to complete this tribute to Marc Riboud, we have discovered a never-published before image that delivers the context and the perspective of this Liulichang Street. The photo shows dilapidated storefronts lining up on one side, in the middle of the road a “chauffeur” riding a tricycle-taxi, has he just picked up the son of a rich family from school? From inside the funny looking wooden cage, the kid is peering out at Marc. Outside one of the shops on the left, a rice paper advertising says “Zongzi”, that glutinous stuffed rice wrapped in bamboo leaves traditionally eaten during the Dragon Boat festival (Duan Wu), which gives us the date of this picture, which on Marc Riboud’s contact sheet, is four frames before the famous “Windows”. That is to say this picture was taken in May 1965, exactly fifty years to this day.
Dialogues: 36 Photographs & 20 Poems is a new publication from 205-A and the first book in a series that explores the intersection between photography and poetry. The publishers, Aaron Stern and Jordan Sullivan worked in collaboration with poets Tom Sleigh and Will Schutt to bring together these unique pairings. The book features the photography of Ed van der Elsken, Alex Webb and Rebecca Norris Webb, Alain Laboile, Emma Phillips, Mark Borthwick, Brian Merriam, Coley Brown, Jordan Sullivan and Aaron Stern.
Sometimes it takes a connection to the past to better understand the present. For essayists exploring African-American life in Pittsburgh, a trove of 80,000 photos taken by Charles (Teenie) Harris allowed them to immerse themselves in everyday life from the 1930s through the 1970s.
“The Middle of Somewhere” is from my ongoing visual family diary, which revolves around my two daughters growing up. After leaving behind my photographic career (and life) in London in 2002, we passed several nomadic years before settling down in a remote part of Australia where this series began.
As a teenager Joseph Nakaha fled with his parents to neighboring Tanzania when ethnic-based fighting erupted in Burundi after independence in 1962. In 1972, he was a refugee again and then in 1993 when civil war broke out, he and his wife and grandchildren again fled the country.
Now 67, Nakaha is a refugee once again.
By traveling on China’s “desertification train” that bisects China’s major northern deserts (The Gobi, Taklamakan and Badain Jaran), photojournalist Sean Gallagher reports on the various implications of desertification on people’s lives across the breadth of China.
Timothy Fadek, who used to go to the bar, on East 60th Street and Lexington Avenue, felt a twinge of melancholy when he learned it was to close last December and be replaced by — what else? — condos. He set about to chronicle the last days of the place that had been a regular stop on his way home from the School of Visual Arts in the late 1990s.
Since 2006, when she became a staff photographer at The Monitor in the border town of McAllen, Tex., Kirsten Luce has been documenting immigration issues on both sides of the U.S.-Mexico border
What can rural Indian villagers do to counter the development of a massive government-backed nuclear industry? Amirtharaj Stephen shows us.
Margaret Bourke-White was a pioneering figure in 20th century documentary photography. As a founding mother of LIFE, she became a world-famous symbol of globe-trotting photojournalism. And that she did it in a male world made her success even more spectacular
Noel Camardo is watching American culture closely, analyzing and documenting its bizarre behavior with a sharp eye and his camera. Whether it’s our strange fascination with staring at phones in public while being unaware of our surrounding to income inequality or our government’s food regulation, Camardo’s photographs reveal the cracks and underlying issues in our infrastructre and society
When Korean-born photographer Hatnim Lee was a child, her parents’ Washington, D.C. liquor store was a home away from home. She was an infant when her parents moved to the United States to open up shop, and she spent much of her childhood chipping in and helping out. Their customers became a sort of extended family, popping by throughout the day to peer in and wave hello behind a layer of thick plexiglass. Plexiglass is Lee’s album of the community built by her parent’s liquor store, an ode to their hard work and to the people she has come to know both intimately and at a distance.
During the 1960s and 70s, Lake Balaton, the biggest lake in Central Europe, was a major tourist destination for working-class Hungarians and people from the Eastern Bloc. It also served as a meeting point for Eastern and Western Germans, who were separated by the Berlin Wall until 1989, but could still travel and meet here.
The photographers Grete Stern and Horacio Coppola met at the Bauhaus in 1932. The next year, they emigrated to London, where they married, and then to Coppola’s native Argentina, where they mounted the country’s first exhibition of modernist photography
Sally Mann doesn’t believe in talent. She believes in hard work. The kind of work it takes to ride unruly horses, to hoist an 8×10 camera, to constantly fend off controversy, and to write an honest book about a complicated existence.
These here are some real New York ladies.” Nobody had ever come to my defense like this. It was a snowy January afternoon. The weather was cold but the mood was cheerful. Jill and I had just left her apartment in Harlem, near West 100th street, Morningside Park and the majestic cathedral that overlooks it. We were headed to the other side of Central Park, towards 70th street. In New York, you can only tickets for the bus with small change, which you usually only need for laundromats. Standing across from the stony-faced driver, I was digging in my pockets for a few more coins. “Just take a seat,” Jill said. “The drivers won’t care, he’s used to it.
The publishers — photographers and photo editors Rune Eraker, Laara Matsen and Espen Rasmussen — combed through close to 100 applications and submissions to arrive at its final list of eight photographers, using funding from the Fritt Ord Foundation, a non-profit devoted to freedom of expression, to produce the high-quality book.
Incredible split-second patterns in New York advertisements captured on large-format film
Just ask Roger May. He is a photographer who proudly calls himself an “Appalachian American.” Born in Kentucky and raised in West Virginia, he jokes that he enjoys “dual citizenship,” but he is serious about changing how his beloved region is portrayed. For too long, images that defined it were dominated by the usual visual tropes — of barefoot kids, rundown shacks and rutted roads — made at the dawn of the federal government’s war on poverty in the 1960s.
From water level, cruise ships can look like confounding, imposing towers—but in Jeffrey Milstein’s series of aerial photographs, “Cruise Ships,” the amazing designs of the floating behemoths seem clear and even beautiful. “Most of them have pools. They almost all have a putting green, a running track, a basketball court. The whole top deck becomes this kind of floating amusement park three football fields long. It’s an amazing construction,” he said.