CouldnoT

Calculating Function For a positive integer n let's define a function f: f(n) =  - 1 + 2 - 3 + .. + ( - 1)^n*n Your task is to calculate f(n) for a given integer n. Input The single line contains the positive integer n (1 ≤ n ≤ 1015). Output Print f(n) in a single line. Examples : input : 4 output : 2 Note: f(4) =  - 1 + 2 - 3 + 4 = 2 I let you try it before having a look at my essay. you are free to post your essays to discuss it in any language! My essay : codeforces.com

Numele tău: CouldnoT Poziţia ta: Agree Argumentul 1: Violence ads don't always show the truth and in general it's stereotyping types of violence in the picture of a terrorist with a specific appearance for example. Argumentul 2: Ads are exposed to everyone and I don't think kids should see such a thing. Alte precizări: We can fight violence with movies, though, where to build a whole story where to explain how it started and how butterfly effect works.

Thanks for advice ??

It’s been a few years since Angelina Jolie got behind the camera as a director. The last film she helmed was First They Killed My Father in 2017, but soon she’ll be working on another true story in Unreasonable Behaviour, the story of British war photographer Don McCullin. And this time she’ll be getting some help from another superstar actor, with Tom Hardy stepping up to produce. Based on Don McCullin’s autobiography published in 1992 (and updated in 2017), the film will tell the story of this wartime photographer who went from poverty-stricken London to capturing some of the world’s most dangerous war zones. From the fall of the Berlin Wall up through the Syrian Civil War, McCullin risked his own life to capture incredible images of every major conflict that has unfolded during his adult life. Here’s how the book describes his life on Amazon: Born in London in 1935, McCullin worked as a photographer’s assistant in the RAF during the Suez Crisis. His early association with a North London gang led to the first publication of his pictures. As an overseas correspondent for the Sunday Times Magazine beginning in 1966, McCullin soon became a new kind of hero, taking a generation of readers beyond the insularity of post-war domestic life through the lens of his Nikon camera. He captured the realities of war in Biafra, the Congo, Vietnam, Cambodia, and the human tragedy of famine and cholera on the Bangladesh border and later, the AIDs epidemic in Sub-Saharan Africa. Jolie has been drawn to true stories at the center of war times for most of her directing career. In the Land of Blood and Honey contained a fictional love story, but it was set during the time of the Bosnian War. Unbroken told the true prisoner-of-war story about Olympian Louis Zamperini. And though it wasn’t exactly a war movie, First They Killed My Father focused on human rights activist Loung Ung as she recounted her oppressed life under the rule of the deadly Khmer Rouge in Cambodia. When it comes to the story of Don McCullin, here’s what she had to say (via Collider) “I am humbled to have a chance to bring Don McCullin’s life to film. I was drawn to his unique combination of fearlessness and humanity — his absolute commitment to witnessing the truth of war, and his empathy and respect for those who suffer its consequences. We hope to make a film that is as uncompromising as Don’s photography, about the extraordinary people and events he witnessed, and the rise and fall of a unique era in journalism.” As for McCullin, who is still very much alive, he added in a statement: “Having viewed Angelina’s last film on Cambodia (and having spent so much time during the war there), I was very impressed at how she made such a powerful and accurate representation of the place at that time. I feel as if I am in safe, capable and professional hands with her.” Finally, Hardy and his producing partner Dean Baker added: “Angelina has carved a considered approach to the material that we’ve all been looking for — relevant and compelling, ethically sensitive and engaging. We are excited by her vision and look forward to supporting her depiction of a man who deserves to be remembered for his extraordinary contribution, service, and lifelong work to humanity.” Hardy was once attached to star in the project, but that doesn’t seem to be the case for now. But Hardy and Baker will be producing alongside Tim Bevan and Eric Fellner of Working Title, and McCullin himself will also executive produce with Mark George. The script comes from ’71 writer Gregory Burke. We could have the makings of an Oscar contender here, but we’ll hear plenty more about that down the road. slashfilm.com

