Online News Digest
continued from page 8
Craig F. Walker, Massoud Hossaini Win
Pulitzer Prizes for Photography
Craig F. Walker of The Denver Post has won the 2012 Pulitzer
Prize for Feature Photography; Massoud Hossaini of Agence
France-Press won for Breaking News Photography.
Three News Photographers Murdered in Mexico
Three photographers who had covered organized crime
and drug violence in the Mexican state of Veracruz were
found dead on May 3. The bodies of Guillermo Luna Varela,
Gabriel Huge and Esteban Rodriguez, which showed signs of
torture, were recovered from a wastewater canal.
Miami-Dade Police Monitoring Activist Photographer
Photographer Carlos Miller, owner of the Photography is
Not a Crime blog and a tireless critic of police harassment
of journalists, learned from a Freedom of Information Act
request that police spied on him prior to singling him out for
arrest among journalists covering the break-up of an Occupy
encampment in Miami in January. http://bit.ly/K0jtsl
Horst Faas, AP Combat
Horst Faas, whose coverage
of the Vietnam War earned
him the Overseas Press
Club’s Robert Capa Award
and his first Pulitzer Prize
in 1965, died on May 10 in
Munich, Germany. He was
79. http://bit.ly/Jke YX4
Horst Faas at his Visa pour l’Image
exhibit in September 2008.
© AP PHO TO/LAuREN T REBOuRS
Jim Marshall’s Estate Sues Mr. Brainwash,
Google for Infringement
The rock photographer’s estate alleges unauthorized use of
images of John Coltrane and Jimi Hendrix for commercial
purposes, namely to promote the Google Music service.
Judge Refuses to Let Publisher Weasel
Out of Copyright Lawsuit
A federal court judge in Chicago has refused to dismiss
photographer Robert Frerck’s claim against Pearson
Education for infringement of about 4,000 images, possibly
forcing the publisher to divulge records that provide a
detailed accounting of its infringing activities.
What If You Break a $300,000 Figurine
While on Assignment?
An expensive statue gets smashed during a shoot, and
now the owner is suing. PDN explains why photographers’
insurance provides less liability protection than you would
of graphic edge you’ve put on the pictures.
PDN: I notice you shoot quite a bit from overhead, so your background is the playing field.
AP: If you start with a nice graphic canvas,
and add to that the action and the emotion,
then that’s when you get a good picture. A
lot of guys I work with are good photographers, but they’ll sit where there’s a really
bad background. And they’ll be like, “Look, I
got the picture.” And yeah, it’s good action.
But the more you look, you start to notice
the messy background. As a photographer,
you have to look at the composition, the
lighting, the background and go through the
steps to ask, Does it make a good picture?
Are you building a good picture, rather than
just taking a picture?
PDN: Isn’t good sports photography also
about knowing the sport you’re covering
really well, so you’re able to anticipate action?
AP: It’s good to know the sports. In swimming, I know where I can get pictures from.
Definitely experience helps, but I don’t think
it matters that much for some things.
PDN: What’s in your kit?
AP: For the Olympics, I’ll have a 14mm f/2.8,
a 16-35mm zoom, a 24-70mm, a 70-200mm,
then a 400mm. I’m also going to get a
200mm f/2 to replace another one that died.
For the underwater [remote], I’ll use a 24mm
f/1.4 just because the quality of the prime
lens is better than the zooms, and you can’t
change the zooms anyway in the underwa-
ter housing. For camera bodies, I have three
Canon 5Ds. I don’t like to carry too much gear.
PDN: Do you carry any lights?
AP: At Olympic sports events, there’s no flash,
although they don’t care if you use flash for
some outdoor stuff.
PDN: Does that no-flash rule make it difficult?
AP: No. They have all these venues lit to
certain standards for TV. The consistency
makes it a little easier. You have to think less
PDN: What parting advice would you give to
photographers working on their sports ac-
AP: Don’t spend too much time on the com-
puter. I think that’s the trap now. You can make
your pictures look great in Photoshop. But
get off the computer, get out there and start
shooting. You want to get your good pictures
in the camera, not try to bring them to life af-
ter. You get that only by shooting, not by think-
ing about it. I mean, you need to think about
it. But you need something spontaneous be-
cause that will surprise [viewers]. I think when
you’re out of control slightly, that’s when you
get the special stuff or the surprising stuff. So
basically you get that by shooting a lot.
See a slide show of
Pretty’s images from
past Olympic Games.
© COuR TES Y OF GE T T Y IMAGES/ADAM PRE T T Y/GE T T Y IMAGES