Writing Here:

duckrabbit
David White
Ciara
John Macpherson
Peter
Sara Trula
Carl Pendle
Joni Karanka
Mike Lusmore
Julian Lass

What they say about duckrabbit:

'One of the hazards of publishing a well-known photojournalism blog - getting multimedia like yours, where the photos are both powerful and moving, and I end up in tears at my desk.'

Alan Taylor, Boston Big Picture)

'David White's multimedia work with duckrabbit is very exciting.'

Kate Edwards (Guardian Magazine Picture Editor)

'I am a fan of duckrabbit. I am not a fan because I agree with everything Ben has to say, but because he says it without frills and then will spend the time necessary to engage the consequent discussions. Such commitment is a priceless commodity.'

Prison Photography

'I met one of them at an academic conference in the summer. He was the sanest person there, but sure enough by damn gadnabbit ruffled more than a few fluffed up peacock feathers.'

The Photography Pages

'If you haven't seen the duckrabbit blog on multimedia you should.'

Stephen Alvarez

'duckrabbit has done another jaw-dropping job with Condition Critical, a highly commendable and important project for Medecins Sans Frontiers.'

The Travel Photographer

Alzheimer’s, in fresh light

It’s one of people’s worst fears. To either lose your mind or watch the mind of someone you love slowly disappear.  Phillip Toledano explored this photographically in his thought provoking website and book Days With My Father.  The work is amongst the best you’ll  find on the web.

Cathy Greenblat is another photographer who has been exploring age, though from a more detached perspective than Toledano.  Greenblat challenges the notion that people with Alzheimer’s aren’t really, well, people anymore. That’s challenging, especially for those of us who have stopped going to see people we love, because we can’t deal with the pain of feeling that we are unable to reach them anymore.

Cathy was one of the photographers at duckrabbit and Rhubarb’s Photography Still Moving Seminar in London last month. I threw together this EYECUE to show how easy it is to make a short promo of your work.

The interview was ten minutes, I edited it in another thirty five minutes and pulled the whole thing together in IMOVIE in an hour or so. In fact I spent more time trying to get the quality of the compressed video right than I did producing the piece!

The only person I’ve showed this EYECUE to cried. Not because it is particularly emotional or well produced, but because the photos and subject tapped into her own experience of losing someone.

Often, though by no means always, the photography we celebrate, especially in terms of photojournalism, leaves so little to the imagination. The journey begins and ends with the photograph and photographer.  The point is to make a big, bold statement. The same goes for photofilms.

I don’t know about you, but I’m pretty bored with statement, it smacks of posturing and rhetoric; give me a beer and a conversation any day.

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