstrators pour across Qasr al-Nil bridge into the square at lunchtime, many bring bags of sandwiches and bottles of water to hand out. A few families are ready with picnics. It all adds to a carnival atmosphere.
"You can see we love each other and support each other," said one man perched on a wall in the central circle.
"We are all kinds of people but we are all Egyptian people."
Sitting next to him, a man said he had made his journey to Cairo overnight from Menoufiya, a region to the north.
"I spent three hours on the bus," he said. "Tomorrow many more people will come. We will be one million."
'People's movement' With the internet largely disrupted, few can access the Facebook page for the April 6 Youth Movement, which originally called the first "day of rage" on 25 January.
However, flyers and satellite news broadcasts have spread its call for the biggest mass rally so far on 1 February, to mark a week of unprecedented protest.

Protesters holds a sign in English in Tahrir Square, Cairo (30 Jan 2011)
Even in a nation of 80 million, the one million figure may be hard to reach with many roads blocked by the military and railways out of operation.
Some people are also reluctant to leave their homes and families unattended amid raised concerns about looting and the need to protect private property.
Yet the goal is helping to keep up the momentum as demonstrators again chant their slogans calling for an end to the Mubarak presidency.
For an activist with the Egyptian Movement for Democratic Change, Wael Khalil, the scene still seems unbelievable.
In recent years most pro-democracy demonstrations he has taken part in, outside the Mugamma, and at other key locations around the city have attracted just a few dozen people.
"Every morning I have anxiety about what it will look like, whether we can keep up the numbers," he remarked, standing with his 12-year-old son who wore an Egyptian flag as a cape.
"But the people are leading with utmost efficiency. This is a real people's movement.
"You see them with smiles on their faces. They are discovering their own strength."
In the past, taking part in political rallies meant risking the attention of the security services and possibly being placed on a watchlist. Now, ordinary Egyptians are expressing their views more freely.
Many want to convey messages to the outside world and carry signs written in English.
They declare: "I'm free" and "Game over" but also demand policy changes from Western countries that have supported the Mubarak government.
"US: we hate your hypocrisy" read one banner, referring to the disparity between American calls for human rights and democracy and its support of their president.
"Listen to the Egyptian people," another demanded.
Despite an official curfew, the numbers in the square swell in early evening and the chants increase in volume.
Protesters are only too aware of the government's hope that by delaying its response to their demands it will drain their energy.
But they say they are determined to prove otherwise.

Kamis, 20 Januari 2011

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Selasa, 04 Januari 2011

Photojournalism

Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that creates images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (such as documentary photography, social documentary photography, street photography or celebrity photography) by the qualities of:

* Timeliness — the images have meaning in the context of a recently published record of events.

* Objectivity — the situation implied by the images is a fair and accurate representation of the events they depict in both content and tone.

* Narrative — the images combine with other news elements to make facts relatable to the viewer or reader on a cultural level.

Like a writer, a photojournalist is a reporter but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (physical danger, weather, crowds).


History
The practice of illustrating news stories with photographs was made possible by printing and photography innovations that occurred between 1880 and 1897. While newsworthy events were photographed as early as the 1850s, printing presses could only publish from engravings until the 1880s. Early news photographs required that photos be re-interpreted by an engraver before they could be published.

The first photojournalist was Carol Szathmari (Rumanian painter,lithographer and photographer)who did pictures in the Crimean War(between Russia and Ottoman Empire,1853 to 1856). His albums were sent to European royals houses[citation needed]. Just a few of his photographs survived. William Simpson of the Illustrated London News and Roger Fenton were published as engravings. Similarly, the American Civil War photographs of Mathew Brady were engraved before publication in Harper's Weekly. Because the public craved more realistic representations of news stories, it was common for newsworthy photographs to be exhibited in galleries or to be copied photographically in limited numbers.

