Archive for the ‘art’ Category

One Light Portraits: Simple Elegance from Digital Photography School

January 12, 2013

One Light Portraits: Simple Elegance

by Rick Berk

Update: this post now has a Part 2 with lighting diagrams.

In this case, a reflector was used at camera left, but a neutral colored wall would work just as well. The flash bounces off the reflector, the rear wall picks up some light, and the ceiling picks up some more, illuminating the top of the hair.

Everyone who ever picks up a camera at one point or another finds themselves pointing it at another person.  But unless you walk around with a lighting kit in your back pocket, you have to make do with what you have.  If you’re lucky that means you have a speedlite in your bag.  If not, there are other ways to light your subjects and get a pleasing portrait.

Let’s start with the best case scenario- you have a speedlite on your camera with a swivel head. This gives you the flexibility of TTL exposure, as well as the ability to bounce the flash and avoid the ugliness of direct flash.  Bouncing flash simply means that the flash head is aimed at a surface and the light is reflected back onto your subject.  This softens the light coming from the flash head, and makes it a much more pleasing light source.  The ability to bounce the flash is huge, because a variety of looks can be achieved simply by repositioning the flash head and the surface the light is bouncing off of.  Walls and ceilings are generally pretty easy to bounce off of, but something smaller, such as a reflector, or a piece of white oak tag will work equally well.  The important thing about the surface being used for bouncing is that the color be neutral, such as white or gray.

Positioning the subject in a corner of the room will allow you to use one light to create multiple light sources.  The flash can be aimed at the wall to the side, and angled up to the ceiling to provide a hair light. In addition, the wall being used as the background will provide some back lighting. This will create soft shadows on the unlit side of your subject. It’s important to be sure your subject’s face is turned towards the bouncing surface so they are properly illuminated by the light.

Placing a reflector at waist level and bouncing the flash into the ceiling creates a soft glamor lighting effect. It’s actually a double bounce: once off the ceiling, and then off the reflector.

Another variation on this setup that works well for women and creates a glamor lighting look, is to place a reflector at your subject’s waist.  Bounce the flash directly off the ceiling and have the reflector kick light back up into the subject’s face.

Postioning the softbox to camera left created a soft light that flattered Mary’s facial structure. I positioned her in the shade of a tree, so the flash was sure to be the main light on her, while the background was lit by sunlight.

The next step with a flash is to get it off camera.  All of the major SLR makers offer some sort of wireless flash control. Again, a bare flash tends to not be the best light source. Flash in general is a harsh, unflattering light source.  To soften the light, a modifier is needed.

There are all kinds of modifiers available on the market.  Softboxes are great for portraits because the light is softened, directional, and there is no spill. Umbrellas are great for softening and directing the light, but you get more spill, meaning it’s harder to control what the light does and does not hit.  The basic rule of thumb is, the larger the light source, the softer the light.  So a larger soft box will nicely soften the light and wrap it around your subject, creating soft shadows as well.

The important thing when lighting with a softbox is that the light must hit the mask of the face, either from the softbox or via a reflector. If the face is in shadow, or if features of the face cast unflattering shadows, the portrait is going to be unsuccessful. Generally, positioning the light slightly above and off to the side of the subject will produce the best light.

A softbox positioned behind and to the side of the subject, while a reflector is positioned directly opposite to create a two-light effect.

If you happen to be outdoors, the available daylight works wonders for filling the background as you mix available light with flash.  Position your subject in shade, and light them with a flash and modifier of choice, such as a softbox.  Allow the available light to fill the background, and even create a hairlight.  Indoors, you can create dramatic low-key lighting using one light in a softbox.  Add a reflector, and now you have a two light setup.  The softbox as the main light can be used as a rim light or hair light, and position the reflector so that it bounces light back into your subject’s face.  You’re simply playing angles here, so watch where the light hits and bounce it back to your subject’s face.

This portrait was made using a household lamp with a 75 watt bulb, with a sheer curtain to soften the light. It’s important when using a household lamp to adjust your white balance properly, as the bulbs can range in color from more greenish to yellow.

Now, what if you’re caught without a flash? Simple. Any light source will do.  With today’s DSLRs, higher ISO’s mean greater flexibility in terms of light.  A simple household lamp with a shade can even be a good portrait light.  The important thing again is to watch how the light is falling on your subject.  You may need to manipulate the lamp’s position, or the subject’s position in relation to the lamp.  If the shade dims the light too much, remove the shade, and find another way to modify the light.  It could be as simple as rigging a sheer curtain in front of the lamp to create a scrim.

