There’s nothing more fascinating than looking at candid shots of the unassuming public. Those shots become even more interesting when a skilled street photographer finds the sweet spot timing of the perfect juxtaposition. Matt Stuart, is one of those photographers.
“Now that I think about it, a lot of little things have sort of slowly added up, like when they reduced my lunch hour to 30 minutes last October,” Durkee said while walking CFO Janice Dugan’s poorly behaved English bulldog, Twombly, a task that cannot be found in Durkee’s extensive job description. “In and of itself, I suppose that isn’t really that terrible. Until you consider the five different job-title changes I’ve endured over the past two years and the fact that I had to buy my own computer for work.”
The smells, the children so excited, desperate for the diversion that the tall white fella provided from the crushing boredom of a life without hope, the adults, shamed into lethargy by their inability to pull themselves out of a mire not of their own making… I’d seen it before in the camps and out stations where the Aborigines had gathered on the edges of town, in the remote deserts and coastlines… refugees in their own country.
Matt Lutton: I’ve been trying for the last two weeks to put together some sort of introduction to my ongoing project about the destruction of a large Roma camp here in Belgrade, and words have really failed me.
Mr. Model’s work appeared in National Geographic, Outside, The New York Times and other publications. His assignments took him from the rivers of Burundi, where he searched for a fabled man-eating crocodile, to the Nameless Tower of northern Pakistan, one of the world’s largest granite walls.
the instructional piece he has in the current issue of MAKE about “worst-case-internet” kits, with details on what to include, what each component costs, how to set it up, and why.
“Capitolio,” the new book on Venezuela by Magnum photographer Christopher Anderson, offers a stunning view into Caracas’s descent from its perch as one of Latin America’s most economically advanced, if unequal, cities into a place gripped by low-intensity chaos and fear.
The Visual Student is a resource for students in all areas of visual journalism. We are starting from the ground up, so comments and suggestions are very welcome. In the coming weeks we will be adding more daily features and more resource links.
Grayson and Mike at Outside Magazine asked me to write an essay for their photography issue and we settled on the topic of photo manipulation. It’s certainly a hot button issue these days not only because of how easy it’s gotten to make realistic fakes but also because it’s gotten easier to publicly debate it and uncover forgeries that are passed off as real.
Grazia Neri Agency was founded in 1966. The company represents photographers for assignments and distributes news, documentary, sports and creative stock photography. The agency is the Italian representative of many individual photojournalists and over 150 international agencies.
Sean Gallagher, a photojournalist living and working in China, won a travel grant from the Pulitzer Center for Crisis Reporting in February for his work on the country’s desertification. From a whirlwind trip to complete his coverage, Sean created several posts, slideshows, and the multimedia piece below. Sean explains how important it was to edit as he traveled to check in with his themes and cut down on post-production time. Don’t miss his earlier posts about finding and planning in-depth stories.
Italian photographer Arianna Sanesi, currently lives in Milan, after studying photography in Bologna and traveling through France and the U.S. She is at the beginning of her career, working as an assistant to Magnum photographer Ferdinando Scianna, but has already found a photographic voice. Arianna has an interesting series featured below, on the changing vista of China–the old and the new juxtasposed for thought provoking comparisons
However, Newsweek’s objective in running the cropped version was to illustrate its editorial point of view, which could only have been done by shifting the content of the image so that readers just saw what the editors wanted them to see. This radical alteration is photo fakery. Newsweek’s choice to run my picture as a political cartoon not only embarrassed and humiliated me and ridiculed the subject of the picture, but it ultimately denigrated my profession.
A National Geographic contributor and Magnum member, David Alan Harvey launched the online magazine Burn last year to support the work of up-and-coming photojournalists. Burn recently awarded its first $10,000 Emerging Photographer Grant, and Harvey is trying to raise more money so he can start paying photographers to shoot assignments.