On March 4, 1880, The Daily Graphic (New York)[1] published the first halftone (rather than engraved) reproduction of a news photograph. Further innovations followed. In 1887, flash powder was invented, enabling journalists such as Jacob Riis to photograph informal subjects indoors, which led to the landmark work How the Other Half Lives.[2] By 1897, it became possible to reproduce halftone photographs on printing presses running at full speed.[3]

Despite these innovations, limitations remained, and many of the sensational newspaper and magazine stories in the period from 1897 to 1927, (see Yellow Journalism) were illustrated with engravings. In 1921, the wirephoto made it possible to transmit pictures almost as quickly as news itself could travel. However, it was not until development of the commercial 35mm Leica camera in 1925, and the first flash bulbs between 1927 and 1930 that all the elements were in place for a "golden age" of photojournalism.
[edit] Farm Security Administration

From 1935 to 1942, the Farm Security Administration and its predecessor the Resettlement Administration were part of Franklin Roosevelt's New Deal, and were designed to address agricultural problems and rural poverty associated with the Great Depression. A special photographic section, headed by Roy Stryker, was intended merely to provide public relations for its programs, but instead produced what some consider one of the greatest collections[4] of documentary photographs ever created in the U.S. Whether this effort can be called "photojournalism" is debatable, since the FSA photographers had more time and resources to create their work than most photojournalists usually have.
[edit] Golden age
Assault landing One of the first waves at Omaha Beach as photographed by Robert F. Sargent.

In the "golden age" of photojournalism (1930s–1950s), some magazines (Picture Post (London), Paris Match (Paris), Arbeiter-Illustrierte-Zeitung (Berlin), Berliner Illustrierte Zeitung (Berlin), Life (USA), Look (USA), Sports Illustrated (USA)) and newspapers (The Daily Mirror (London), The New York Daily News (New York) built their huge readerships and reputations largely on their use of photography, and photographers such as Robert Capa, Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith became well-known names.

Henri Cartier-Bresson is held by some to be the father of modern photojournalism, although this appellation has been applied to various other photographers, such as Erich Salomon, whose candid pictures of political figures were novel in the 1930s.
In Migrant Mother Dorothea Lange produced the seminal image of the Great Depression. The FSA also employed several other photojournalists to document the depression.

Soldier Tony Vaccaro is also recognized as one of the pre-eminent photographers of World War II. His images taken with the modest Argus C3 captured horrific moments in war, similar to Capa's soldier being shot. Capa himself was on Omaha Beach on D-Day and captured pivotal images of the conflict on that occasion. Vaccaro is also known for having developed his own images in soldier's helmets, and using chemicals found in the ruins of a camera store in 1944.

Until the 1980s, most large newspapers were printed with turn-of-the-century “letterpress” technology using easily smudged oil-based ink, off-white, low-quality “newsprint” paper, and coarse engraving screens. While letterpresses produced legible text, the photoengraving dots that formed pictures often bled or smeared and became fuzzy and indistinct. In this way, even when newspapers used photographs well — a good crop, a respectable size — murky reproduction often left readers re-reading the caption to see what the photo was all about. The Wall Street Journal adopted stippled hedcuts in 1979 to publish portraits and avoid the limitations of letterpress printing. Not until the 1980s had a majority of newspapers switched to “offset” presses that reproduce photos with fidelity on better, whiter paper.

By contrast Life, one of America’s most popular weekly magazines from 1936 through the early 1970s, was filled with photographs reproduced beautifully on oversize 11×14-inch pages, using fine engraving screens, high-quality inks, and glossy paper. Life often published a United Press International (UPI) or Associated Press (AP) photo that had been first reproduced in newspapers, but the quality magazine version appeared to be a different photo altogether.

In large part because their pictures were clear enough to be appreciated, and because their name always appeared with their work, magazine photographers achieved near-celebrity status. Life became a standard by which the public judged photography, and many of today’s photo books celebrate “photojournalism” as if it had been the exclusive province of near-celebrity magazine photographers.

