join the photo community - The Click is edited by Trent

Michael Wolf’s homegoing comes after sunrise – Feature Shoot

When German photographer Michael Wolf died in Cheung Chau, Hong Kong, on April 24 at the age of 64, he left behind a prodigious body of work that spans 25 years as a photojournalist. Wolf spent the majority of his career in Asia creating work that defies easy categorization. Rather, Wolf moved as an outsider would, discovering value in the overlooked, mundane details of life and uncovering a deeper symbolic connection to the larger world.

Guy Mendes: The States Project: Kentucky | LENSCRATCH

I remember the first few weeks I started teaching at the University of Kentucky, I was walking around the art building which was my new home and I kept running into Guy Mendes. One has never encountered at more inviting and supportive fellow photographer. Ever since we met, he has been the first to congratulate me on a new fellowship or project. This is made even more meaningful considering Guy’s amazing career. Born in New Orleans in 1948, Guy migrated to the Bluegrass to attend UK in 1966 where he studied under the writer Wendell Berry who introduced him to Ralph Eugene Meatyard, who in turn introduced him to photography the likes of which he had never before encountered. It set him on a lifelong search for a different way of seeing through the camera, looking long and hard at the world at hand.

A Photographer’s Vision of Being a Mother and an Artist, Year After Year | The New Yorker

In a 2001 series called “I Sign; I Exist,” the Taiwanese photographer Annie Wang took pictures of her pregnant belly as she signed and dated it, the way an artist autographs a canvas. The experience of pregnancy, she wrote, in a statement about the series, presented a paradox: her body was performing a great feat of creation, but, in doing so, it was beginning to overshadow the creative identity she’d earned through her work as an artist. In the eyes of the world, pregnancy and motherhood can turn a woman into a mere vessel, subsumed by the sacrifices she makes for her children. In these photos, Wang asserts her active role in the making of another life, reframing motherhood as a grand creative endeavor.

Sarah Hoskins: The States Project: Kentucky | LENSCRATCH

I was recently introduced to Sarah Hoskins’ work as a fellow Lexington photographer who imbeds themselves into communities for their practice. I was immediately intrigued by her ability to get access to these small communities and show their intimate moments. The photographs depict families and friends living their lives working, relaxing and worshiping together. Sarah’s work with the towns of eastern and central Kentucky seem to be an investigation of not the general culture and economy of the region, but of relationships and a way of life. I am constantly reminded of the work of Arthur Rothstein’s work in Alabama in the late 1930s. Both are not looking to exhibit labor and abuse of these communities, but their way of life and a portrait of a region and its angelic citizenry.

Chernobyl Disaster: Photos From 1986 – The Atlantic

As the HBO miniseries Chernobyl comes to a conclusion tonight, viewers will have been taken on a dramatic trip back to 1986, experiencing the horror and dread unleashed by the world’s worst-ever civil nuclear disaster. Thirty-three years ago, on April 26, 1986, a series of explosions destroyed Chernobyl’s reactor No. 4, and several hundred staff and firefighters tackled a blaze that burned for 10 days and sent a plume of radiation around the world. More than 50 reactor and emergency workers were killed in the immediate aftermath. The workers and emergency responders were not the only ones to risk their lives—a handful of photographers went to the scene as well, managing to capture images of some of the chaos and acts of heroism that took place in the weeks and months that followed. (For current images of Chernobyl and the surrounding exclusion zone, be sure to also see Visiting Chernobyl 32 Years After the Disaster, from 2018.)

Afro-Ecuadoreans Maintain Identity Through Spiritual Practices – The New York Times

The photographer Johis Alarcón documented not just the indelible influence of African culture in Ecuador, but also how the descendants of enslaved women maintained their culture.

Graciela Iturbide’s Art of Seeing Mexico | The New Yorker

Four years ago, at the age of seventy-three, the Mexican photographer Graciela Iturbide travelled across her country with the United Nations High Commissioner for Refugees. Their journey began in the southern state of Tabasco, near the border with Guatemala, where migrants make their way north atop a notorious freight train known as La Bestia. In the town of Tenosique, Iturbide stopped by La 72, a shelter built in memory of seventy-two migrants who were slain by a drug cartel, their bodies found, blindfolded and bound, in a derelict farm across the border from Brownsville. The backdrop for many of her photographs were shelters run by friars and nuns, where she captured migrants in rare moments of respite. We see a pair of lovers, who had met on the road, locked in an embrace, and a mother unwinding with her infant son, their forms casting a shadow on a hand-painted mural of Mexico dotted with safety and danger zones. On the last stop of her trip, at a shelter in Oaxaca, Iturbide met a Salvadoran teen-ager who was fleeing MS-13 because he had refused to kill. She found the boy in front of a desktop computer, listening to MS-13 raps and composing his own verses. “Even if he didn’t want to belong anymore, he still did,” Iturbide told me recently by phone, from her studio, in Mexico City.