Courtesy of SEARCHLIGHT PICTURES Indie ethos, costume drama and rich fantasy won the day at the world’s top cinematography event, EnergaCamerimage Film Festival, on Saturday, with Joshua James Richards’ naturalistic filming in Chloé Zhao’s “Nomadland” taking the Golden Frog plus FIPRESCI jury honors. The chronicle of life on the rough edges of America’s society among retirees living on the road in trailers, based on Jessica Bruder’s nonfiction book “Nomadland: Surviving in the Twenty-First Century,” is considered a strong Oscars contender. The 28th edition of Camerimage also wrapped with its award to an actor of unique visual sensitivity for Johnny Depp, whose Japan-set war correspondent story “Minamata,” filmed by Benoit Delhomme, screened at the fest. Depp said in a letter to the fest that shooting with the celebrated DP was “a sort of dance” encouraged by director Andrew Levitas, who “encouraged us to explore.” Fest president Marek Zydowicz described the fest’s first online-only edition as “like landing on the moon,” but commended the Camerimage team for pulling off a success nonetheless. “Helene,” the atmospheric period story of Finnish Modernist painter Helene Schjerfbeck, filmed by Rauno Ronkainen and directed by Antti J. Jokinen, took a Silver Frog, while Matteo Garrone’s live-action update of “Pinocchio,” lensed by Nicolaj Brüel, won the Bronze Frog. “Truth Makes Free,” the story of a courageous Polish priest who troubles the communist authorities, filmed by Witold Płóciennik and directed by Robert Gliński, won the Polish films competition, while the nonfiction story of remote Siberian hunters, “The Whale from Lorino,” lensed by Piotr Bernaś and directed by Maciej Cuske, took the documentary feature prize. “499,” an experimental time-travel doc that follows a Spanish conquistador through modern Mexico, filmed by Alejandro Mejia and directed by Rodrigo Reyes, won the docudrama prize, while the docu shorts prize went to “A Horse Has More Blood Than a Human,” the story of a retired couple caught up in the world of people smuggling, filmed by Mehdi Azadi and directed by Abolfazl Talooni. Doc special mention went to “Blood Rider,” the account of a motorcycle deliveryman carrying a precious cargo in Nigeria, lensed by David Bolen and Jon Kasbe, and directed by Kasbe. The director debut prize went to Jan Holoubek for the story of a Polish man railroaded into prison, “25 Years of Innocence,” which was “exquisitely photographed” by Bartłomiej Kaczmarek, according to jurors. The cinematographer debut award went to Aurélien Marra for the moody lensing of France’s Oscar submission “Two of Us,” a tale of covert love by Filippo Meneghetti described by jurors as full of “subtle and convincing insight.” In the music videos section, invariably a richly varied and highly competitive Camerimage competition, top honors went to Bass Astral x Igo’s “Feeling Exactly,” filmed by Mikołaj Syguda with direction from Krzysztof Grajper. The cinematography in a music video award went to Andrey Nikolaev for lensing an ironic Russian sendup of power and youth obsession in Aigel’s “You’re Born,” directed by Andžejs Gavrišs. variety.com

