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.
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 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 photographer Carlos Jaramillo produces painterly portraits with an idiosyncratic flair.
Jaramillo was twenty-four years old when he visited Mexico for the first time. The commitment to American assimilation that he had in his early youth faded, and he began to explore a sort of third place: the flux that exists between two cultures
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.
“I believe I’m now the longest-running Iraq/Afghanistan NYT-rotation photographer,” Christoph Bangert wrote in his journal on June 24th, 2013, on a plane to Istanbul. “Everybody else stopped covering wars or…
French war photographer Adrien Vautier spent over a month documenting the war unfolding in Ukraine.
One of the photojournalists working out of wartorn country was 51-year-old American journalist Brent Renaud. On the 13th of March, Renaud was killed in Irpin, a suburb north-west of Kyiv and one of the main battlefronts in the battle for Kyiv. Thanks to his and other journalists’ work, Irpin made headlines with images of civilians fleeing across the city’s main bridge.
The 2022 Pulitzer Prize for Breaking News Photography goes to Marcus Yam, the sixth L.A. Times journalist to win a Pulitzer for photography categories.
Los Angeles Times foreign correspondent and photojournalist Marcus Yam was awarded the 2022 Pulitzer Prize for Breaking News Photography on Monday for his compelling coverage of the fall of Afghanistan to the Taliban. It is remarkable that he won journalism’s highest honor in his first year as a foreign correspondent. This Pulitzer is the culmination of all the great work Yam has produced over the last seven years at the Los Angeles Times.
Win McNamee, Drew Angerer, Spencer Platt, Samuel Corum and Jon Cherry have been named winners in the Breaking News Photography category for their extensive coverage documenting the January 6th attack of the U.S. Capitol.
The 2022 Anja Niedringhaus Courage in Photojournalism Award, named for the Pulitzer Prize-winning AP photographer who was killed reporting in Afghanistan in 2014, has been awarded to Paula Bronstein, a freelance photojournalist currently working in Kyiv.
Destruction, brutality, and terrible loss in Bucha, Kharkiv, Irpin, and elsewhere.
The invasion of Ukraine has been described as the first social-media war, and a key aspect of President Volodymyr Zelensky’s leadership has been his ability to rally his country, and much of the world, via Facebook, Telegram, TikTok, and Twitter. At the same time, war photographers in Bucha, Irpin, and beyond are working—in the tradition of Mathew Brady at Antietam or Robert Capa on Omaha Beach—to capture the grisly realities of what Vladimir Putin insists that his people call a “special military operation.”
The photographer’s work provides a stark illustration of the hold that celebrity has on our culture.
“My idea of a good picture is one that’s in focus and of a famous person doing something unfamous,” the artist Andy Warhol wrote, in 1979. “It’s being in the right place at the wrong time. That’s why my favorite photographer is Ron Galella.”
He personified the paparazzi — brazen and relentless in chasing the famous, particularly Jacqueline Kennedy Onassis. But his pictures also came to be admired.
Mr. Galella was called a creep, a stalker and worse when he began shooting pictures of celebrities in the 1960s, before mass circulation magazines like People and Us made the presence of paparazzi like him ubiquitous — and a full generation before phone cameras and websites like TMZ made celebrity stalking the pastime of legions.
According to one tally, three million dollars’ worth of equipment was stolen during the past eighteen months, in forty-five separate incidents. “Somewhere, there’s a mole,” a studio owner said.
Marc Dobiecki, the C.E.O. of Commander, a film-equipment-rental company, took note. “I could kind of smell it,” he said. “I knew we were on the list, even though we’re just a couple minutes from the local police department.” Security footage from some of the burglaries appeared to show the intruders carrying firearms. Dobiecki, a former Navy corpsman, decided to sleep on site, with a gun, for “a good chunk of last year,” he said. “I invested in body armor, too, and general-protection things, to be ready for a firefight.” He added, “I had all the lights rigged where they couldn’t turn them on. I was in control of the playing field if they came in. I knew the territory.” One night, in mid-August, he wasn’t there, and thieves took a client’s monitor that was worth about five thousand dollars. “I had to pay for that the next day,” he said.
Part 1 of 2 of my conversations with presenters at the CatchLight Visual Storytelling Summit April 19-20, 2022 at the Institute of Contemporary Art San Francisco. In part 1 I speak with Mabel Jiménez and Josué Rivas about their then upcoming presentation on who gets to tell the story and how the story is made. We preview the talk and also speak about their own work and experiences in the documentary storytelling world.
As it is, newsrooms don’t necessarily prioritize sustained, nonviolent opposition in editorial decision-making. “The public eye wants violence and destruction, but turns away from our quiet resistance,” wrote Anne Spice, a Tlingit sociologist, and Denzel Sutherland-Wilson, a Gitxsan land defender, in the New Inquiry in 2019. “People are less interested in our governance systems operating as they should.”
For nearly two centuries, photography has played a role in educating the public about both the familiar and the unknown elements of our ever-changing environment — including the many species that live among us, the constant changes to our climate, and the
Photography can truly make an impact on conservation efforts and environmental advocacy. It’s one reason why every year for Earth Day, we ask our community of passionate PhotoShelter members to share their wildlife, nature and conservation photos. If not to inspire change, these photos can at least shine a light on the vast, breathtaking world around us.
This week we are featuring bodies of work 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 speaks to a differe
Hong Kong Soup:1826’ is a series depicting waste plastic collected from over 30 different beaches in Hong Kong since 2012