A scroll through Jerry Hsu’s bizarre camera roll

In a new project, the skateboarder and photographer shares a collection of surreal shots from his old Blackberry.

Rediscovering Garry Winogrand’s long forgotten color work – Feature Shoot

Known best for his black and white photographs that pioneered a snapshot aesthetic in fine art, Winogrand’s color work is now receiving its due in Garry Winogrand: Color at the Brooklyn Museum, now through December 8, 2019.

Iain McKell : Private Reality – Diary of a Teenage Boy

In 1976, aged nineteen and a student at Exeter College of Art, Iain McKell got a summer job on Weymouth seafront photographing holidaymakers. It was a wonderful opportunity for him to both earn a living and carry out a project exploring the life of the seaside photographer. As well as holidaymakers he photographed his friends, his family and local people from the town, and in the evening the disco bars, fairgrounds and caravan parks of the town.

Ashly Stohl: The Days are Long and the Years are Short | LENSCRATCH

Making photographs about being a parent was once considered mundane and not wall worthy. Personally, I have have found the tableau of every day life, the small operatic performances and travails of co-existing and growing up to be immensely fascinating. Photographer and Peanut Press Books founder, Ashly Stohl, had been focusing her lens on her family for years, with an eye towards the poignant humor of living under the roof with three children in various stages of becoming. Her wonderful photographs are now a book, The Days are Long and the Years are Short, published by Peanut Press Books and the work is currently on exhibition at the Leica Gallery in New York until the end of June, with a book signing on June 20th from 6 -8pm.

The Center Awards: Editor’s Choice Award 3rd Place Winner: Xan Padrón | LENSCRATCH

Congratulations to Xan Padrón, for his Third Place win in CENTER’S Editor’s Choice Award for his project, Time Lapse. The Choice Awards recognize outstanding photographers working in all processes and subject matter. Images can be singular or part of a series. Winners receive admission to Review Santa Fe portfolio reviews and participation in a winner’s exhibition at Pictura Gallery in Bloomington, IN.

Pieter-Jan De Pue : Kings of Afghanistan

Filmmaker and photographer Pieter-Jan De Pue spent almost eight years in Afghanistan. There he worked on his award-winning film The Land of the Enlightened. As well as researching, preparing and making his film, PJ also continued to take photographs. His photos are portraits of people and landscapes, as are his diary entries. A recurring theme is his huge admiration for the country, its spectacular landscape, and the resourceful children for whom survival became the art of living. His images – both film and photos – come about as a result of a slow process. The landscapes with its timeless caravans of people and animals show the resilience of a country for more than 40 years in war.

Juxtapoz Magazine – Travis Jensen Explores One of the Last Real San Francisco Neighborhoods In Stunning Black & White

For seven years, Travis Jensen has embedded himself in The City’s Excelsior District, a neighborhood at the southern central tip of SF that has remained, for all intents and purposes, a neighborhood not quite inundated by the massive influx of wealth and tech booms that much of the city has seen. That project, which culminated hundreds of photos documenting the culture that surrounds the people who reside in the Excelsior, will be on display at Photoworks in San Francisco starting on June 5, 2019. Excelsior District: Forever Upward is a photo-documentary project seven years in the making that highlights San Francisco’s vibrant Excelsior District that many consider being The City’s last working-class neighborhood. It’s a story about a rapidly-changing city, family, friendship, brotherhood, camaraderie, and the power of photography.”

Juxtapoz Magazine – From Africa to China with Pieter Hugo

Pieter Hugo is probably best known for his brutally frank portraits of his “kin,” mainly the Afrikaners of South Africas post-apartheid era. Later on, his portraits of Nigerian gangs wielding chained hyenas in intimidating poses brought international recognition. Traversing Africa, clearly unafraid to venture out to areas earlier closed to South African passport holders, Pieter has shot starkly direct portraits of young and old, often against a backdrop of ravaged landscapes and still life images. His photo work includes Rwandan children a decade after the genocide; Ghanaian city workers at toxic recycling dumps; Ghanas rural wild honey collectors, donning make-shift tree leaves against dangerous bee stings; South Africans with albinism; and, intimate looks at family and friends, as well as self-portraits.

Jonathan Torgovnik : Intended Consequences & Disclosure (25 years later)

In 2006, Jonathan Torgovnik worked on a photographic essay, on the children born as a result of rape during the genocide there in 1994.

Many Tutsi women were forced to watch their husbands killed right in front of them, and then were brutally and repeatedly raped by Hutu militias. They often contracted AIDS and gave birth to children, who were at the time unwanted. Their woes were exacerbated by their own tribe’s rejecting both mother and child because the child was the product of mixed parentage. These little family units received little or no help or comfort.

Close Menu