Thomas Hoepker Looks Back at Six Decades of Photojournalism — Blind Magazine

The Magnum Photos member revisits his storied career in a new exhibition and monograph.

After receiving a 9×12 camera from his grandfather in 1950, Hoepker became obsessed with photography. By the end of the decade, he was working as a photojournalist — and soon became one of the leading photographers of his day. He traveled the globe, building an extraordinary archive, which Magnum Photos began to distribute in 1964, the same year he joined Stern magazine as a photo-reporter.

Juxtapoz Magazine - Larry Towell's Friendship with the Old Colony Mennonites

"In 1989, I discovered them in my own back yard, land-hungry and dirt poor. They came looking for work in the vegetable fields and fruit orchards of L...

Larry Towell photographed the Old Colony Mennonites in rural Ontario and Mexico between 1990 and 1999. The resulting black and white photographs—accompanied by an extensive text drawn from diary notes and ‘the silt of the memory’—formed Towell’s landmark book, The Mennonites, first published in 2000. This revised and updated second edition published by GOST revisits the project and includes 40 previously unpublished photographs.

Living on the Streets in One of America’s Richest Cities — Blind Magazine

For six years, Robert Gumpert documented the unhoused in San Francisco. Division Street is the culmination, named for the street where the project began. Combining first-person narratives, found text and Gumpert's photographs, it is the story of lives liv

“I began walking the streets and thinking about what I was seeing. Walking home from the jail I would sometimes run into people living on the street who I ‘knew’ from jail. Some of them wanted copies of their jail photos; or a new one, which I did.”

THE CENTER AWARDS: Excellence in Multimedia Storytelling Award: Dan Fenstermacher - LENSCRATCH

Congratulations to Dan Fenstermacher for being selected for CENTER’s Excellence in Multimedia Storytelling Award recognizing his project, Food Chain. The Excellence in Multimedia Storytelling Award recognizes outstanding storytellers using lens-based medi

Working everyday except Tuesdays the fisherman from the seaside towns of Prampram, Cape Coast, and Ada, Ghana, head out to sea where they fish up to 40 kilometers offshore. For generations families of these communities have fished the Atlantic Ocean. What they catch will determine the livelihood of the community and their families. During the summer months of 2021 I photographed the story of these local communities of fisherman.

THE CENTER AWARDS: Social Award: Debe Arlook - LENSCRATCH

Debe Arlook Congratulations to Debe Arlook for being selected for CENTER’s Social Award recognizing her project, one, one thousand…. The Social Awards recognize work engaged in social issues. All projects exploring social topics or themes were eligible. J

one, one thousand… is a love story and an unconventional documentary exposing the impact a rare and incurable form of epilepsy, Lennox-Gastaut Syndrome, has on a mother and son’s experience of life-long care. This is a family caregiver’s story of devotion and perseverance.

THE CENTER AWARDS: Social Award: Luis Corzo - LENSCRATCH

Congratulations to Luiz Corzo for being selected for CENTER’s Social Award recognizing his project, PASACO. The Social Awards recognize work engaged in social issues. All projects exploring social topics or themes were eligible. JUROR: Jess T. Dugan, Arti

(Guatemala City, Guatemala) On the 18th of April, 1996, my father and I were abducted from our home and held captive for thirty-three days by an organized crime group known as “Los Pasaco”. In the early 90s, “Los Pasaco” were the most feared and notorious group of criminals in the country. During this captivity, my father was physically tortured and eventually had his left ring finger amputated and sent to my grandfather to pressure him into sending more money for ransom. Eventually, my father was released on the 30th day and told to gather more ransom money in order to have me released. Three days later, I was released in the small town of Chiquimulilla, Santa Rosa.

My Wonderland – The Leica camera Blog

I’m not a big fan of sitting in front of my computer processing my images in Lightroom; so I do my best to get near to optimal settings when I’m on the street. Then, I spend less than two minutes processing an image. I always add a little bit of luminosity, and luminance, and adjust the colours slightly; but all this is very fast.

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.