Courtesy of Universal Pictures Body-swap horror comedy “Freaky” repeated as the winner of a seriously subdued U.S. box office with $1.2 million at 2,057 locations in North America during the Friday-Sunday weekend. The Universal and Blumhouse Productions’ movie stars Vince Vaughn as a serial killer and Kathryn Newton as a low-profile high schooler who inadvertently switch bodies on Friday the 13th. “Freaky” has taken in $5.6 million in its first 10 days amid the reluctance of many moviegoers to return to multiplexes until a COVID-19 vaccine is available. Universal noted Sunday that the theatrical box office continues to be impaired due to a notable reduction in the number of theaters in North America, as the domestic theatrical footprint has shrunk to roughly 2,800 open locations from 3,400 last weekend. The performance of “Freaky” contrasts sharply with the same weekend a year ago when Disney launched “Frozen II” with $130 million and overall North American business totaled $206 million, according to Comscore. “With the continuing surge of the virus this fall, another round of lockdowns and curfews are impacting theaters on a regional basis,” said Shawn Robbins, chief analyst at Box Office Pro. “Business is down sharply from last weekend as a result of temporary closures, even for films that had proven to hold quite well over the past few months. While the encouraging news of vaccines on the horizon remains a light at the end of the tunnel for the industry, this weekend’s dip at the box office is an expected reminder of the endurance that will be required to push through a very challenging holiday and winter season.” The seventh weekend of 101 Studios’ comedy “The War With Grandpa” finished in a distant second place with $737,067 at 1,688 sites. The Robert De Niro vehicle has earned $16.2 million after 45 days in theaters. Focus Features’ thriller “Let Him Go,” starring Kevin Costner and Diane Lane, followed in third with $710,000 at 1,907 locations. The film, set in Montana in the 1960s, has pulled in $7.9 million in its first 17 days. Focus’s fourth weekend of the horror movie “Come Play” came in fourth place with $510,000 at 1,364 screens. After three weeks in theaters, the film has made $8 million. Disney’s re-release of its 1994 holiday comedy-drama “The Santa Clause” pulled in $481,000 at 1,581 sites to finish fifth. Starring Tim Allen, the film originally generated $190 million in worldwide box office. Open Road’s seventh weekend of Liam Neeson action thriller “Honest Thief” followed in sixth place with $452,000 at 1,254 locations. The film’s 45-day total has hit $13 million. Gravitas Ventures’ launch of Jackie Chan’s action-adventure “Vanguard” showed little traction at multiplexes with $400,000 at 1,375 theaters. “Vanguard” was released in China on Sept. 30 and took in nearly $44 million in that market. TriStar Pictures’ R-rated wartime drama “The Last Vermeer” opened with $225,00 from 912 locations. Guy Pearce stars as an art forger who swindles millions of dollars from the Nazis by forging Johannes Vermeer paintings. Warner Bros.’ 12th weekend of the Christopher Nolan thriller “Tenet” took in $360,000 at 864 sites to lift its three-month domestic total to $56.9 million. “Tenet” has been the only Hollywood tentpole movie released to North American theaters since the pandemic began in March. The film, which carries a $200 million price tag, has performed far better in international markets and is expected to surpass $300 million internationally this week. The comparatively downbeat domestic performance of “Tenet” served to spur other studios to either delay openings of other major titles or move them to premium video on demand. Amid the prospect of the domestic theatrical market remaining depressed for the foreseeable future, Warner Bros. announced on Nov. 18 that its superhero sequel “Wonder Woman 1984” would debut on the streaming service HBO Max on Dec. 25, the same day it will open in U.S. movie theaters. Starring Gal Gadot, the film will open a week earlier in international theaters, including in China. Only one wide domestic release is planned for the upcoming Thanksgiving holiday weekend with Universal launching “The Croods: A New Age” on Nov. 25. Paul Dergarabedian, senior media analyst at Comscore, said overall business will be tepid in the coming weeks with only about 40% of North American sites open. “Given the ever-shrinking number of available open theaters, the industry heads into a very fallow holiday marketplace that will of course struggle against a brisk headwind that will require lots of heavy lifting by a very limited number of high-profile titles that remain on the theatrical release calendar,” he said. variety.com

Mike Marsland/WireImage The film will be loosely based on the true-story account of a Texan woman who took to robbing banks while posing as a man. Peggy Jo, the upcoming true-crime love story starring Lily James, has sold out internationally for HanWay Films. The feature, from award-winning director Phillip Noyce, was acquired by the Universal Pictures Content Group in a deal that included Benelux, German speaking Europe, Italy, Portugal, Scandinavia, Turkey, the U.K., Bulgaria, the former Yugoslavia, Czech & Slovak Republics, Hungary, Poland, Romania, CIS, Baltics, Israel, West Indies, South Africa, Hong Kong, the Indian subcontinent, Indonesia, Malaysia, Philippines, South East Asia Pay TV, Taiwan, Thailand, Vietnam and Latin America. HanWay has also closed deals with DeAPlaneta (Spain), Tohokushinsha (Japan), Noori Pictures (South Korea), Shaw (Singapore), Odeon (Greece) and Front Row (Middle East). The film, which was first announced at this year's virtual Cannes film market, is loosely based on the true-story account of Peggy Jo Dallas (James) — billed as a real-life Texan "Bonnie" but without the "Clyde" — who takes to robbing banks while posing as a man. Adapted for the screen by Appaloosa writer Robert Knott, the film will be shot in the United States. Peggy Jo is produced by Simon Brooks through his L.A.-based production entity Canyon Creek Films; Brooks previously produced Love, Rosie and executive produced White Noise. HanWay Films represents the international sales rights and UTA Independent Film Group is handling the U.S. sale. .hollywoodreporter.com

