Four Years Embedded with the N.Y.P.D.

In the late seventies, Jill Freedman set out to create a clear-eyed portrait of New York City police. What she made was something more complicated.

Inevitably, the spirit of Weegee haunts Jill Freedman’s photographs of New York street cops. Both worked in inky, matter-of-fact black and white. Both wanted to be at the scene of the crime while the blood was still wet. Both were unsentimental, tenacious, and tough. They didn’t look away, and they won’t let us ignore what they saw: New York at its rawest and scuzziest (the precinct walls are as ruined as tenement hallways). But Freedman, a rare woman in the field of photojournalism at the time (she died in 2019, at the age of seventy-nine), wasn’t interested in Weegee’s brand of hit-and-run tabloid photojournalism. Her pictures were made over a period of four years, from 1978 to 1981, during which she was virtually embedded with the police in two Manhattan precincts, Midtown South and the Ninth, headquartered at East Fifth Street, where the cops of “NYPD Blue” would be stationed more than a decade later. New York hit the skids financially in those years, and the city’s safety net, already badly frayed, gave out.

The Foto Awards presented by Las Fotos Project: Smita Sharma in Conversation with Anna Grevenitis - LENSCRATCH

This week we are celebrating a wonderful organization in Los Angeles: the Las Fotos Project and The Foto Awards event taking place on October 23, 2021. Today we celebrate the Advocacy Award Winner (adult), Smita Sharma.  The Advocacy Award is given for po

Smita Sharma is an award winning photojournalist and visual storyteller based in Delhi, reporting on critical human rights, gender and social issues in her own community as well as in the Global South on assignments for Human Rights Watch, National Geographic Magazine, and other publications.

18 Photographers on What It Means to Embrace the Unknown

Elliott Erwitt, Nan Goldin, Jamel Shabazz, and more share images that explore the edges of their photographic practice.

In the Magnum Square Print Sale in partnership with Aperture, Elliott Erwitt, Nan Goldin, Jamel Shabazz, and more share images that explore the edges of their photographic practice.

Announcing the Series Winners of the Emerging Photography Awards 2021 - Feature Shoot

We’re delighted to announce the twelve winners of the 7th Annual Feature Shoot Emerging Photography Awards, with the selected artists spanning genres as well as continents. Christian K. Lee, Maggie…

The Little-Seen World of Demolition Derbies

The shirtless, sweating men splayed across and against car hoods and dashboards in Derby convey a sense of bonded brotherhood and physical intimacy.

Ken Graves and Eva Lipman expose the surprisingly tender and at times erotically charged moments that happen before and after impact, when human and machine bodies come into close contact.

More on Consent

There obviously is a topic here that extends beyond this particular case in question. Last year, I wrote an article about consent that focused on what I see as photographers’ obligations. It might be worthwhile, though, to approach the subject matter from the other side: from the vantage point of those find themselves on the other side of the camera.
Categorized as Ethics

Spirit: Focus on Indigenous Art, Artists, and Issues: Brian Adams - LENSCRATCH

A year ago, Spirit: Focus on Indigenous, Art, Artists and Issues, was launched featuring artists Will Wilson, Shelley Niro, Meryl McMaster, Kiliii Yuyan, Donna Garcia, Pat Kane, Jeremy Dennis, and the collaboration of Kali Spitzer and Bubzee. The objectiv

I AM INUIT is a project that seeks to connect the world with Alaskan Inuit (Inupiat, Yup’ik, Cup’ik and St. Lawrence Island Yupik) and the Arctic, through common humanity. In 2015, Brian Adams and The Inuit Circumpolar Council Alaska teamed up to visit 20 Inuit villages in Alaska resulting in the book I AM INUIT (Benteli) and an international traveling exhibition with the Anchorage Museum.