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Chase Bank Limits Cash Withdrawals, Bans International... Before you read this report, remember to sign up to http://pennystockpaycheck.com for 100% free stock alerts Chase Bank has moved to limit cash withdrawals while banning business customers from sending...

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Richemont chairman Johann Rupert to take 'grey gap... Billionaire 62-year-old to take 12 months off from Cartier and Montblanc luxury goods groupRichemont's chairman and founder Johann Rupert is to take a year off from September, leaving management of the...

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Cambodia: aftermath of fatal shoe factory collapse... Workers clear rubble following the collapse of a shoe factory in Kampong Speu, Cambodia, on Thursday

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Spate of recent shock departures by 50-something CEOs While the rising financial rewards of running a modern multinational have been well publicised, executive recruiters say the pressures of the job have also been ratcheted upOn approaching his 60th birthday...

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UK Uncut loses legal challenge over Goldman Sachs tax... While judge agreed the deal was 'not a glorious episode in the history of the Revenue', he ruled it was not unlawfulCampaign group UK Uncut Legal Action has lost its high court challenge over the legality...

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Dragons’ Den star hopes to revive Jessops

Category : Business

Peter Jones re-employs 300 staff who lost jobs after camera chain went bust in January

It is a pitch that might draw snorts from the hard-headed judges on Dragons’ Den: invest in the resurrection of a high-street retailer extinguished by rampant e-commerce competitors.

But the proposal comes from arch-dragon Peter Jones, who believes he can revive the failed camera chain Jessops by reopening 30 high street stores, creating 500 jobs in the process. The entrepreneur is so confident in the chain’s success that he will run the business as chairman and chief executive, investing £5m of his personal fortune to revamp the brand. He has also re-employed more than 300 former Jessops staff who lost their jobs when the company went bust in January.

But he warned that the venture could mean walking away from the BBC show he is famous for if Jessops becomes a big success again.

“I’ll struggle to do both this and Dragons’ Den. I’m going to have to see. However, I’m very committed to Dragons and the BBC and have been there since the beginning, so they might not be able to get rid of me.”

Explaining how he fell for the Jessops pitch, he said: “I was abroad in January when I heard Jessops had gone down and was shocked because I had only bought a Canon camera for Tara [his partner] in November. When I got back to the UK I immediately put the calls in, culminating in several all-night negotiation sessions, but I was absolutely determined to get the business because it was such an iconic brand of which I was a customer.”

Six stores will reopen on Thursday in London, Manchester, High Wycombe, St Albans, Birmingham and Aberdeen, with the majority of staff made up from 1,370 workers left unemployed when all 187 sites shut their doors three days after administrators were called in. All 30 stores will open by the end of April.

On rescuing the business two months ago, Jones initially hinted that the future of Jessops would be online only, but after sending a tweet confirming he had bought the company he was inundated with CVs from former employees.

He said: “Store managers were saying: ‘If you ever need somebody let me know,’ and we just started making contact. I’ve never been overly emotional in business, but these guys are genuinely passionate about their jobs and are all photographers in their spare time.”

Robert Innes, 50, had been store manager in High Wycombe for seven years, having run a photography business in his native South Africa, when he found himself out of a job. However, after spending a few days trying to decide what to do next, he got a call from Jones asking him to come back to his old position.

“Jessops had been my pride and obsession,” he said. “I’ve been in photography most of my life, so when we got the email that said we were going into administration and to close the doors days later, that was very difficult. We were all in shock and completely devastated.

“Being asked to pack up the store for the administrators was the worst week of my life after turning the store into a money-maker. It was like going to a funeral each day. Then I got the call from Peter and it was all very emotional.”

The stores have been rebranded, with wooden floors and a sleek new design inspired by Apple’s stores. He said: “The high street has suffered from online shopping for many years, but I think customers still want the experience of going into a store and getting expert advice.”

