Más información
El Proyecto Four Corners permite que se inserte información específica en cada una de las cuatro esquinas de la fotografía, donde está disponible para que un lector interesado la explore. Esta mayor contextualización fortalece tanto la autoría del fotógrafo como la credibilidad de la imagen.
El proyecto fue concebido y llevado a la vida por Fred Ritchin. Presentó la idea públicamente y demostró como funcionaría en su discurso para World Press Photo en Amsterdam durante la ceremonia de entrega de premios del 2004.
La programación inicial fue realizada por el Open Lab de la Universidad de Newcastle bajo la supervisión de Jonathan Worth. El proyecto Four Corners ha contado con el apoyo del International Center of Photography y el World Press Photo Foundation, particularmente de David Campbell, y beneficiándose de la oportuna ayuda de SuperUber en Brasil.
El interfaz de usuario final fue diseñado y desarrollado por Corey Tegeler, con apoyo durante las pruebas de parte de estudiantes del International Center of Photography. Perri Hofmann manejó la creación del proyecto y contribuyó de maneara esencial en el diseño de Four Corners y a las pruebas de usuario siguientes al desarrollo. El software es de licencia open-source y de libre uso por parte del público.
Fred Ritchin
Fred Ritchin, who first proposed the Four Corners idea in 2004 as keynote speaker at the annual World Press Photo Awards Ceremony in Amsterdam, is Dean Emeritus of the School at the International Center of Photography. Previously he was Professor of Photography and Imaging at New York University’s Tisch School of the Arts, where he also taught in the Interactive Telecommunications Program (1991-2014).
Ritchin created the first multimedia version of the New York Times in 1994-95. The website that he then created for the New York Times on the Web with photographer Gilles Peress in 1996, “Bosnia: Uncertain Paths to Peace,” was nominated by the New York Times for a Pulitzer Prize in Public Service, but immediately rejected by the Pulitzer Committee because it was not on paper.
Ritchin has written three books on the future of imaging: In Our Own Image: The Coming Revolution in Photography (Aperture, 1990), After Photography (W. W. Norton, 2008), and Bending the Frame: Photojournalism, Documentary, and the Citizen (Aperture, 2013). His 1984 piece for the New York Times Magazine, “Photography’s New Bag of Tricks,” was the first major article on the potential impacts of the digital revolution on photography and related imaging. He has also co-authored and contributed essays to several dozen books.
In 1999 Ritchin co-founded PixelPress, an online publication experimenting with new methods of storytelling, and collaborating with humanitarian organizations such as UNICEF, WHO, UNFPA, Crimes of War, and others on media projects including books, exhibitions, and Web sites promoting human rights. Previously he was picture editor of the New York Times Magazine, executive editor of Camera Arts magazine (Ziff-Davis), and founding director of the Photojournalism and Documentary Photography one-year full-time educational program at the International Center of Photography. He was recently given the John Long Award in Ethics by the National Press Photographers’ Association for his contributions to ethical behaviors in photojournalism.