A single softbox will create more dramatic lighting. In this case, a large, 50 inch softbox was used creating a soft, dramatic light.

The bottom line is, no matter what, as long as you have light, you have the ability to make a great photo.  The key is simply being able to see the light, play the angles, and think outside the box when necessary.

See Part 2 of this post at One Light Portraits: The Diagrams where Rick illustrates how each of the images above was lit with diagrams.

Rick Berk is a photographer based in New York, shooting a variety of subjects including landscapes, sports, weddings, and portraits. Rick’s work can be seen at RickBerk.com and you can follow him on his Facebook page.

Read more: http://digital-photography-school.com/one-light-portraits-simple-elegance#ixzz2EwuByCVP

a new year opportunity, maybe learn something

January 6, 2013

this has been some new year, very traumatic but we have survived probably stronger cleaner yes, having had the opportunity to dump a lot of the old stuff hanging around collecting dust due to a fire at our apt studio.

it happened using and learning a new control system, my White Lightning LG4X controler and me being lost in the pictures i was getting. maybe had i read and understood the instructions in the book on page one this wouldn’t have happened but sometimes it just doesn’t register in my brain.

the fire started from the modeling light which i don’t usually use but was turned on that day. it caught fire to some show card i had placed to flag the strobe off the background. it got pretty scary looking at a wall of noseam paper on fire after the show card fell in the middle of the paper and me with no shoes on.

the ‘happy hippy’ as a friend of mine calls the model was someone new whom i’d never worked with but seemed ok. we started working with this costume of hers. it wasn’t until i saw the comps that i realized she was wearing a silly bracelet.i guess i need to check them more closely, strip them nude of everything.

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i never understand why models, someone who rents or sells their bodies get tattoos? yes it’s a cultural thing we all decorate our bodies in some way, but WTF  permanent markings? see the little hippy heart? and to even think i can photoshop something out is absurd. but there is more

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how can i get rid of this, while a nice tat not what i am looking for in a model. i want  a blank file not something some one   wants.

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the color and costume along with the mask are a nice combination and pretty cool i think. but our shoot was cut short so who knows what might have been.

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i show this images because this is the first indication of trouble with the blue highlight on the background. i thought it was a cool effect but in retrospect it was a sigh of trouble in the black wrap was coming loose. but i didn’t notice the problem.

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the boa was my addition as were the masks, people react strange under the masks as it frees them a bit. playing with boa a gives the hands something to do. but there is the pink hippy bracelet, ugh

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odd she doesn’t look like a ‘hippy’ but then again probably an apt description of the woman. too bad we don’t have more to share. so far we will never know what her body looks like because that’s all i got before the fire.

oh well

jene

happy new year

December 31, 2012

calvinHobbes2

A Holiday treat….enjoy………………journey of the magi

December 23, 2012

Journey of the Magi

‘A cold coming we had of it,

Just the worst time of year

For a journey, and such a long journey

The ways deep and the weather sharp,

The very dead of winter’.

And the camels galled,sore-footed,refractory,

Lying down in the melting snow.

There were times we regretted

The summer palaces on slopes, the terraces,

And the silken girls bringing sherbet.

Then camel men cursing and grumbling

And running away, and wanting their liquor and women,

And the night-fires going out, and the lack of shelters,

And the cities hostile and the towns unfriendly

And the villages dirty and charging high prices:

A hard time we had of it.

At the end we preferred to travel all night,

Sleeping in snatches,

With the voices singing in our ears, saying

That this was all folly.

Then at dawn we came down to a temperate valley,

Wet, below the snow line, smelling of vegetation,

With a running stream and a water –mill beating the

  Darkness,

And three trees on the low sky.

And an old white horse galloped away in the meadow,

Then we came to a tavern with vine-leaves over the

  Lintel,

Six hands at an open door dicing for pieces of silver,

And feet kicking the empty wine-skins.

But there was no information, and so we continued

And arrived at evening, not a moment too soon

Finding the place; it was (you may say) satisfactory.

All this was a long time ago, I remember,

And I would do it again, but set down

This set down

This: were we led all that way for

Birth or Death? There was a Birth, certainly,

We had evidence and no doubt. I had seen birth and

  death,

But had thought they were different: this Birth was

Hard and bitter agnoy for us, like Death, our Death.

