Photographer David Hilliard has a new exhibition, David Hilliard: Regarding Others at the Schneider Gallery in Chicago that runs through December 30th, 2017. There's something about David's cinematic large format photographs that stand apart--it's a special quality of light, color, and clarity that comes from analog capture, but also a profound ability to connect photographs,…
This fall, I spent six weeks with the writer Luke Mogelson, following an élite Iraqi police unit called the Mosul swat team as its members fought to take back their city from the forces of the Islamic State. The story, which Luke wrote and I photographed, was called “The Avengers of Mosul”—the men were seeking vengeance not just for the threat to their country as a whole but also for the murders of family members by isis. Nearly every fighter had suffered this kind of loss, and many of them had family still living in peril in Mosul. The men welcomed us on their campaign, and shared with us their provisions, their blankets and mats, their seats in the trucks, and their stories.
Every presidential campaign has a particular feel and color: the red, white, and blue days of JFK that ended in a sad pink boucle, the brilliant reds of Nancy Regan, the rainbow spectrum of the Obamas. But this election is perfectly captured in black and white by photographer Mark Peterson, stripping the last two years down to its bare bones, showing the warts and weirdness of democracy gone awry. The result of “the most polarized and bizarre presidential race in American history” is a new monograph, Political Theater, published by Steidl.
Practicing what he terms “visual anthropology” Brouws, over the past twenty-five years, has persistently pursued a body of work that closely examines the evolving American cultural landscape
There’s no need for a new and improved photojournalism. It’s the Great White shark of visual communication. It doesn’t need to evolve, because when it’s done right there’s nothing that can compete with it. That’s why photographers working in other disciplines relentlessly try to associate their work with photojournalism.
Scott Anderson’s story gives the reader a visceral sense of how it all unfolded, through the eyes of six characters in Egypt, Libya, Syria, Iraq and Iraqi Kurdistan. Accompanying Anderson’s text are 10 portfolios by the photographer Paolo Pellegrin, drawn from his extensive travels across the region over the last 14 years, as well as a landmark virtual-reality experience that embeds the viewer with the Iraqi fighting forces during the battle to retake Falluja.
Pressing McCurry for explanations when one already knows the reasons he used Photoshop — to create a more saleable, viewable image — evades more serious issues about who controls photography, and when and how to liberate it.
I discovered Stephen Crowley’s terrific exploration of Florida in the 1970’s and 80’s when jurying Photolucida’s Critical Mass Competition. Stephen’s project, Time Spent: Florida 1972-1984 went on to be selected as one of the Top 50 portfolios of 2015. At the young age of 20, Stephen had already identified himself as a street photographer and had a rare ability to capture moments that, now seen 40 years later, were insightful, telling, and iconic. His work allows us to consider a period in history that comes after the shape-shifting era of change in the 1960’s and early 1970’s and realize that Florida was slower to evolve and that the stark contrast between the classes was ever present.
Chaque année, l’un des plus attendus et plus importants Prix de Photographie de Presse publie son livre, le “World Press Photo Yearbook”. Cette année, l’ouvrage fait peau neuve, il est plus petit et comporte plus de pages tout en laissant une place importante à l’image ! Le livre est publié dans 6 langues, ce sont donc 6 éditeurs européens (Schilt Publishing, Thames & Hudson, Till Schaap Edition, 24 ORE Cultura et Blume) qui participent à la création de ce nouvel opus 2016. Les photographies des lauréats du World Press sont actuellement exposées à Amsterdam au De Nieuwe Kerk jusqu’au 10 juillet prochain.
Photographer Matt Black has profiled over 100 cities across 39 states for his project The Geography of Poverty. He recently went to Flint, Michigan, for The Development Set
Question about home, dream and everything between, photography is my emotional escape, I use it as something to express what I feel in my boring life.
I will say this; I do think there’s a teeny bit of a shortage of good ideas to be honest with you. Robert Gilka, then the Chief of Photography for National Geographic once said, “We’re up to our armpits in great photographers, but up to our ankles in good ideas.”
So the only advice I would give is, “You’re talented, you’re smart, you’re dreamers, you’ve taken this on…so go poke around in some darker corners that haven’t had some light on them yet.”
I’d like to believe that this video snippet was just another absurdity of campus life, where the politics are so vicious, as they say, because the stakes are so small. But it goes to a more troubling trend — the diminishment of a healthy, professionally trained free press.
To be a photographer in this age, you have to really WANT to do it. Don’t do it just because you can’t think of anything else to do. Go to workshops, and perhaps more important, use your library and even the web to find work which inspires you. One of the things which I find so disconcerting is that very few young photographers today can tell you who the photojournalists of note were in the 50’s, 60’s, and 70’s. I fear there is a certain kind of self-validation which shooting/seeing immediately engenders
Elliott Erwitt has been taking pictures since the late forties. This exhibition is a unique and comprehensive survey of his work. Erwitt’s unmistakeable, often witty, style gives us a snapshot of the strange and the mundane over a period of more than half a century, through the lens of one of the era’s finest image-makers.
This collection of work provides the ultimate retrospective look at a lifetime’s achievement. It includes the first photographs taken by Henri Cartier-Bresson, some of which have never been published, rarely seen work from all periods of his life, and a generous selection of classic photographs that have become icons of the medium.