PUBLIC MARKS with tags photographie & webdocumentaire

7 photos amateurs récupérées dans les poubelles de la capitale. témoignages de la Chine post-socialiste, de 1985 à aujourd'hui. lieux emblématiques de l'évolution de Pékin commentés par un urbaniste.

In the 1990s, photo historian Rich Remsberg made a wonderful discovery: In a trove of boxes headed for the trash, he found a view of American history like he'd never seen it. That is, America in color, as early as 1938. The photos Remsberg found had been separated from a much larger collection, housed at Indiana University. It had belonged to hobbyist photographer Charles W. Cushman. Fully reunified, the archive contains more than 14,000 photos spanning three decades we typically see in black and white — including one of the first known color photos of a freshly-painted Golden Gate Bridge.

Entrée clandestinement en Syrie en décembre 2011, Caroline Poiron, reporter photographe pour Géopolis, témoigne de l’état de la résistance au cœur de la ville rebelle de Homs. Pendant sept jours elle sillonne le quartier de Baba Amr aux mains des rebelles, des zones de combat aux hôpitaux de fortune. Elle y rencontre Tlass, le leader charismatique de la rébellion. Trois semaines plus tard, elle se rendra dans les zones contrôlées par le régime et ses milices

Le photographe Vincent Munier a mené deux expéditions, en Norvège, pour le projet Wild Wonders of Europe. La mission Dovrefjell est la seconde. Il en résulte un coffret DVD incluant 10 précieux tirages de Vincent Munier, et un film réalisé par Laurent Joffrion.

Paradox is based in Edam (20 kilometres north of Amsterdam). The not for profit organisation develops projects around contemporary issues with documentary authors: photographers, filmmakers, visual artists, writers and researchers. Paradox does not programme its own exhibition space but collaborates with venues in the Netherlands and abroad.

With broadband came a new breed of documentaries, educational stories and advertizements that are interactive, rich audio-visual experiences. But until now these projects had to be build from the ground up by people with design and programming skills. Not anymore. Storyplanet wants to introduce an easy way to mix media, design and online services into interactive stories that can be published to multiple platforms and devices.

When the Asian tsunami hit southern Thailand in 2004, the sea that had sustained the region for generations – the Andaman – rose up, destroying families and killing thousands. Three-and-a-half years later, a team of journalists set out for the seaside province of Phang-nga to document the lives and culture of people living by the Andaman. They found a people marked – but not defined – by disaster, a people who have taken on challenges and risen above them. By the salty docks of Phang-nga they found stories of determination. In Buddhist temples they found tradition. On boats and in schools and on the streets of tiny villages, they found surprises, sadness, laughter and hope. Welcome to life by the Andaman Sea.

Women from three generations talk about the price they pay on "Wives of War"" in The Sydney Morning Herald

Series produced by Sarah Kramer and Alexis Mainland, photographs by Todd Heisler, Interactive development by Tom Jackson

« En 2008, plus de gens vivent dans les villes que dans les campagnes. Et un tiers des nouveaux citadins vit dans des taudis. » Ce sombre constat fait par l’ONU, le photographe Jonas Bendiksen l’a devancé. Il est parti en 2005 dans des bidonvilles du globe et en a ramené un reportage multimédia intitulé « The places we live » (Les lieux de nos vies) : des portfolios en 360° réalisés dans des taudis de Caracas, Bombay ou Nairobi, illustrés de témoignages sonores des habitants, qui recréent avec réalisme l’atmosphère d’intérieurs insalubres, exigus et oppressants.

The year 2008 has witnessed a major shift in the way people across the world live: for the first time in human history more people live in cities than in rural areas. This triumph of the urban, however, does not entirely represent progress, as the number of people living in urban slums—often in abject conditions—will soon exceed one billion. From 2005 to 2007 Jonas Bendiksen documented life in the slums of four different cities: Nairobi, Kenya; Mumbai, India; Jakarta, Indonesia; and Caracas, Venezuela. His lyrical images capture the diversity of personal histories and outlooks found in these dense neighborhoods that, despite commonly held assumptions, are not simply places of poverty and misery. Yet, slum residents continuously face enormous challenges, such as the lack of health care, sanitation, and electricity. The Places We Live includes twenty double-gatefold images, each representing an individual home and its denizen’s story. Through its innovative design and experiential approach, The Places We Live brings the modern-day Dickensian reality of these individuals into sharp focus.