We returned to our laces, these Kingdoms,

But no longer at ease here, in the old dispensation,

With an alien people clutching their gods.

I should be glad of another death.

T.S Eliot

CNET reports facebook/instagram claims the right to sell user’s images without payment

December 18, 2012

Instagram says it now has the right to sell your photos

In its first big policy shift since Facebook bought the photo-sharing site, Instagram claims the right to sell users’ photos without payment or notification. Oh, and there’s no way to opt out.

Declan McCullagh

December 17, 2012 9:54 PM PST

Instagram said today that it has the perpetual right to sell users’ photographs without payment or notification, a dramatic policy shift that quickly sparked a public outcry.

The new intellectual property policy, which takes effect on January 16, comes three months after Facebook completed its acquisition of the popular photo-sharing site. Unless Instagram users delete their accounts before the January deadline, they cannot opt out.

Under the new policy, Facebook claims the perpetual right to license all public Instagram photos to companies or any other organization, including for advertising purposes, which would effectively transform the Web site into the world’s largest stock photo agency. One irked Twitter user quipped that “Instagram is now the new iStockPhoto, except they won’t have to pay you anything to use your images.”

“It’s asking people to agree to unspecified future commercial use of their photos,” says Kurt Opsahl, a senior staff attorney at the Electronic Frontier Foundation. “That makes it challenging for someone to give informed consent to that deal.”

That means that a hotel in Hawaii, for instance, could write a check to Facebook to license photos taken at its resort and use them on its Web site, in TV ads, in glossy brochures, and so on — without paying any money to the Instagram user who took the photo. The language would include not only photos of picturesque sunsets on Waikiki, but also images of young children frolicking on the beach, a result that parents might not expect, and which could trigger state privacy laws.

Facebook did not respond to repeated queries from CNET this afternoon. We’ll update the article if we receive a response.

Another policy pitfall: If Instagram users continue to upload photos after January 16, 2013, and subsequently delete their account after the deadline, they may have granted Facebook an irrevocable right to sell those images in perpetuity. There’s no obvious language that says deleting an account terminates Facebook’s rights, EFF’s Opsahl said.

Facebook’s new rights to sell Instagram users’ photos come from two additions to its terms of use policy. One section deletes the current phrase “limited license” and, by inserting the words “transferable” and “sub-licensable,” allows Facebook to license users’ photos to any other organization.

A second section allows Facebook to charge money. It says that “a business or other entity may pay us to display your… photos… in connection with paid or sponsored content or promotions, without any compensation to you.” That language does not exist in the current terms of use.

Google’s policy, by contrast, is far narrower and does not permit the company to sell photographs uploaded through Picasa or Google+. Its policy generally tracks the soon-to-be-replaced Instagram policy by saying: “The rights you grant in this license are for the limited purpose of operating, promoting, and improving our services.” Yahoo’s policies service for Flickr are similar, saying the company can use the images “solely for the purpose for which such content was submitted or made available.”

Reginald Braithwaite, an author and software developer, posted a tongue-in-cheek “translation” of the new Instagram policy today: “You are not our customers, you are the cattle we drive to market and auction off to the highest bidder. Enjoy your feed and keep producing the milk.”

One Instagram user dubbed the policy change “Instagram’s suicide note.” The PopPhoto.com photography site summarized the situation by saying: “The service itself is still a fun one, but that’s a lot of red marks that have shown up over the past couple weeks. Many shooters — even the casual ones — probably aren’t that excited to have a giant corporation out there selling their photos without being paid or even notified about it.”

Instagram CEO Kevin Systrom speaks at the LeWeb conference in Paris. Click for larger image.

(Credit: Stephen Shankland/CNET)

Another unusual addition to Instagram’s new policy appears to immunize it from liability, such as class action lawsuits, if it makes supposedly private photos public. The language stresses, twice in the same paragraph, that “we will not be liable for any use or disclosure of content” and “Instagram will not be liable for any use or disclosure of any content you provide.”

Yet another addition says “you acknowledge that we may not always identify paid services, sponsored content, or commercial communications as such.” That appears to conflict with the Federal Trade Commission’s guidelines that say advertisements should be listed as advertisements.