Plans are under way to relaunch the website with a focus on click-and-collect, where customers pick up their online orders at the store, which has been highly successful for rivals including Argos and John Lewis.

Jessops traces itself back to a chemist’s store in Leicester 130 years ago. In 1935 Frank Jessop transformed it into a photography shop, and in the early days was mainly involved in hiring and selling 16mm cine films. The company quickly grew under the leadership of Jessop’s son, Alan Jessop, who transformed it into a cut-price retailer of photographic equipment. By the 1970s, it had outgrown its premises and moved to a new 20,000 sq ft site on Hinckley Road in Leicester, which was named as the largest photography store in the world by Guinness World Records. That shop closed in 2008.

A second store followed in the early 1980s in London and as personal cameras became more popular and affordable, the firm expanded to more than 50 shops. It ceased to be a family-run business in 1996 and was sold in a management buyout. In 2002 the Dutch bank ABN Amro’s venture capital arm bought Jessops for £116m.

The Fig Tree Foundation is Hosting the "As We See It" Photo Exhibit to Showcase Photography of Issues, People and Communities in the Developing World and Images and Stories from…

Category : Stocks, World News

…International Development and Aid Organizations

The “As We See It” Photo Exhibit is an event to visually engage the public through photography and through stories that highlight and encourage discussion of issues happening in the developing world. This is a free public exhibit held April 4 – 28, 2013.

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Baltimore Photo Booth Rentals Wins Maryland’s Prestigious Award of Best PhotoBooth Rental Service

Category : Stocks

BALTIMORE, MD–(Marketwire – Dec 29, 2012) – The votes are in and the winner of the best Photography and Wedding Photo Booth Rental Service in the surrounding Baltimore, Maryland Region goes to Bonnie’s BaltimorePhotoBoothRentals.com for their excellent customer service, affordable pricing, best photography prop selection, and quality of photos.

Follow this link: Baltimore Photo Booth Rentals Wins Maryland’s Prestigious Award of Best PhotoBooth Rental Service

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Nokia Partners with China Mobile to Launch the Lumia 920T, the First TD-SCDMA Windows Phone

Category : World News

GUANGZHOU, CHINA–(Marketwire – Dec 5, 2012) – Nokia and China Mobile today announced the
Lumia 920T, the first TD-SCDMA Windows Phone in China. With advanced
location services, photography innovation, and fast mobile browsing on
China Mobile’s 3G network, the Lumia 920T offers Chinese consumers the most
innovative smartphone experience.

Excerpt from: Nokia Partners with China Mobile to Launch the Lumia 920T, the First TD-SCDMA Windows Phone

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Vauxhall puts designers in driving seat

Category : Business

Three designers have been teamed with key figures in a mentoring project that illuminates a vital relationship as old as fashion itself – to put a unique spin on a new set of wheels


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Part of everything from big society rhetoric to The X Factor, the word “mentor” comes with many associations attached. In fashion, though, a more experienced creative taking a fledgling talent under their wing can be key. This new film – exclusive to the Guardian fashion blog – has been created by photographer Thomas Giddings, in partnership with Vauxhall, to show these relationships at close quarters.

Profiling a trio of designers who have personalised Vauxhall’s Adam car, the cast is an impressive array of London talent. Featuring menswear star James Small, fluoro dynamo Louise Gray and geometrically minded accessories designer Fred Butler, it gives insight into their way of working.

Small is partnered with Kim Jones – now men’s style director at Louis Vuitton, and Small’s boss for 10 years. Wearing similar trainers and sweatshirts, the two express the need to develop a specific aesthetic and make it your own. In Small’s case, that means a mix of street and glamrock – a combination that Jones describes as “very him”.

Gray – the Scottish designer who brightens up London Fashion Week with exuberant, collage-like designs of texture and colour – is shown with stylist Richard Sloan, known throughout the industry for a fun take on clothing. Their partnership feels natural – poring over samples, Sloan describes what they do as “really organic and easy”. Whatever Gray gets from him, he gets just as much from her.

