Photographer Michael Watson has spent the last decade traveling to small, independent wrestling shows capturing the brave men and women who put their bodies on the line night after night.
One of Thomas Wågström’s pictures has been hanging on the wall above my desk for many years. The picture shows a black surface of water, the patterns and whorls in it, the ceaseless motion that here is fixed in a final pattern, like a sort of rug, in this case a rug woven out of light and shadow. But the picture holds more than that, for at its lower left edge one glimpses the face of an animal: the slit of an eye, a muzzle, a bit of fur. It appears to be a seal, and it is on its way up through the blackness, and in the very next instant, one might imagine, it will pierce through the water. But it hasn’t done so yet; the slit of the eye and the muzzle hover just below the surface and seem almost a part of it.
In this Op-ed, independent photography director and educator Amber Terranova discusses one of the most controversial AI imagery projects in recent weeks.
On September 27, 2007, veteran Japanese photojournalist Kenji Nagai was taking photos of anti-military protests in Yangon, Myanmar at the height of the Saffron Revolution — when he was fatally shot by soldiers who opened fire on demonstrators.
The Ocho Puntas in Barcelona can be seen as an outdoor altar. Spanish photographer David Salcedo chose this meeting place for his artistic series with the Leica Q2.
Adam Zhu’s book “Nice Daze” depicts amorphous social configurations, fleeting experiments in style and thrill-seeking, and elevated forms of doing nothing.
Two varieties of nostalgia merge in Adam Zhu’s photo book “Nice Daze.” The imagery, shot between 2013 and 2020, beginning when the artist was just sixteen, forms something like a yearbook, though not one associated with any institution. An impressionistic chronicle of the recent past, it follows Zhu’s friends and his friends’ friends—a multigenerational group of skateboarders, graffiti writers, artists, musicians, and attendees of crowded parties—around New York’s East Village, Lower East Side, and Chinatown.
Ukrainian photographer Evgeniy Maloletka’s startling and riveting photo Mariupol Maternity Hospital Airstrike, shown above, has won the 2023 World Press Photo of the Year award.
A powerful outdoor exhibition in London reflects on the manifold ways the climate emergency is affecting communities across the world—and how we can visualize these urgent stories of devastation
A powerful outdoor exhibition in London reflects on the manifold ways the climate emergency is affecting communities across the world—and how we can visualize these urgent stories of devastation.
Aperture’s support of emerging photographers and other lens-based artists is a vital part of our mission. The annual Aperture Portfolio Prize aims to discover, exhibit, and publish new talents in photography—identifying contemporary trends in the field and highlighting artists whose work deserves greater recognition.
Using photography to come to terms with a concussion, Jacob Black’s images teeter between clarity and confusion to explore the dreamlike way he sees the world post-accident
Using photography to come to terms with a concussion, Jacob Black’s images teeter between clarity and confusion to explore the dreamlike way he sees the world post-accident.
The bodies of work that I will be sharing during Earth Week are linked by this thematic lens: making the often-invisible nature of the global climate and the ecological crisis more visible using conceptual, lens-based art techniques. Each body of work spe
“Ditched” explores the implications of our throwaway society through the examination of debris meticulously collected for one year during the drought of 2014 to 2015 from the shoreline of Eagle Mountain Lake, near Fort Worth, TX. Following in the footsteps of the archeologist, Augustus Rivers, who first insisted that all artifacts, not the just the beautiful or unique be collected and catalogued, I photographed every item found along one mile of newly exposed lakefront. These artifacts speak to me and I seek to understand their journeys and account for each of them.
Suitcase Joe has invested time getting to know and photographing the often vulnerable people who live in tents that line the streets immediately east of downtown L.A.
“The Leica M11 Monochrom is built on a tradition of excellence, from a legacy of exquisite craftsmanship, innovation, and iconic design to the ethos of the Leica M family: ‘Made in Germany’ with a focus on the essentials: Das Wesentliche,” Leica says.
I applied as a cheeky monkey, to find out, if the comeptitions are prepared for AI images to enter. They are not.
We, the photo world, need an open discussion. A discussion about what we want to consider photography and what not. Is the umbrella of photography large enough to invite AI images to enter – or would this be a mistake?
With my refusal of the award I hope to speed up this debate.
Over fourteen issues between 1968 and 1971, the downtown broadsheet “Newspaper” recruited a stunning list of contributors to chronicle the times in pictures.
Newspaper, published out of an East Village apartment between 1968 and 1971, was one of a number of scrappy print publications circulating downtown in those years. Most of them were more radical, less serious, or far sexier alternatives to the established Village Voice. Unlike Rat, the East Village Other, or Screw, though, Newspaper’s news involved no words, only pictures. Other than an all-caps logo, the only type was tiny and used for the occasional caption or credit; an early issue included the easily overlooked information that five dollars, addressed to Steve Lawrence at 188 Second Avenue, would get you five bi-monthly issues.
The Hand in Nature: a week of photographs that manipulates how we see and foresee our environment. Photographs help us process what is happening in the world, and this week we’ll be following photographers whose work inspects humans’ impact on the earth.
Climate grief, curiosity, and environmental interactions are all strong drivers for LeJeune’s work. Her work at times reflects the ephemeral characteristics of nature and shows us what usually goes unseen. reprocesses the ecological makeup that usually is not seen. Instead of being only surface-deep, LeJeune creates with an essential introspection of how to look inquisitively with the future in mind.
Most people know the artist for his paintings gracefully embodying the Black experience in America. In an upcoming exhibition, his photographs take center stage.
Most people know the artist for his paintings gracefully embodying the Black experience in America. In an upcoming exhibition, his photographs take center stage.
Ekow Eshun, Tanisha C. Ford, Tyler Mitchell, and Antwaun Sargent on the visionary photographer whose images and activism helped popularize the slogan “Black Is Beautiful.”
Ekow Eshun, Tanisha C. Ford, Tyler Mitchell, and Antwaun Sargent on the visionary photographer whose images and activism helped popularize the slogan “Black Is Beautiful.”
“I’m certainly aware of the stereotypes, clichés, and exploitation this area has been exposed to by many entities,” the photographer Rich-Joseph Facun once told us. “I want to be clear: I’m not here to define what Appalachia is or isn’t.” In this collection, we take a look back at some of the most powerful photography from Appalachia, created by five visual storytellers, each with a different perspective.