The Best of Life (1973), for example, opens with a two-page (1960) group shot of 39 justly famous Life photographers. But 300 pages later, photo credits reveal that scores of the photos among Life’s “best” were taken by anonymous UPI and AP photographers.

Thus even during the golden age, because of printing limitations and the UPI and AP syndication systems, many newspaper photographers labored in relative obscurity.

"Life" and the other photographic magazines celebrated the human spirit during the Second World War and when the war ended there was an optimistic period in the USA and Europe of unbridled consumerism and a general belief that things could only get better. The magazines celebrated humanism and the sense that anything was possible. Even if they showed poverty and hunger it was with an underlying message that by exposing it to public scrutiny things would improve.
[edit] Decline of the photo magazines

During the sixties there was a growing realization that the view that photography would cause living conditions to improve was naive. The menace of the Cold War had shown that in the Korean War (1950-1953) fighting could end in a stalemate but there was still a chance that good would overcome. The sense that American could change the world in a positive way was tarnished but still there. In the sixties and early seventies the Vietnam War (1961-1975) shook that ideal and the civil rights issues threw the nation into upheaval - the sense that there was going to be a better world was thrown into question and the picture magazines found it difficult to exist as the world grew more cynical. Obtaining advertising revenue for the magazines became increasingly difficult as the trend moved to the more positive lifestyle magazines - here pictures of famous people and domestic abundance could attract ad revenue. "Picture Post" in the United Kingdom published its last issue on 1 June 1957 using the same cover image of two leaping ladies that it had when it started on 1 October 1938. "Life" in the USA hung on through the 1960‘s and published its final issue on 29 December 1972.
Manuel Rivera-Ortiz: Tobacco Harvesting, ViƱales Valley, Cuba 2002
[edit] The rise of the photo agencies

In 1947 a few famous photographers founded the international photographic cooperative Magnum Photos. In 1989 Corbis Corporation and in 1993 Getty Images were founded. These powerful image libraries sell the rights to photographs and other still images.
[edit] Acceptance by the art world

Since the late 1970s, photojournalism and documentary photography have increasingly been accorded a place in art galleries alongside fine art photography. Luc Delahaye, Manuel Rivera-Ortiz and the members of VII Photo Agency are among many who regularly exhibit in galleries and museums.[5]
[edit] Professional organizations

The Danish Union of Press Photographers (Pressefotografforbundet) was the first national organization for newspaper photographers in the world. It was founded in 1912 in Copenhagen, Denmark by six press photographers.[6] Today it has over 800 members.

The National Press Photographers Association (NPPA) was founded in 1946 in the U.S., and has about 10,000 members. Others around the world include the British Press Photographers Association (BPPA) founded in 1984, then relaunched in 2003, and now has around 450 members. Hong Kong Press Photographers Association (1989), Northern Ireland Press Photographers Association (2000), Pressfotografernas Klubb (Sweden, 1930), and PK — Pressefotografenes Klubb (Norway).[7]

News organisations and journalism schools run many different awards for photojournalists. Since 1968, Pulitzer Prizes have been awarded for the following categories of photojournalism: 'Feature Photography', 'Spot News Photography'. Other awards are World Press Photo, Best of Photojournalism, and Pictures of the Year as well as the UK based The Press Photographer's Year.[8]
[edit] Ethical and legal considerations

Photojournalism works within the same ethical approaches to objectivity that are applied by other journalists. What to shoot, how to frame and how to edit are constant considerations.

Often, ethical conflicts can be mitigated or enhanced by the actions of a sub-editor or picture editor, who takes control of the images once they have been delivered to the news organization. The photojournalist often has no control as to how images are ultimately used.

The emergence of digital photography offers whole new realms of opportunity for the manipulation, reproduction, and transmission of images. It has inevitably complicated many of the ethical issues involved.

Issues include photo manipulation – what degree is acceptable? – staged photos (particularly of war – see war photography: history for early examples), and false or misleading captioning. The 2006 Lebanon War photographs controversies is a notable example of some of these issue, and see photo manipulation: use in journalism for other examples.