Hong Kong-produced “Caught in Time” gave fresh life to the mainland China box office over its opening weekend. The fantasy crime thriller about a cop chasing a gang through different eras earned $30.3 million. Produced by Emperor Motion Picture, the film stars the popular Daniel Wu and Wang Qianyuan, and was directed by Lau Ho-leung. It edged aside patriotic war film “Sacrifice” which had held the top spot for the previous three weekends. “Sacrifice” managed $6.0 million in its fourth weekend, for a cumulative score of $161 million, according to data from consultancy Artisan Gateway. Third place, and a $3.3 million haul, belonged to “Paw Patrol” in its second weekend. That compared with $5.5 million in its opening frame, and extended the film’s 11-day cumulative to $9.6 million. Disaster action movie “Greenland” opened modestly with $3.2 million for fourth place, despite the presence of Gerard Butler above the title. His previous releases of “Geostorm” and “London Has Fallen” yielded $65.6 million and $52.3 million respectively in China. But “Angel Has Fallen” yielded a more disappointing $9.4 million. “Children of the Sea,” a Japanese animation touching on sea life and the supernatural, took fifth spot with $2.2 million in its opening. The effect of having a strong new title was to lift the overall theatrical market. Aggregate weekend box was $51.4 million, up from $35.4 million the previous weekend. Artisan Gateway shows China’s year-to-date box office as reaching $2.42 billion. Despite the nearly six months that cinemas in China were closed die to coronavirus restrictions, that is now only 73% down on the equivalent period last year. variety.com

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Angelina Jolie is set to direct a biopic of Don McCullin, a British photojournalist who is one of the most well-known photographers of war and urban strife. Tom Hardy will portray the photographer and McCullin is actively involved in its production as executive producer. McCullin is a still-active photographer who did the bulk of his most notable work from the 1960s through the 1980s. The first photo that set him on his path to notoriety was of a local London gang posing in front of a bombed-out building titled “The Guvnors in their Sunday Suits,” which he shot in 1958 and was published to the Observer. His career saw him cover the Vietnam War, the African AIDS epidemic, and the Northern Ireland conflict. In addition to his conflict photography, McCullin was invited to photograph the Beetles during the height of their popularity. McCullin has written and published multiple books, and in 2012 a documentary of his life titled McCullin was nominated for two BAFTA awards. “I am humbled to have a chance to bring Don McCullin’s life to film,” Jolie said about the upcoming film. “I was drawn to his unique combination of fearlessness and humanity – his absolute commitment to witnessing the truth of war, and his empathy and respect for those who suffer its consequences. We hope to make a film that is as uncompromising as Don’s photography, about the extraordinary people and events he witnessed, and the rise and fall of a unique era in journalism.” Angelina Jolie (left); Tom Hardy (right) McCullin chose to work with Jolie in part thanks to her work on the film First They Killed My Father. “Having viewed Angelina’s last film on Cambodia, and having spent so much time during the war there, I was very impressed at how she made such a powerful and accurate representation of the place at that time,” McCullin said. “I feel as if I am in safe, capable, and professional hands with her.” petapixel.com