Such sweeping intellectual property language has been invoked before: In 1999, Yahoo claimed all rights to Geocities using language strikingly similar to Facebook’s wording today, including the “non-exclusive and fully sublicensable right” to do what it wanted with its users’ text and photos. But in the face of widespread protest — and competitors advertising that their own products were free from such Draconian terms — Yahoo backed down about a week later.

It’s true, of course, that Facebook may not intend to monetize the photos taken by Instagram users, and that lawyers often draft overly broad language to permit future business opportunities that may never arise. But on the other hand, there’s no obvious language that would prohibit Facebook from taking those steps, and the company’s silence in the face of questions today hasn’t helped.

EFF’s Opsahl says the new policy runs afoul of his group’s voluntary best practices for social networks. He added: “Hopefully at some point we’ll get greater clarity from Facebook and Instagram.”

sometimes silence is all that crosses my lips

December 17, 2012

to the children may you be children and remember to love every moment. hugs and kisses to all a good nite.

rip

Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp….. in Philadelphia

December 13, 2012

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At the Philadelphia Museum of Art

Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp
October 30, 2012 – January 21, 2013
now this is where i want to be next month as this show sounds like just the place for me and my lovely wife mary. sounds like a wonderful experience. getting together that many artists in one place, even if it’s mostly the spirit of them conjures up a very special event. shivers be still. so i bought tickets for the january 12 showing leaving room to see more performances if we wanted to. i am really looking forward to this as i love the Philadelphia Museum, it’s a beautiful building.
1950-134-59-pmaBride, 1912
Marcel Duchamp, American (born France)
Oil on canvas
35 1/4 x 21 7/8 inches (89.5 x 55.6cm)
The Louise and Walter Arensberg Collection, 1950
1950-134-65
[ More Details ]
Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp
October 30, 2012 – January 21, 2012

Live Dance Performances >> Dancing around the Bride is the first exhibition to explore the interwoven lives, works, and experimental spirit of Marcel Duchamp (American, born France, 1887–1968) and four of the most important American postwar artists: composer John Cage (1912–1992), choreographer Merce Cunningham (1919–2009), and visual artists Jasper Johns (born 1930) and Robert Rauschenberg (1925–2008). Creating both individually and together, they profoundly affected the direction of postwar avant-garde art and American culture as a whole. The exhibition tells of their multiple levels of engagement, focusing on the ways in which Cage, Cunningham, Johns, and Rauschenberg produced work inextricably linked to key aspects of Duchamp’s practice, such as the use of chance, the incorporation of everyday materials into their art, and the probing of the boundaries between art and life. With over eighty objects, stage sets, musical compositions, videos of dance, and live dance and music performances, the exhibition is organized as an environment in which visitors can explore the creative world of these artists and experience diverse aspects of their work firsthand. Duchamp’s celebrated painting Bride (1912) introduces to the exhibition a central character that would later become the protagonist of his masterwork The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915–23). The Bride served as a critical point of reference for Cage, Cunningham, Johns, and Rauschenberg, and their works that invoke the physical and conceptual figure of the Bride are brought together here for the first time. A potent example is Johns and Cunningham’s homage to Duchamp, Walkaround Time (1968), in which Johns’s décor replicates elements of the Large Glass and Cunningham’s choreography references different aspects of Duchamp’s oeuvre, including the mechanical movements of his Nude Descending a Staircase (No. 2) (1912)

1950-134-59-pma

Nude Descending a Staircase (No. 2), 1912

Marcel Duchamp, American (born France)
Oil on canvas
57 7/8 x 35 1/8 inches (147 x 89.2 cm) Framed: 59 3/4 x 36 3/4 x 2 inches (151.8 x 93.3 x 5.1 cm)
The Louise and Walter Arensberg Collection, 1950
1950-134-59
[ More Details ]

Dancing around the Bride unfolds in a series of four sections devoted to the Bride, to chance, to collaborations and performance, and to chess as a symbol of these rich exchanges. Envisioned collaboratively with contemporary artist Philippe Parreno (French, born 1964), the exhibition’s design allows for a variety of visitor experiences, from close examination of stationary works of art to timed sequences of videos, music, and live events occurring in the exhibition space, such as performances of Cunningham’s radical choreographies planned in concert with the Merce Cunningham Trust. A festival of Cage’s innovative music— presented by Philadelphia-based organization Bowerbird in conjunction with the Museum and in close consultation with the John Cage Trust—includes performances at the Museum and in other venues throughout the city. The artists of Dancing around the Bride created works that blurred the boundaries between art and life through a radical exploration of chance, collaboration, and interdisciplinarity—practices that have proven to be highly influential today. As the works of Cage, Cunningham, Johns, and Rauschenberg have never before been examined together in the context of their exchanges with Marcel Duchamp, the exhibition presents these artists in a new light, revealing their profound effects on one another and on the reinvention of art itself in the twentieth and twenty-first centuries.