The U.S. National Press Photographers Association, and other professional organizations, maintain codes of ethics to specify approaches to these issues.[9]

Major ethical issues are often inscribed with more or less success into law. Laws regarding photography can vary significantly from nation to nation. The legal situation is further complicated when one considers that photojournalism made in one country will often be published in many other countries.
[edit] The impact of new technologies

Smaller, lighter cameras greatly enhanced the role of the photojournalist. Since the 1960s, motor drives, electronic flash, auto-focus, better lenses and other camera enhancements have made picture taking easier. New digital cameras free photojournalists from the limitation of film roll length, as thousands of images can be stored on a single memory card.

Content remains the most important element of photojournalism, but the ability to extend deadlines with rapid gathering and editing of images has brought significant changes. As recently as 15 years ago, nearly 30 minutes were needed to scan and transmit a single color photograph from a remote location to a news office for printing. Now, equipped with a digital camera, a mobile phone and a laptop computer, a photojournalist can send a high-quality image in minutes, even seconds after an event occurs. Camera phones and portable satellite links increasingly allow for the mobile transmission of images from almost any point on the earth.

There is some concern by news photographers that the profession of photojournalism as it is known today could change to such a degree that it is unrecognizable as image-capturing technology naturally progresses.[10] Citizen journalism and the increase in user contribution and submission of amateur photos to news sites is becoming more widespread. As early as the Crimean War in the mid-19th century, photographers were using the novel technology of the box camera to record images of British soldiers in the field. However, the widespread use of cameras as a way of reporting news did not come until the advent of smaller, more portable cameras that used the enlargeable film negative to record images. The introduction of the 35 mm Leica camera in the 1930s made it possible for photographers to move with the action, taking shots of events as they were unfolding.

The age of the citizen journalist and the attainment of news photos from amateur bystanders have contributed to the art of photojournalism. Paul Levinson attributes this shift to the Kodak camera, one of the first cheap and accessible photo technologies that “put a piece of visual reality into every person's potential grasp.”[11] The empowered news audience with the advent of the Internet sparked the creation of blogs, podcasts and online news, independent of the traditional outlets, and “for the first time in our history, the news increasingly is produced by companies outside journalism”.[12][13] source by wikipedia

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Minggu, 02 Januari 2011

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Organizing Your Digital Images

