join the photo community - The Click is edited by Trent

Centralia by Poulomi Basu – Witness

Poulomi Basu was the first-prize winner for PHmuseum’s 2018 Grant, awarded by an independent jury featuring Monica Allende (Independent Photo Editor and Cultural Producer), Roger Ballen (photographer and artist), Genevieve Fussell (Senior Photo Editor at The New Yorker), and Emilia van Lynden (Artistic Director, Unseen). It is being published as part of World Press Photo’s collaboration with the PHmuseum.

Juxtapoz Magazine – ‘Found’: Unpublished Photographs From National Geographic

National Geographic published its first issue in 1888, over 130 years ago. This is an incredible timespan for any publication, but you have to wonder where does all the content go? To honor their 125th anniversary National Geographic released Found, a curated collection of photography from their archives. Much of the collection had never been published or seen by the public!

The Artist Hijacking Photographic Clichés to Explore Gender Stereotypes – Feature Shoot

Canadian artist Sara Cynwar takes aim at popular photographic clichés in her new exhibition, Gilded Age, on view at the Aldrich Contemporary Art Museum in Ridgefield, CT, through November 10, 2019. Featuring a selection of the artist’s color photographs made over the past five years, the exhibition also includes Kitsch Encyclopedia (2014) her first artist book; Cover Girl (2018), a 16mm film on video with sound; and 72 Pictures of Modern Paintings (2016), a site-specific wallpaper.

Andy Warhol’s ‘Prince Series’ Is Fair Use, Court Rules – The New York Times

The artwork did not violate the photographer Lynn Goldsmith’s copyright, according to a ruling that sided with the Andy Warhol Foundation for the Visual Arts.

Silent Sony a9 a ‘Great Advantage’ for Photographer at Democratic Debate

But New York Times photographer Doug Mills wasn’t among those who had brought along a Canon or Nikon DSLR, which are still the dominant tools of choice among photojournalists. Mills was shooting with the Sony a9 mirrorless camera, which can shoot at 20 frames per second completely silently thanks to its electronic shutter.

Pulitzer-winning photographer Marcus Yam on capturing tragedy and humanity | PBS NewsHour

Marcus Yam is a staff photographer for the Los Angeles Times and the winner of two Pulitzers. Having covered California wildfires extensively, he is deeply familiar with the challenge of documenting tragedy and humanity up close. Yam offers his Brief but Spectacular take on the sensitivity and perspective he brings to his work.

Remembering John Shearer, Iconic LIFE Magazine Photographer | Time

John Shearer captured on camera iconic American moments ranging from John-John’s salute of John F. Kennedy’s casket to Muhammad Ali’s 1971 fight with Joe Frazier. But his favorite project, according to his wife Marianne, was a story about the South Bronx gang known as the Reapers, which ran in LIFE magazine in 1972. Shearer lived with the gang’s leader for weeks, sleeping on his couch and taking pictures at all hours.

Trump’s Napalm Girl: Consequences of a Drowned Migrant Father and Daughter – Reading The Pictures

We cannot know in this moment, but I suspect that this photo of Óscar Alberto Martínez Ramírez and his daughter, Valeria, will stand the test of time. Given the firestorm over immigrant detention and the moral freefall of this administration, I believe Americans will look back at this photo as a tipping point of the Trump presidency. I see the photo as a marker and container for the abrogation of the country’s values in this faux immigration crisis, much like the 1972 Napalm Girl photo memorialized US disillusionment and exhaustion over Vietnam, and hastened America’s final exit from the war.

Wright Morris : The Essence of Visible

When Wright Morris (1910-1998) went into photography, he was already a scholarly writer, and soon became a respected author in the United States. Therefore, he considered the photographic medium primarily as an additional tool for “capturing the essence of the visible” just as he did with words.

Dominik Dunsch: Suburbia | LENSCRATCH

The genre of family continues to be explored as photographers mine their lives, looking at those under the same roof as a way to understand and document those near and dear. Dominik Dunsch’s project Suburbia documents the every day, using family and place to understand his own life as he exists between generations in the middle ground of what is and what was. It’s a series of details and metaphors, the intangible bumping up against the real, snippets of humor and absurdity and beauty all combining into this thing called life.