Butler and Diane Pernet couldn’t look more different – the blogger behind A Shaded View of Fashion wears her trademark black drapery, a diamante spider on her head. Butler, on the other hand, wears a purple catsuit, gold belt and multicoloured earrings. While she has never thought of herself as a mentor, Pernet is a known supporter of young talent: Butler experienced this firsthand early in her career, when Pernet pushed accessories on the influential blog. “You believe in it, you can do it,” is the policy, according to Pernet. Sounds like a mentor to us. Watch Giddings’ video above for more wise words.

Kodak plans to quit film business

Category : Business, World News

Camera pioneer Kodak plans to sell its remaining still-camera film and photography paper businesses to help it avert collapse.

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Allan Sekula: filming the forgotten resistance at sea

Category : Business

The photographer’s new film, about global maritime trade, has been hailed by Occupy activists. Its maker has spent a life challenging new forms of capitalism

Water has always played a large part in the photographer Allan Sekula’s life. As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors. “It was Edward Hopper on military steroids,” he recalls. “That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy. Young guys my age from the west coast were being dehumanised and turned into a few good men.

“They’d come to the fence of the Marine Corps Recruiting Depot and say: ‘If I can get over this fence will you meet me at the laundromat down the street in an hour with a car?’ We managed to get some of them out. But often the shore patrol and navy police would come and pull them away. They’d be taken to brigs, assigned to a motivation platoon, and beaten up. The depot was next to an international airport on the waterfront, and some of the recruits were so desperate to escape they’d tried to get away by running across the runways, where they’d be hit by planes and be killed. This never appeared on the news.”

Sekula, who had grown up in the Los Angeles harbour town of San Pedro, was learning that the maritime world, far from being a realm of pleasure cruises and play, was riven by struggle and class conflict. Since then much of his extraordinary body of experimental work has been devoted to chronicling the social, economic and political dynamics of life on the oceans. His latest exercise in hydropoetics, a cine-essay entitled The Forgotten Space that he co-directed with Noël Burch, uses the statistic that 90% of cargoes today are carried by ship as its cue to develop a wide-ranging thesis about containerisation, globalisation and invisible labour.

Seas are fascinating, Sekula argues, because of the counter-orthodoxies and refutations they offer to modern political thought. “In Alain Tanner’s Les Hommes Du Port, a documentary about dockworkers in Genoa, he says: ‘The time of the sea runs counter to the lie.’ He doesn’t say what the lie is. But you know: it’s everything about neoliberalism. The sea is all about slow time – things move slowly, there’s a lot of waiting – and as such it contradicts all the mythologies of instantaneity perpetuated by electronic media.”

Sekula believes that seafaring work, like many other forms of manual labour, is ignored by many journalists whose own class status predisposes them towards fixating on white-collar and mental labour. But, as The Forgotten Space shows to haunting effect, this invisibility is also structural: containerisation has depeopled the bustling port cultures of previous eras and left in their wake automated landscapes.

Sekula, who was born in 1951 and whose grandfather migrated to the US from Poland, thinks that America has a particular amnesia regarding its relation to the sea. “We’ve always focused on the frontier hypothesis of US history. In spite of the takeover of the Panama Canal and the annexing of Hawaii, the sequential opening of western space has mainly been seen as a matter of terrestrial dominion. Today the function of the US navy is to protect the sea lanes of the world – that’s free trade. And it’s America’s technical and legal innovations that have made the globalisation of sea trade possible.”

This kind of systematic analysis, allied with deep, almost ethnographic research, is also present in Sekula’s influential book Fish Story (1995), which he describes as “a sort of experimental essay in words and pictures that sometimes reads like fiction, sometimes like an essay, sometimes journalism, sometimes prose-poetry”. Its photo-text form recalls earlier investigations of immiserated labour such as George Orwell’s The Road to Wigan Pier (1937) and James Agee and Walker Evans’s Let Us Now Praise Famous Men (1941), both of which Sekula admires.