Let me ask you a question. Is this photo real or fake? This might be a difficult question because the answer depends on what you define as real or fake. Where is the Line, and Who Draws It? Firstly, there is no denying that post-production (a.k.a. post-processing) is an essential part of the photographer’s workflow today, especially if you shoot RAW. Between RAW and the final output such as JPG or PNG, we typically tweak a number of settings in photo editing software, such as color temperature, exposure, vibrance, and saturation, etc. These adjustments can probably be seen as “enhancement” (if not done excessively) rather than “manipulation”, but where do you draw the line, or who draws the line? In photo editing, there is no playbook that tells us rules, so the boundary that defines real and fake gets quite blurry. Personally, I like to keep post-production to a minimum, but that’s just my style, and of course, I respect others pursuing their own styles. That said, some tend to go too far (intentionally or unintentionally), making their photos look more like digital art. I’m sure that you’ve seen such sunset or blue hour photos that are overly vibrant and looking rather unreal. Adobe Photoshop’s New Photographic Cheat And here comes Adobe Photoshop (among others) actively playing a part in another photographic cheat. Yes, I’m talking about the infamous AI-powered sky replacement tool. In fact, I used this sky replacement tool (plus a few tweaks) to create the photo at the top. So, the answer to my question is FAKE (or you could say “fake enough”). Here, you can see “before and after” versions. Chatan (Okinawa, Japan) photo “before” After, with sky replacement applied I don’t deny that the “after” version looks much more interesting, but what’s fun about this? To me, a tool like this takes the fun out of photography. We don’t know what kind of sky we’re going to get until heading to a location. Depending on the weather, we may get undesirable sky, but that’s just a part and parcel of photography that we should embrace. The Controversy Sky Replacement Brings to Photography Among photographers, the topic of image manipulation has been a contentious issue for all these years, but it seems that sky replacement has triggered a bigger debate within the photography community. My good friend Daniel from Sydney, Australia has recently released a podcast episode titled “What Does This Mean for the Future of Photography?“ In there, he says we should be upfront about using such a tool and try not to pass off sky-replaced images as ones that are done in-camera. I second his opinion, as such an act is (1) ethically wrong and (2) those photos aren’t yours anymore when manipulating to that extent. We might come across as a purist, but there is a consequence to be faced as well. In recent years, we’ve seen a growing number of photography competition winners being disqualified retrospectively and stripped of their prizes due to excessive image manipulation exposed. This tells us that those images aren’t seen as “photography”. Cases in Which Sky Replacement Is Used for Good Causes With all that said, we understand that Adobe Photoshop isn’t just made for hobbyists and enthusiasts shooting landscapes. For example, sky replacement should come in handy for the likes of real estate photographers and wedding photographers. A pre-wedding photoshoot is something you can’t change the booked date even if the weather isn’t ideal. A sky replacement tool could be a savior for such occasions, and I doubt any clients would complain about the beautiful sky being fake. A pre-wedding photoshoot on a clear day. You may not get lucky with the weather, but sky replacement can rescue the day! The Era of the #realphotography Hashtag? So, we come to the end of the post. You may wonder what follows sky replacement. I guess the next up will be fake reflections on water. Even today, we can do this in Photoshop by using a layer mask, etc., but of course, I’m talking about an AI-powered method that requires a single click. In the near future, we might head into an era that photographers tag their photos #realphotography in order to differentiate themselves from digital artists pretending to be photographers. In a way, we’re living in an interesting time of history. Together, let’s see how the future of photography and photo editing software unfold in the coming years! petapixel.com

Numele tău: CouldnoT Poziţia ta: Yes Argumentul 1: It's whether legalized or no, available everywhere, legalizing such a thing will certainly help economies and organize it's use with a limit set. Argumentul 2: Smoking a cigarette makes many people, suffering from some personality disorders, in prison and Instead of trying to help them overcome their problems ruin their life. Alte precizări: I'm not saying we should smoke it or stating that it's good or bad! I'm saying we shouldn't punish its users.

Photographer Reid Godshaw creates colorful portraits that are one hundred percent unedited and made only with his physical light-painting techniques. He also is dedicated to making as many of them as possible, at no charge to his subjects. Godshaw says that each photo he creates takes an average of two to three minutes to produce, and all of the images are custom-tailored to the subject. He says he got the idea to start making these kinds of images when he stumbled across other light painting images online. “I initially found light painting images online that were very creative and unique, people paddling across lakes with LED strips on the paddle, creative portraits, all this variety inspired me to give it a shot myself and try to create something entirely new,” Godshaw tells PetaPixel. “It took me only hours of shooting to see the amount of potential – when limiting myself to creating only new things without following any how-tos or guidebooks – was infinite, and not long after that to see that this art form was the perfect thing for me to become completely obsessed with, allowing me to passionately affect people’s lives and create imagery that helped people express themselves while making use of my tech background and carving out new methods and tools to push the world forward.” After a few years of creating his portraits, Godshaw started working with LED engineers to have custom-made tools built, well before they eventually became commercially available. “To this day I am absolutely amazed at this art form and the potential it brings,” he says. “We normally ask subjects a few questions to get in tune with who they are and what they love,” Godshaw says. “All of these images are 100% unedited, created in real life, with real lights, with zero computer-generated imagery or graphic design software to edit the images.” “After a while of shooting for free for my friends at my apartment, one of my friends asked if he could pay me to shoot his birthday party,” Godshaw says. “I was a bit taken aback at first that someone wanted to pay me to do it because I really enjoyed creating them so much.” He says that money has never been important to him when it comes to taking these photos. “I soon realized that I really just wanted to create them as often as possible, that if I were to quit my previous jobs (acting and investing) and turn to only evolving this work, and creating it as often as possible, without expecting anything in return, that the impact I could make would be massive.” Godshaw says he started shooting anywhere and everywhere he could. “I decided to always make images free for anyone that wanted one, anywhere I was already shooting, and to always spend a large majority of my shooting time doing it completely free without allowing or asking the event to pay me. Obviously, there were situations where I felt that corporations or large events were monetizing my presence in one way or another (branding images, using them for promotional work, sometimes using my work to sell tickets for events that had a more commercial feel to them) and in those situations for companies that weren’t nonprofits or charities, etc that I aligned with that it 100% made sense for me to charge for my presence and enable them to support my mission in creating more and more impact elsewhere.” Godshaw has been producing these images for various gatherings since 2014, and in a matter of a few years he was creating images at some of his favorite festivals including Lightning in a bottle for the past seven years, Lucidity for the past five years, The DoLab Stage at Coachella, Ignight flow retreat, and many others. “My number one favorite space to create is Burning Man!” Godshaw says. “I started creating for the Burning Man community long ago, which heavily influenced my ideals and values going forward.” “We have created images for free at over 80 festivals around the country, for well over 100,000 people,” he says. As expected, 2020 has been especially challenging for Godshaw. “I have shot very few events this year due to the pandemic,” he says. “Unemployment has been a godsend enabling me to stay at home and slowly transition to a virtual photo booth where I ask subjects to fill out a form and provide information about themselves as well as an existing photo and we create a custom light painting to make the best of the situation we are in.” His virtual photo booth signup form can be found here, and Godshaw was adamant that despite it all, he is dedicated to keeping his process completely free of charge. Thankfully I don’t require any physical contact with people for my work, so it’s very possible to do a socially-distanced version,” he says. “Regardless, let’s all hope with the upcoming vaccine and everyone doing their part that we can all be back in a reality where interactive, in-person experiences can be had without putting anyone in danger.” Godshaw says that the eventual goal is to create a network of light painting schools. “[I want to bring] together the ever-growing list of art forms and specialized fields to collaborate and teach how to use light to illuminate the world around us in all ways possible,” he says. “Providing scholarships to people that need them and gifting sets of tools to those that are spreading the art form and ideals behind a better future.” petapixel.com