Sponsors


The exhibition is made possible by The Pew Center for Arts & Heritage through the Philadelphia Exhibitions Initiative. Additional support is generously provided by the John S. and James L. Knight Foundation, The Women’s Committee of the Philadelphia Museum of Art, Glenstone, The Presser Foundation, the Dedalus Foundation, The Robert Saligman Charitable Foundation, Dr. Sankey V. Williams and Constance H. Williams, Dina and Jerry Wind, John Wind, Barbara B. and Theodore R. Aronson, Christie’s, Mary S. and Anthony B. Creamer, Jaimie and David Field, Lawrence Luhring and Roland Augustine, Seda International Packaging Group, Mari and Peter Shaw, Mr. and Mrs. Aaron Levine, Alice Saligman and Klaus Brinkmann, and other generous individuals. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Support for the accompanying publication is generously provided by Larry Gagosian. Special thanks to The Pew Center for Arts & Heritage through the Philadelphia Music Project, The Aaron Copland Fund for Music, Dina and Jerry Wind, and John J. Medveckis for their support of the festival Cage: Beyond Silence. Yamaha Disklavier Pianos courtesy of Jacobs Music Company and Yamaha Corporation of America. In-kind support for the sound system is provided by Meyer Sound. In-kind support for the exhibition is provided courtesy of Pilar Corrias, London, and the Leo Katz Collection, Bogotá, Colombia.

Curators

Carlos Basualdo, The Keith L. and Katherine Sachs Curator of Contemporary Art, in collaboration with Erica F. Battle, Project Curatorial Assistant, Modern and Contemporary Art

Location

Philadelphia Museum of Art, 2600 Benjamin Franklin Parkway
Philadelphia, PA 19130

Dorrance Special Exhibition Galleries, first floor

Hours

Mondays: Closed *
Tuesday through Sunday: 10:00 a.m.–5:00 p.m.
Friday evenings: 10:00 a.m.–8:45 p.m.**

here is a link to the new york times article discovering this exhibit http://www.nytimes.com/2012/12/07/arts/design/dancing-around-the-bride-at-philadelphia-museum-of-art.html

we are very excited because we just bought tickets to this event in january, looking forward to something very special.

jene & Mary

police are routinely tracking cell phones……….. are you on the list?

December 9, 2012

Police Are Using Phone Tracking as a Routine Tool

By ERIC LICHTBLAu

WASHINGTON — Law enforcement tracking of cellphones, once the province mainly of federal agents, has become a powerful and widely used surveillance tool for local police officials, with hundreds of departments, large and small, often using it aggressively with little or no court oversight, documents show.

A GPS tracker. The Supreme Court recently ruled that such a device placed on a suspect’s car was an unreasonable search.

The practice has become big business for cellphone companies, too, with a handful of carriers marketing a catalog of “surveillance fees” to police departments to determine a suspect’s location, trace phone calls and texts or provide other services. Some departments log dozens of traces a month for both emergencies and routine investigations.

With cellphones ubiquitous, the police call phone tracing a valuable weapon in emergencies like child abductions and suicide calls and investigations in drug cases and murders. One police training manual describes cellphones as “the virtual biographer of our daily activities,” providing a hunting ground for learning contacts and travels.

But civil liberties advocates say the wider use of cell tracking raises legal and constitutional questions, particularly when the police act without judicial orders. While many departments require warrants to use phone tracking in nonemergencies, others claim broad discretion to get the records on their own, according to 5,500 pages of internal records obtained by the American Civil Liberties Union from 205 police departments nationwide.

The internal documents, which were provided to The New York Times, open a window into a cloak-and-dagger practice that police officials are wary about discussing publicly. While cell tracking by local police departments has received some limited public attention in the last few years, the A.C.L.U. documents show that the practice is in much wider use — with far looser safeguards — than officials have previously acknowledged.