I’m more sympathetic to traditions of critical realism than a lot of people in the art world,” he admits. “They treat journalism as a bad object and always think that when they intervene it’s without the naivety of the journalist. That doesn’t seem fair to what the best journalism and non-fiction has been.”

Sekula’s search for what the film historian Edward Dimendberg has called an “honest materiality” is informed by his own upbringing in San Pedro (a working-class town). His first major work, Aerospace Folktales (1973), featured interviews with his father, a chemical engineer at Lockheed, who had lost his job. “Being working class gives you a bitter sense that all the promissory notes of the American Dream are rarely cashed in. You see failure and blockages all around you.”

At San Diego, he took classes with the Frankfurt School philosopher Herbert Marcuse and conceptual artist John Baldessari, and studied alongside Martha Rosler, who would later come to prominence for her interest in questions of geopolitical infrastructures and social exclusion. He also read essays on photography by John Berger and Roland Barthes, and as a result began to theorise his future work. “I wanted to explore the discursive split between art and documentary, the myth of Alfred Stieglitz against the myth of Lewis Hine.” (Stieglitz was a revered figure in the development of art photography. Hine, by contrast, used his camera as a tool in the service of social reform.)

Sekula was sceptical of the romanticism and love of metaphors he discerned in the work of Stieglitz. “I saw the path of symbolism as one that led to hermeticism or a retreat from the social,” he recalls. “I was trying to defend a critical social realism.” His success at doing this, both in his often-cited study Photography against the Grain: Essays and Photoworks 1973–83 (1984) and recent films such as The Lottery of the Sea (2006), has won him many admirers. Among them is the American maritime historian Marcus Rediker, co-author with Peter Linebaugh of The Many-Headed Hydra (2000): “The old national stories just aren’t making much sense to people any more. Once you start thinking transnationally, you’re led to the sea: the ship is the first great instrument of globalisation. Allan’s idea that you can observe the compression of time and space in the modern world from the decks of a containerised cargo vessel is brilliant.”

It’s certainly an idea that has considerable potency in the present climate, when growing numbers of people all around the world are questioning the capitalist orthodoxies they’ve been fed by economists and politicians. In Barcelona last year, a gallery that screened The Forgotten Space was visited by many of the indignados who were protesting nearby. In Oakland, Occupy activists planned to show a pirated version of the film on a temporary screen they installed after blocking some of the streets in the port area.

This kind of resistance reminds Sekula that his collaborator Noël Burch had “hoped the film could ‘be completed by other means – and of necessity it would have to be completed by different means’. He meant by self-organised political means on the part of the people. The sea has often been thought of as recuperative; that more and more dockers and working people are insisting on not being moved on or not being swept away by the forces of efficiency and rationalisation gives me grounds for optimism.”

Charleston Wedding Photographers in South Carolina S L Media Productions Expands to Take on Charleston Wedding Photography With Special Offers for Charleston SC Brides Needing a Wedding Photographer

Category : World News

Charleston wedding photographers in South Carolina S L Media Productions offers brides and Charleston wedding photography clients discounts and specials on wedding photos to celebrate as they expand services as a wedding photographer in Charleston SC

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Cheryl L. Hrudka Honored by Worldwide Who’s Who for Excellence in Art

Category : World News

Cheryl Hrudka Has an Eye for Great Photography

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Enjoying the quiet life in Kanazawa, in black and white

Category : World News

Coincidence can shape people’s lives in many ways. Ask Mark Hammond, and he will certainly agree.
Indeed, chance seems to have pushed his life and artistic activity into unpredictable directions. While attending college in the United States, he was more interested in broadcast journalism and video production than photography. “I think there was a school newspaper that had a darkroom, but I was too busy getting drunk and chasing girls to hang out with geeks who liked to write and take pictures,” he says.

Originally posted here: Enjoying the quiet life in Kanazawa, in black and white

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