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A Photographer’s Loving Ode to Small-Town Texas | The New Yorker

The five decades that Keith Carter has spent documenting small-town Texas more than make up for the fact that he was born in Wisconsin. His family moved to the town of Beaumont when he was just a few years old, in the early nineteen-fifties, and his single mother took up commercial portrait photography to support them. Mesmerized by the red-tinted darkroom printing he witnessed in their kitchens growing up, he turned to photography after graduating from Lamar University with a business degree. He has since built a prolific career making art of and for the place he’s from. “My home town,” Carter has said, “is the backdrop for a rich East Texas storytelling culture, an occasional mystifying spirituality, and abundant folklore,” qualities that manifest themselves in the rich, allegorical images he produces.

You can now watch the entire “Everybody Street” documentary film for free on YouTube and Amazon Prime Video – Leica Rumors

The full length “Everybody Street” documentary film is now available on YouTube (with ads). You can also stream it for free on Amazon Prime Video (or purchase the DVD from Amazon):

CJR Special Report: Photojournalism’s moment of reckoning – Columbia Journalism Review

In interviews with more than 50 people, in a CJR investigation spanning more than five months, photojournalists described behavior from editors and colleagues that ranged from assault to unwanted advances to comments on their appearance or bodies when they were trying to work. And now, as the #MeToo moment has prompted change across a range of industries—from Hollywood to broadcasting to the arts—photojournalists are calling for their own moment of reckoning.

The Surrealist Photos of Ralph Gibson – The New York Times

“I wanted to make photographs you could look at for a long period of time, photographs that were not ephemera, photographs that were made to last and could support a great depth of content,” he said. “That’s the opposite of working for the media.”

The best photographs of 2017 – by the people who shot them | Media | The Guardian

From Rohingya refugees in Bangladesh, to the disaster at Grenfell Tower and a seahorse clinging to a cotton bud: photographers describe how they took some of the defining images of 2017. Selection by Sarah Gilbert

David Hillard: Regarding Others | LENSCRATCH

Photographer David Hilliard has a new exhibition, David Hilliard: Regarding Others at the Schneider Gallery in Chicago that runs through December 30th, 2017. There’s something about David’s cinematic large format photographs that stand apart–it’s a special quality of light, color, and clarity that comes from analog capture, but also a profound ability to connect photographs, shaping them into small novellas with nuance and heart. The Schneider Gallery states, In Regarding Others, selections from David Hilliard’s career aim to bridge themes of youth, beauty, rites of passage, longing and aging that often saturate his evocative compositions.  Hilliard references intimate moments often drawn from his personal life while simultaneously and skillfully allowing the work to remain universally understood.

Emil, Towards Horizon – The Eye of Photography

The Russian Emil Gataullin is a master of poetry in black and white, and of photography that recalls that of Henri Cartier-Bresson. It dances in a balance between austerity, deliberate reserve and romantic composition. His theme: the Russian village. A life far from the great decisions scandals, everything is in the light, honest and authentic. His wanderings in the small towns and villages are strolls in an unknown land, introspective walks, a return to his childhood. His photos are neither cynical nor idealist. They are only a moment in life, a declaration of love for a Russia that begins far away from Moscow. 

Stephen Crowley: a Visual Historian in Real Time – The New York Times

After 25 years as a photographer for The New York Times based in Washington, D.C., Stephen Crowley has retired. His incisive and revealing photographs pierced the public veneer of Washington politics, bringing the viewer into the back rooms of power.

A Photographer’s View of a Battle to Destroy ISIS

This fall, I spent six weeks with the writer Luke Mogelson, following an élite Iraqi police unit called the Mosul swat team as its members fought to take back their city from the forces of the Islamic State. The story, which Luke wrote and I photographed, was called “The Avengers of Mosul”—the men were seeking vengeance not just for the threat to their country as a whole but also for the murders of family members by isis. Nearly every fighter had suffered this kind of loss, and many of them had family still living in peril in Mosul. The men welcomed us on their campaign, and shared with us their provisions, their blankets and mats, their seats in the trucks, and their stories.

Mark Peterson: Political Theater

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Every presidential campaign has a particular feel and color: the red, white, and blue days of JFK that ended in a sad pink boucle, the brilliant reds of Nancy Regan, the rainbow spectrum of the Obamas. But this election is perfectly captured in black and white by photographer Mark Peterson, stripping the last two years down to its bare bones, showing the warts and weirdness of democracy gone awry. The result of “the most polarized and bizarre presidential race in American history” is a new monograph, Political Theater, published by Steidl.

The PJ Circle Jerk

There’s no need for a new and improved photojournalism. It’s the Great White shark of visual communication. It doesn’t need to evolve, because when it’s done right there’s nothing that can compete with it. That’s why photographers working in other disciplines relentlessly try to associate their work with photojournalism.

Fractured Lands: How the Arab World Came Apart

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Scott Anderson’s story gives the reader a visceral sense of how it all unfolded, through the eyes of six characters in Egypt, Libya, Syria, Iraq and Iraqi Kurdistan. Accompanying Anderson’s text are 10 portfolios by the photographer Paolo Pellegrin, drawn from his extensive travels across the region over the last 14 years, as well as a landmark virtual-reality experience that embeds the viewer with the Iraqi fighting forces during the battle to retake Falluja.

Stephen Crowley: Time Spent: Florida 1972-1984

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I discovered Stephen Crowley’s terrific exploration of Florida in the 1970’s and 80’s when jurying Photolucida’s Critical Mass Competition. Stephen’s project, Time Spent: Florida 1972-1984 went on to be selected as one of the Top 50 portfolios of 2015. At the young age of 20, Stephen had already identified himself as a street photographer and had a rare ability to capture moments that, now seen 40 years later, were insightful, telling, and iconic. His work allows us to consider a period in history that comes after the shape-shifting era of change in the 1960’s and early 1970’s and realize that Florida was slower to evolve and that the stark contrast between the classes was ever present.

L’ouvrage du World Press Photo 2016


Chaque année, l’un des plus attendus et plus importants Prix de Photographie de Presse publie son livre, le “World Press Photo Yearbook”. Cette année, l’ouvrage fait peau neuve, il est plus petit et comporte plus de pages tout en laissant une place importante à l’image ! Le livre est publié dans 6 langues, ce sont donc 6 éditeurs européens (Schilt Publishing, Thames & Hudson, Till Schaap Edition, 24 ORE Cultura et Blume) qui participent à la création de ce nouvel opus 2016. Les photographies des lauréats du World Press sont actuellement exposées à Amsterdam au De Nieuwe Kerk jusqu’au 10 juillet prochain.

Michael S. Williamson: Color My World


I will say this; I do think there’s a teeny bit of a shortage of good ideas to be honest with you.  Robert Gilka, then the Chief of Photography for National Geographic once said, “We’re up to our armpits in great photographers, but up to our ankles in good ideas.”

So the only advice I would give is, “You’re talented, you’re smart, you’re dreamers, you’ve taken this on…so go poke around in some darker corners that haven’t had some light on them yet.”

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