The issue has taken on new legal urgency in light of a Supreme Court ruling in January finding that a Global Positioning System tracking device placed on a drug suspect’s car violated his Fourth Amendment rights against unreasonable searches. While the ruling did not directly involve cellphones — many of which also include GPS locators — it raised questions about the standards for cellphone tracking, lawyers say.

The police records show many departments struggling to understand and abide by the legal complexities of cellphone tracking, even as they work to exploit the technology.

In cities in Nevada, North Carolina and other states, police departments have gotten wireless carriers to track cellphone signals back to cell towers as part of nonemergency investigations to identify all the callers using a particular tower, records show.
In California, state prosecutors advised local police departments on ways to get carriers to “clone” a phone and download text messages while it is turned off.

In Ogden, Utah, when the Sheriff’s Department wants information on a cellphone, it leaves it up to the carrier to determine what the sheriff must provide. “Some companies ask that when we have time to do so, we obtain court approval for the tracking request,” the Sheriff’s Department said in a written response to the A.C.L.U.

And in Arizona, even small police departments found cell surveillance so valuable that they acquired their own tracking equipment to avoid the time and expense of having the phone companies carry out the operations for them. The police in the town of Gilbert, for one, spent $244,000 on such equipment.

Cell carriers, staffed with special law enforcement liaison teams, charge police departments from a few hundred dollars for locating a phone to more than $2,200 for a full-scale wiretap of a suspect, records show.

Most of the police departments cited in the records did not return calls seeking comment. But other law enforcement officials said the legal questions were outweighed by real-life benefits.

The police in Grand Rapids, Mich., for instance, used a cell locator in February to find a stabbing victim who was in a basement hiding from his attacker.

“It’s pretty valuable, simply because there are so many people who have cellphones,” said Roxann Ryan, a criminal analyst with Iowa’s state intelligence branch. “We find people,” she said, “and it saves lives.”

Many departments try to keep cell tracking secret, the documents show, because of possible backlash from the public and legal problems. Although there is no evidence that the police have listened to phone calls without warrants, some defense lawyers have challenged other kinds of evidence gained through warrantless cell tracking.

“Do not mention to the public or the media the use of cellphone technology or equipment used to locate the targeted subject,” the Iowa City Police Department warned officers in one training manual. It should also be kept out of police reports, it advised.
In Nevada, a training manual warned officers that using cell tracing to locate someone without a warrant “IS ONLY AUTHORIZED FOR LIFE-THREATENING EMERGENCIES!!” The practice, it said, had been “misused” in some standard investigations to collect information the police did not have the authority to collect.

“Some cell carriers have been complying with such requests, but they cannot be expected to continue to do so as it is outside the scope of the law,” the advisory said. “Continued misuse by law enforcement agencies will undoubtedly backfire.”

Another training manual prepared by California prosecutors in 2010 advises police officials on “how to get the good stuff” using cell technology.

The presentation said that since the Supreme Court first ruled on wiretapping law in 1928 in a Prohibition-era case involving a bootlegger, “subtler and more far-reaching means of invading privacy have become available to the government.”

Technological breakthroughs, it continued, have made it possible for the government “to obtain disclosure in court of what is whispered in the closet.”
In interviews, lawyers and law enforcement officials agreed that there was uncertainty over what information the police are entitled to get legally from cell companies, what standards of evidence they must meet and when courts must get involved. A number of judges have come to conflicting decisions in balancing cellphone users’ constitutional privacy rights with law enforcement’s need for information.

In a 2010 ruling, the United States Court of Appeals for the Third Circuit, in Philadelphia, said a judge could require the authorities to obtain a warrant based on probable cause before demanding cellphone records or location information from a provider. (A similar case from Texas is pending in the Fifth Circuit.)

“It’s terribly confusing, and it’s understandable, when even the federal courts can’t agree,” said Michael Sussman, a Washington lawyer who represents cell carriers. The carriers “push back a lot” when the police urgently seek out cell locations or other information in what are purported to be life-or-death situations, he said. “Not every emergency is really an emergency.”

Congress and about a dozen states are considering legislative proposals to tighten restrictions on the use of cell tracking.

While cell tracing allows the police to get records and locations of users, the A.C.L.U. documents give no indication that departments have conducted actual wiretapping operations — listening to phone calls — without court warrants required under federal law.