Award-Winning Photojournalist Accused of Faking Photos of Assassins | Fstoppers

An award-winning photojournalist stands accused of faking a series of images documenting hit men carrying out acts of violence in Honduras. It is alleged that Swiss/Italian photographer Michele Crameri staged several shots of men wielding guns and threatening to kill people, following revelations from the Honduran fixer who helped him gain access to local gang members.

Tseng Kwong Chi, an “Ambiguous Ambassador” to Life in America | The New Yorker

On an evening in December, 1980, the photographer Tseng Kwong Chi gate-crashed the party of the year: the gala at the Metropolitan Museum of Art. It was the opening night of “The Manchu Dragon,” an exhibition (organized by Diana Vreeland) of Chinese costume from the Qing dynasty. Tseng used a medium-format camera to photograph the arriving guests. An era’s tony milieu pauses, flash-lit: an amused Yves Saint-Laurent, Halston in high spirits, a quizzical William F. Buckley. Nancy Kissinger turns up in the same Adolfo dress as two other women—but nobody looks embarrassed. Tseng himself is also in the pictures, grinning away beside his subjects, with a cable release in his hand. And he is dressed, as he frequently is in his dandy-conceptualist art, in a plain gray “Mao suit,” which reads here as a laconic visual rejoinder to the exhibit’s lavish Orientalism.

John Sanderson: Carbon County | LENSCRATCH

At first glance John Sanderson’s series of images, entitled Carbon County, has the familiar cadence of American Western documentary photography. Broad sweeping landscapes with horizons that seem worlds away, lonely snaking roads and rugged men on horseback. But very quickly these perceived pillars of American Western identity, the keystones in the story we tell ourselves about Western life, take a different shape. There is a tone of mythology in the gaze Sanderson casts upon his subjects as he attempts to merge the fantastic nature of American Western lore with the reality of the place. So many of his photographs are made through the window or dashboard of a car, a framing which begins to feel like it contains a still from an old Western movie. And isn’t that how we most often experience this landscape? Either in film or traversing the country across wide open highway, snapping photos of some road signs or an old windmill and then carrying on our way? I ask myself these questions and then begin to wonder whether I’m allowing the version of the West that exists in my own mind to be projected onto the imagery. And perhaps this is the point. Sanderson presents us with the truth and the fantasy all at once as he explores the narratives ingrained in us – American Frontierism, Cowboys and Indians, and the promise that as you continue West surely wealth and personal discovery would be bestowed.

Sam Gregg documents the true story of Naples – Feature Shoot

Whether its the slums in Klong Toey, Bangkok, or Britain filled with “greasy spoons” and “pie and mash shops”, London-based Sam Gregg is a portrait and documentary photographer drawn towards capturing marginalised and dispossessed communities.

The story of my second arrest | You can’t have my job, but I’ll tell you a story

July 19, 1994. About 3 pm. I’m standing on a canal bank in south central Bakersfield, talking with some members of the Kern County Sheriff’s Department’s Search and Rescue team. They have been called, as have I, to this location for a report of a little boy who has disappeared in the canal’s waters. I don’t know it, but in about 10 minutes, I’m going to be arrested for the second time in my career. And that’s the nature of photojournalism, that’s how quickly a situation can turn on you. One minute you’re talking with deputies and officers you know. The next minute, one you don’t know shows up, decides you don’t belong there, and all hell breaks loose. And that’s what happened on this day.

Amish and Mennonite Photo Coverage in Face of Sexual Abuse, #MeToo – Reading The Pictures

As it happens, visual depictions of Amish and conservative Mennonite communities already share some traits with those of Hollywood celebrities. Many of their photographs in the press look like they were taken by paparazzi: shot from discrete angles, from the side or behind, often with long telephoto lenses. Because they hold a conviction that posing for a photograph can be interpreted as a form of pride, or as an affront to the biblical commandment against graven images, conservative Anabaptists usually resist being photographed. Faraway, detached images, then, are what inform much of the public’s visual vocabulary of Plain church communities. Those who see them at all are used to seeing them from a distance.

Close Menu