In 2006, Jonathan Torgovnik worked on a photographic essay, on the children born as a result of rape during the genocide there in 1994.
Many Tutsi women were forced to watch their husbands killed right in front of them, and then were brutally and repeatedly raped by Hutu militias. They often contracted AIDS and gave birth to children, who were at the time unwanted. Their woes were exacerbated by their own tribe’s rejecting both mother and child because the child was the product of mixed parentage. These little family units received little or no help or comfort.
A group of boys in Baraboo, WI assembled for a junior prom photo and posed with a Nazi salute. One of the boys posted the image to Twitter with the caption “We even got the black kid to throw it up.” In the midst of public outrage, it was revealed that a professional photographer not…
Congratulations to Igor Tereshkov for being selected for CENTER's Project launch Grant recognizing his project, Oil and Moss. The Project Launch Award is granted to an outstanding photographer working on a fine art series or documentary project. The grant includes a cash award to help complete or disseminate the works, as well as providing a…
JPEG images are everywhere in our digital lives, but behind the veil of familiarity lie algorithms that remove details that are imperceptible to the human eye. This produces the highest visual quality with the smallest file size—but what does that look like? Let's see what our eyes can't see!
After giving the Sem Presser Lecture, supported by DuPho, during the World Press Photo Festival 2019, Aida Muluneh speaks about the impact of photography in shaping cultural perceptions
I doubt I am alone in finding this simple sentence amongst the most enticing in the English language. It is laden with promise, and possibility. Almost anything could happen next. As photographers, we often think and speak of ourselves as storytellers, but our actual understanding of how stories work is woeful compared to other fields. Good storytelling is not something weinnately understand, we aren’t generally taught it, and most of us don’t go out of our way to learn it; at best, we pick up some understanding of it along the way, through trial and error. But even those rare people who actually have a robust working understanding of storytelling rarely seem able to articulate what it is they do when they create visual narratives. They just do it instinctively, as if by gut.