The ability for individual photographers to have any kind of cultural impact feels diminished and diluted when you consider just how many are working towards the goal of producing meaningful work. Where individuals are limited in the time they can spend, the ground they can cover, and the final result they can output, a group of individuals is able to multiply that effort. When applying themselves to telling the same story, a group of photographers will find themselves much better equipped to do a deep dive into a subject than someone working alone. While it may be obvious that many hands make light work, it can be interesting to watch the role of the artist’s ego when collaborating on such an idea. Long-term documentary photography is a huge investment, and the classic agencies that would tackle such projects would rarely allocate more than an individual photographer to one story. Individuals can often want their account to be sacred and presented according to their own vision — not an approach that lends itself to collaborative effort. I think this can be seen clearly when looking at compilations of work, compendiums of collected portfolio pieces presented in coffee-table books like Magnum Contact Sheets or The Street is Watching — both absolutely outstanding photobooks that every photographer should spend some time with, but when it comes to the presentation of work it is very much divided into presenting each artist individually, one at a time, with a clear border once that particular piece is closed. Truly collaborative groups, where no border or boundary exists to differentiate ownership when experiencing the work, are few and far between. Some of the most well known mainstream examples are partnerships between couples — like Alex Webb and Rebecca Norris Webb, or Narelle Autio and Trent Parke, who collaborate beyond just combining their images in sequence, but in the written copy and other aspects of presentation. Another duo who I think really erase the line between individual and collective effort is Vera Torok and Robert Pap who have a very clear intention behind the way they work as one. In their own words, “In the field we both photograph at the same time, and in the same place. We are two merged element with two cameras, four eyes, one heart, one picture.” When looking to work like this in a partnership of more than two there are some important hurdles that need to be navigated. To start with our goals have to be mostly aligned, shared, and understood — as these evolve over time, communication throughout is essential. The scope of the project will always extend beyond any of us, but this is an asset when working beyond the ability of an individual. We can truly work in more than one place at a time and trust that the other members are applying themselves just as hard to their role as we produce our own photographs. No jealousy, just support and feedback, and open, ego-free criticism really helps shape the direction we find ourselves moving in. The collective I’m a part of, New Exit Group, finds itself in a healthy place, as our values are shared, and when it comes to being at odds with others we are comfortable enough to hash it out and work towards a compromise, or towards helping others to understand our position. Our work complements one another’s, with the shared aesthetic of mostly short lens, black-and-white 35mm-film-based storytelling images. This means that even when I produce a detail shot with a long lens it can coexist alongside a wider scene photographed by one of the others. We understand that foisting our perspective onto the final product is not the objective, but rather bringing together the best aspects of what will make that final product absolutely what it needs to be. This requires consensus on more than just whether or not individual images happen to be good, or to fit, but on how the sequence can flow effectively, bringing about an artifact that is larger than the sum of its parts. When working on our collaborative projects, the photography aspect itself is almost a given. We all recognize the work put in by ourselves and one another, and are confident that we have brought our A-game images to the curation pool. Curation occurs with the finished product in mind and is not an exercise in putting forward anything other than the holistic story. We are not attached to our images, but instead allow the story to unfold based on how we weave together all of our work. We even find ourselves advocating more heavily for work made by someone else in the group than our own, as we will see aspects that they did not. When we were curating our debut photo project, BARDO: Summer of ‘20, we used over 400 6×4 postcard prints in order to make our curation session as visceral and practical as possible. It was essential to edit out many genuinely excellent images in service of the story we had committed ourselves to telling. While they may be standout images they simply did not fit the flow of the sequence. Similarly, images we’d overlooked at the start of the session suddenly became valuable, even irreplaceable as gaps emerged between other images, and needed that image to act as “glue” to bond two previously disparate ideas together. I think that this way of working shows a really powerful way of thinking in photographic storytelling. The co-operative nature of our group is so distinct from any collective which advocates individual work, showcasing portfolios rather than any effort that was actually collaborated on by the group. I can’t think of a better way for grassroots photojournalists to approach documenting their lives and communities than by building up their own documentary co-operative with shared values and working together to achieve their goals. The potential for reach and impact made by multiple coexisting artists is so much greater than individuals working and advocating individually, and the creative space that can exist between respectful peers is unrivaled by anything offered through social media. Thanks for taking the time to read my thoughts on working as a cooperative collective! petapixel.com