By Nancy Hill
Remember all the space all those photo albums took up on your shelf? And what about all those boxes full of negatives? How annoying were they? Thank heavens for digital images that can all be stored neatly out of sight on your computer. It sure makes life simpler. Right?
Wrong.
Your digital images need at least as much respect as you showed your prints, and because there aren’t any negatives to fall back on, you need to make sure you back up your images as well.
In this article, we’ll focus on organization. Not a glamorous topic to be sure, but there’s also nothing glamorous about foaming at the mouth when you can’t find the image you need.
Here are the steps I recommend taking.
1. Only download your good images. If an image is blurry in your camera, it’s not going to miraculously come into focus because you’ve stored it on your hard drive.
I highly suggest deleting images from your camera before you even begin downloading your memory card.
If your downloading software allows you to select which images you want to download, delete unwanted images directly from your software program before you begin the download. It’s way easier than downloading the entire memory card and then deleting the images you aren’t crazy about.
2. Download frequently. I download after every shoot. Then I erase all the images on my card and reformat it. By doing this consistently, I always know my memory cards are empty and ready for the next shoot. It also usually means I’m downloading a manageable number of images to label and file.
3. Determine where you’re going to save your digital images and always store them in the same place. For example, if you have a My Photos location on your computer that you decide to use, then download everything directly to that directory. At the moment, creating a special folder called “For my eyes only” of naked baby pictures of your child might seem like a good idea, but a year from now, you probably aren’t going to remember where you stored those pictures.
As soon as you complete your download, back up your images. That way if you make an error, you’ll still have the original download. Another alternative – the one I use – is to download everything into a folder called “Original digital files.” Then I do a “save as” for each image and name it at that point. I like to see the images enlarged, so this also gives me an opportunity to view each image full screen. Flaws show up that I can’t see in thumbnails, so it’s worth the time to do this. I can then delete images that just won’t work.
4. Figure out a filing system that makes sense for you. This will take some thought. While many articles will advise you on various ways to file photographs, you know best how your brain works. Ask yourself, “If I want to find this later, where would I look?”
Many people like to begin with a folder that includes the year the images were made – e.g., 2007, 2006, etc. This isn’t a bad idea, but it’s just the beginning.
Inside each folder named by the year, create sub-folders so you can more readily access the images you want. For example, you might have sub-folders with the names of each family member, one called “Vacations,” one called “Nature,” etc. You can also create sub-folders inside of each sub-folder. If I have more than 50 images in a folder, I try to break it into sub-folders.
If you are also scanning in old photos whose dates you are not certain of, you might want to create a separate folder for that named something like “Scanned Photos.” Then create sub-folders inside that named according to subject – e.g., sunsets, family outings, pets.
5. Name your photos. Be as descriptive as possible within the space limitations of your software. For instance, instead of simply naming your daughter’s photos Amy 1, Amy 2, etc., try something like Amy sleeping, Amy playing dress up, etc. This will make it much easier to find your pictures.
I also put “bw” at the end of a file name if I’ve converted it to black or white.
If there is more than one person in the image, use every person’s name in the file name. This will make it easier to find when you do a search.
Digital photo software can be very helpful. There are numerous products available, and it may come with your camera or your computer. Additionally, you can either find it in shareware sites or you can purchase it.
Features to look for include the ability to view thumbnails, rotate photos, assign key search words, and to assign batch names. It’s also really handy to have a lengthy description field that allows you to make notes about your pictures – like where you shot them, any special techniques or filters you used, where you’ve stored the backup, etc. Some software programs also automatically add dates to your photos.
The best thing to remember about organizing your digital images is to stay on top of it. Don’t be a slacker when it comes to putting things in the right folder. Organizing photos balloons out of control with amazing speed. However tempting it may be to tell yourself you’ll put those pictures away later, the longer you procrastinate the more unmanageable it all is.

Apple iPhone Alarm Not Working - Temporary Fix Given for Problem

Apple iPhone Alarm Not Working - Temporary Fix Given for Problem
January 02, 2011 03:30 PM EST

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If your iPhone alarm is not working, you're not alone. The feature has been giving many iPhone owners trouble lately. The issue appears to be something that will resolve itself on Monday, January 3rd, 2011 (tomorrow), but in the meantime a temporary fix exists.

Apple iPhone 4 Black Smartphone 16GBIt's likely that many individuals received the Apple iPhone (pictured via Amazon.com) as a gift for the holidays and used it to bring in the New Year 2011. Now they are experiencing some early troubles, but just with the one feature. The tech-savvy website Gizmodo has provided the fix for owners of the Apple iPhone. All that needs to be done to get the alarm feature working again, is a few simple taps on the touch device to set up various settings.

So how's the Apple iPhone alarm issue fixed? Tap the clock first and then tap the + symbol. Set your alarm for the desired time, and tap "Repeat." Set the repeat interval and tap "Save." That's all there is to it!

The website 9 to 5 Mac reports that they ran some of their own tests on the Apple iPhone alarm not working and discovered it resolves itself on Monday, January 3, 2011. That's good news because many iPhone owners will be on time for work, and won't get fired over an issue from Steve Jobs and Apple!

by Matt Clark
Member since:
http://technology.gather.com
August 22, 2007

photo with i phone, collection photo

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Chelsea's Italian manager Carlo Ancelotti looks on before the English Premier League football match between Birmingham City and Chelsea at St. Andrews, Birmingham, West Midlands, England, on November 20, 2010. AFP PHOTO/OLLY GREENWOOD