Much of the debate over phone surveillance in recent years has focused on the federal government and counterterrorism operations, particularly a once-secret program authorized by President George W. Bush after the Sept. 11 attacks. It allowed the National Security Agency to eavesdrop on phone calls of terrorism suspects and monitor huge amounts of phone and e-mail traffic without court-approved intelligence warrants.

Clashes over the program’s legality led Congress to broaden the government’s eavesdropping powers in 2008. As part of the law, the Bush administration insisted that phone companies helping in the program be given immunity against lawsuits.

Since then, the wide use of cell surveillance has seeped down to even small, rural police departments in investigations unrelated to national security.
“It’s become run of the mill,” said Catherine Crump, an A.C.L.U. lawyer who coordinated the group’s gathering of police records. “And the advances in technology are rapidly outpacing the state of the law.”

http://www.nytimes.com/2012/04/01/us/police-tracking-of-cellphones-raises-privacy-fears.html?nl=todaysheadlines&emc=edit_th_20120401

December 5, 2012

it’s always nice to hear what others are thinking. i first saw steve’s work at at our first Friends Without A Border auction a few years ago. he had donated a book of his fine art prints to raise money for the charity, lovely work, fwab just ended their 15 annual one last night, hopefully with a fist full of dollars.

Sara Rosso's avatarWordPress.com News

Steve McCurry, a professional photographer and author of several photography books, shares his reasons for why he blogs on WordPress.com. His iconic photo, Afghan Girl, graced the cover of National Geographic and was named one of the 100 Best Pictures of the magazine. McCurry has been recognized with some of the most prestigious awards in the industry, including the Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest, to name a few.

You are a world-famous photographer. Why do you blog?

Steve: Who would even dream 20 years ago that we would even have the internet? Clearly the internet is changing the landscape of publishing, news, and entertainment. There are countless channels on television, infinite content on the internet, and stimuli literally everywhere we turn. . . . There is so much competition. My blog is just my way of…

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News from the Jose Limon company, Moor’s Pavane

December 4, 2012

yes news from one of my favorite dance companies and dancer. Clay Taliaferro who is  an old time friend of mine from the company. I watched him perform the ‘The Moor’s Pavane’ many many times while we were with the company along with Carla Maxwell the current artistic director. So their ‘Pavane’ is burned into my brain, the turn of the wrist or an arabesque making it very hard for me to watch others dancers perform this dance. yes i’ve watched others perform this Pavane and have tried to love their version of the Pavane because it’s really Jose’s dance, which  i’ve never seen him perform it other than on film. but for me it’s always clay, carla, jennifer and lewis who i compare others to.

Isn’t memory a funny thing, just when you think you’ve got it nailed down off it goes?

i did see Erik Bruhn dance the Pavane at St Johns cathedral in NYC, what a lovely setting, years later i gave my program away to a friend of mine whom it ment so much to.

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In the last newsletter we told you that four companies licensed The Moor’s Pavane, one of José Limón’s most famous pieces, to be performed at the same time: American Ballet Theater in New York City; SjDANCEco in San Jose, CA; The Staatsballett in Munich, Germany; and Ballet Nice Méditerranée in Nice, France.

Clay Taliaferro worked to restage the ballet on American Ballet Theater, which was performed on October 17 at Lincoln Center. “In preparation for the remount of ‘The Moor’s Pavane’ I research the work using personal notes I’ve taken over the years of having been directed as a dancer, talk with former dancers of the roles being taught, watch videos of former rehearsals and performances, and physically revisit the movement in question”, says Taliaferro when asked how he goes about translating Limón’s choreography. Clay also advises that dancers should never “mark” the movement while learning it, and that the “new” dancer should know something about José Limón and the work that is being learned.

Taliaferro also spoke about some of the challenges he faced as a dancer. He said, “the single most important challenge for me in taking on the role of Moor (beyond all its technical, stylistic needs) was to maintain the work’s integrity in the mining and refining process of finding myself in the role, and to take care not to imitate José Limón in the role”.

News, performances and projects
What’s going on?

Dec 2012

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Othello Project

Limón Dance Company and Teatro Stage Fest launched the Othello Project in October, a program focusing on two classic masterpieces; Shakespeare’s play Othello and José Limón’s classic modern   dance The Moor’s Pavane.

The intention of the program, supported by the National Endowment for the Arts, is to introduce high school students to the creative tools choreographers and playwrights use to tell a story and to show   how a great work of art can remain relevant through the ages when the source material still speaks       of the human experience.

As the project continues look out for photos and videos!