Amazônia: Sebastião Salgado’s Photo Essay Nine Years in the Making

A conversation with Brazilian photographer Sebastião Salgado about his epic photo essay on the Amazônia nine years in the making.

Photography is another thing. Photography is the memory of the society that we’re part of. And the bigger problem with the smartphone is that it goes to your archive that you never use anymore. Sometimes you lose everything, sometimes, you drop into the cloud and don’t use it anymore. Photography is tangible. You touch it, have it in your hands, see it repeatedly, and I can do nothing from the smartphone.

The Future of the Photo Festival in the Covid Age - LENSCRATCH

If I feel physically as if the top of my head were taken off, I know that is poetry – Emily Dickinson  As a photographer, editor, and publisher I have had the good fortune of seeing a lot of photography. I came to photography through an education in drawi

Ms. Dickinson has expressed precisely what keeps me looking at pictures – I keep looking to find a repetition of that feeling as if ‘the top of my head were taken off’.  You may have felt that too at some point in your practice or collecting — at least I hope you have. It is sometimes expressed as the difference between a photograph that is akin to illustration and a photograph that carries the impact of art.

Would Showing Graphic Images of Mass Shootings Spur Action to Stop Them?

Returning to an old debate after the horrific killings in Uvalde, Texas.

The root of their pain lay in the photographs’ gruesome specificity and its capacity to answer in precise detail questions that were too lurid to have occurred otherwise: how the bodies lay; how the dead faces were contorted; how the spatters of blood patterned the walls. Many in the courtroom, journalists and family members alike, averted their eyes. It seemed that the cumulative detail of those images could tell them little that they did not already know: nine people were dead for no other reason than the color of their skin.

Opinion | It’s Been 50 Years. I Am Not ‘Napalm Girl’ Anymore.

The surviving people in war photographs, especially the children, must somehow go on. We are not symbols. We are human.

That picture will always serve as a reminder of the unspeakable evil of which humanity is capable. Still, I believe that peace, love, hope and forgiveness will always be more powerful than any kind of weapon.

From Sandy Hook to Uvalde, the Violent Images Never Seen

Frustrated Americans ask whether the release of graphic photos of gun violence would lead to better policy. But which photos, and who decides?

“What makes this a challenging ethics call is that when you’re a photo editor, you never really do know which is the photograph that is going to seem exploitative, and what image will touch the conscience of people and move the needle on the debate.”
Categorized as Ethics

Marcus Yam: From Aspiring Astronaut to a Pulitzer Prize in Photography

A look at the life and work of LA Times photojournalist Marcus Yam, who won a Pulitzer Prize in Photography for his work in Afghanistan.

PetaPixel spoke with Yam to learn about his journey from growing up in Malaysia and studying aerospace engineering to becoming one of the world’s top conflict photographers with a Pulitzer Prize to his name.

Polar Night | by Mark Mahaney

Polar Night | by Mark Mahaney  71.2906° N, 156.7886° W Utqiaġvik, Alaska Top of the world they call it. Don’t feel that way. Feels like the bottom. So dark there’s no end. So cold there’s no feel. …

Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.

Interview: Ed Kashi – “Abandoned Moments” — Analog Forever Magazine

You must believe in yourself, believe in this work and be ready and willing to work harder than you’ve ever worked. You must be able to withstand a seemingly inhumane amount of disappointment and rejection, learn to navigate the unseemly politics and favoritism that is rife in most creative fields, and basically be incredibly resilient. And you must bring your ideas to the table. You must be insatiably curious, sensitive, aware of your surroundings, learn the customs and mores of the places you work, want to engage with people, dedicate yourself to issues, know how to write and express yourself, be gracious, humble, and bring an open heart and mind

Wee Muckers – Youth of Belfast | By Toby Binder

Wee Muckers – Youth of Belfast | Toby Binder »If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself,…

»If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself, the attachments made to a culture, heritage, religion, nationalism and politics are all an accident of birth. I was one street away from being born my ‘enemy’« writes Paul McVeigh, Belfast born novelist and author of ‘The Good Son’.

Magnum photographer defends images of teenage gang rape victim after humanitarian organisation removes them from website

After controversy on social media surrounding Newsha Tavakolian’s photographs of East Congo, Médecins Sans Frontières announces internal review

The celebrated Iranian photographer Newsha Tavakolian has defended herself against accusations of unethical practice after publishing a series of identifiable images of African teenage rape survivors made while on assignment for the international humanitarian organisation Médecins Sans Frontières (MSF).

Juxtapoz Magazine - Stacy Kranitz: As It Was Give(n) To Me

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photograph...

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

Paolo Pellegrin’s Photographic Quest for the Sublime

For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.

“To find silence, you need silence,” Pellegrin had observed, and as we drove in darkness no one spoke. An hour later, Anthony parked in the sand. Pellegrin handed me a flash and a tripod, and we set off on foot into the dunes. Here there was no sky; a thick fog obscured it. Individual particles cascaded in front of us, refracting light from the headlamps—tiny droplets, seen but not quite felt. Nearby was a brown hyena, sensed but not yet seen.

The Dennis Hopper Photograph That Caught Los Angeles

The actor stopped at an intersection, took out his Nikon, and made history.

“Double Standard” is probably the best known of the eighteen thousand images that Hopper created with his Nikon from 1961 to around the time he began shooting “Easy Rider,” in early 1968, which happens to be when his and Hayward’s combustible marriage finally blew up

The Making of War Photography — Blind Magazine

The Musée de l’Armée offers a first glimpse into its photographic archives in an exhibition that traces the representation of war and the evolution of images of combat from 1849 to the present. This essential event shares some important lessons.

Categorized as War