For this new edition of The 2015 Photographer’s Guide to Photo Contests, we’ve partnered up with the World Photography Organisation. Get a fresh look at over 25 photo competitions worldwide, including new insights on which photo contests are worth your time, which you should skip, plus two exclusive interviews with photographers who have been shortlisted in the prestigious Sony World Photography Awards.
Professional photographers (if they still exist then… and I think many, or to be honest some will) will continue to make photographs with DSLR/ Medium format and perhaps mirrorless still cameras – but the vast majority of photographers will continue the exodus towards smartphones.
To understand the reality of hospitality networks I made five separate journeys documenting the differing motivations and uses of hospitality networks by my protagonists. All of my navigators differing in social and personal backgrounds as they explored lands foreign to themselves, following both individuals and friends traveling together, each journey in a different part of the world, and in a different mode of travel.
A new exhibition and book offer fresh perspectives on Michelangelo Antonioni’s 1966 cult classic about the ambiguity of images
I think violence attracts a lot of people, not just journalists. But journalists do seem to love it so. Not that violence is the only magnet for our profession, not at all. But it does seem to be a central attraction. Are we vultures, perhaps, but vultures play an important role in the ecosystem, so I don’t really see that as a bad thing. On second thought, we behave much worse than vultures in many cases
Scenes of poverty are inescapable in a country like Bangladesh, where Western media and charities use them to generate outrage, sympathy and — sometimes — donations. That bothered Shehab Uddin, a former newspaper photographer in Bangladesh who knew there was more to the story than downtrodden people victimized by poverty, not to mention photojournalists.
Chosen from a shortlist of 60, which itself had been whittled down from 664 entrants, the standard of images from the winning 30 has shown that there is a collection of extremely talented and focused young photographers with exciting futures ahead of them.
You can also get involved by choosing your favourite in the People’s Choice Award. Use the links below to view the work of these amazing winners and cast your vote
Benjamin Grant, creator of the Daily Overview wants to give viewers that experience from the comfort of their desk. Every day (or just about), Grant posts a beautiful image of our world from above.
Getty Images’ John Moore, Aristide Economopoulos, Lisa Krantz, Kerry Mansfield and Jassen Todorov are among the dozens of photographers to have been short-listed for the competition’s 2015 edition.
Masumi Hayashi is perhaps best known for creating striking panoramic photo collages, using smaller color photographs (typically 4-by-6-inch prints) like tiles in a mosaic. Many of these large panoramic pieces involve more than one hundred smaller photographic prints; the rotational scope of the assembled collage can be 360 degrees or even 540 degrees. Much of her work explores socially uncomfortable spaces, including prisons, relocation camps, and Superfund cleanup sites.
Henri Cartier Bresson spoke about moments showing a world. Is this possible and compatible with requests for a photographic consent form? It’s a work attempting to say “look what I may show if I follow the laws, even with all the possible originality and imagination”. What could photography narrate without the possibility of describing everyday life through faces and actions of the common people? This work is my cry for help…
Ed Kashi has won Multimedia Photographer of the Year honors at the 2015 Pictures of the Year International competition for his project called Syria’s Lost Generation, while Tim Matsui won Documentary Project of the Year for The Long Night, a film he produced with MediaStorm about teenage prostitution.
Heavy fighting ensued right before the deadline, and sporadic violence continues even now, more than a week later. Some Ukrainian forces claim they are unable to withdraw, as the Russian-backed rebels are still shelling their positions. Rebels captured the small town of Debaltseve, a strategically important rail hub, just as the cease-fire was set to begin.
In this 1998 interview from the AP Corporate Archives, Rosenthal describes the sequence of events that led to his photograph. (Rosenthal is being interviewed by Hal Buell, a longtime photo director who spent more than 40 years with AP.)
Recently on tumblr, Melissa Lyttle reflected on her experience as a judge for this year’s POYi contest news division. She writes about the overall experience of judging the contest and gives more fine-grained observations about specific categories and trends in submissions. It’s well worth a read.
Happy Valley is an intimate, strange and quirky family diary chronicling over several years the everyday lives and relationships of typical middle-class kids and teens (my nieces and nephews) as they come of age in the ever-changing but sheltered milieu of contemporary suburban America (in Utah).
I lived in Havana , Cuba from 1994-98 during the so called
“Periodo Especial (Special Period) .
Shalmon Bernstein arrived in the New York magazine world in the early 1970s with a fully developed eye, a clear, sober voice and a sense of purpose. “I thought in terms of being able to change people’s perceptions,” he said. Then, a decade later, he simply stopped, for reasons that even now are hard for him to explain. “What made me stop?” he asked the other day from his home in Prospect Heights, Brooklyn. “What was more important to me?” Money was a part of it, he said. But looking back now, he saw another force at work.
“I think I felt totally defeated by anything I was doing.”
a provocative new exhibition at the Bronx Museum of Art, “Three Photographers From the Bronx: Jules Aarons, Morton Broffman and Joe Conzo,” which opens Feb. 26. The disparate subjects of its three Bronx-born, socially conscious photographers — the civil rights movement, life outside Manhattan and community advocacy — would at first seem to have little in common.
Peter Lik is in awe of himself. When he describes his career as a fine-art photographer, he speaks with the satisfaction of a guy who has performed miracles, at the pace of a bystander who just caught a glimpse of Superman. The words tumble forth in self-exalting, run-on sentences, most of them laced with profanity, all of them in the sunny, chummy accent of his native Australia.