During World War II, the US Air Force used massive cameras to capture aerial photographs for the purposes of mapping and reconnaissance. The resulting photographs provide a fascinating look into what the war looked like for those who fought it from above. This viral photo of an airman holding a massive 75-pound Fairchild K-17 camera has been making the rounds on the Internet in recent times: An airman holding a Fairchild K-17. After seeing this photo online, Allen Hentscher shared how his grandfather had used a similar camera to shoot photos from an open B-24 bomber in the Pacific. “My grandpa was a waist gunner and photographer in a B-24 in the Pacific during WW2,” Hentscher writes. “He said they would stand in the open bomb bay and hold the camera while taking pics and hand winding it to take another photo.” Allen’s grandfather, Staff Sargeant Daniel F. Hentscher of the 321st Bombs Away Squadron in the 90th Bomb Group, passed several of his huge prints down to Allen. Staff Sargeant Daniel F. Hentscher receiving a medal. A photo by Hentscher of a B-24. The longest prints measure roughly 9×18-inches, so it seems those ones may have been captured with the Fairchild K-18, as the Fairchild K-17 shot 9×9-inch square format photos. “My dad and grandpa said it was a self-winding camera almost as big as grandpa and he would have to brace himself and the camera in the open bomb bay to get some of these photos,” Allen says. “I was also led to believe there was an auto-wind mechanism/attachment that could be used with the camera but for whatever reason they didn’t like to hand those out so grandpa only used that once and got in trouble because he didn’t have permission to use it. “They found out because he had a lot more pics of the bombing area than a self winder would be able to get.” A print showing bombs dropping on a seaplane base near Wewak, New Guinea (according to the handwritten caption on the back). A digital scan of the photo. “If you look closely at some [of the photos], you will see the Japanese airplanes tucked into the trees to try and hide them,” Allen tells PetaPixel. “Bombs On Target, Dagua Airstrip” A crop of a photo showing Japanese tucked between trees. “The photos are still in the original metal container he shipped them to my grandma [in] during the war with all the censor approval stickers on it,” Allen says. Allen had a local company digitize the prints in high quality for the sake of preservation. Here are some more photos captured by Staff Sargeant Daniel F. Hentscher: After flying 240 combat hours as photographer and waist gunner in 35 missions, Staff Sargeant Daniel F. Hentscher’s plane was shot down on July 31st, 1944. Daniel was one of three survivors from the crew of ten, and he was awarded the Purple Heart petapixel.com

That's a great offer for gold lovers!

Fact : don't cheat

Both works are medium, to be honest, comparing to the international level in graphics design. but I consider the first picture more homogeneous, I vote V1.