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.
Photographer of the Year: Monica Denevan Today we share the winners of the prestigious photo competition, All About Photo Awards 2020, The Mind’s Eye, organized by All About Photo. A panel of 7 expert jurors including Elizabeth Avedon (Photography book an
Today we share the winners of the prestigious photo competition, All About Photo Awards 2020, The Mind’s Eye, organized by All About Photo.
Saturated colours, intense light, happy people, blue seas, clouds: the Australian photographer won the 2002 LOBA for her lively picture series dedicated to beach life. Her complex compositions represent a great homage to the beauty of the Australian coastal landscape and convinced the jury, with their content and form, that the series best captured the competition’s theme of humanity’s relationship with the environment.
Kenneth Jarecke talks with legendary picture editor Karen Mullarkey about her time at Life Magazine, Rolling Stone and Newsweek (among others) and working with photographers such as Richard Avedon, Annie Leibovitz and Arthur Grace (among others).
Each year, I teach a year long Personal Project class at the Los Angeles Center of Photography where photographers continue with or create new bodies of work, produce artist’s books or catalogs, hone their articulation and consider their influences. To sa
The New York Times pored over 10 years of images, of moments both fresh and faded, to tell the story of the past decade.
If you’re a 500px member who hasn’t logged in to the photo sharing and selling service for a while, you may be asked to agree to an updated Terms of Service document upon logging in. The latest agreement is causing an uproar (and a new wave of account deletions) among many photographers, but it doesn’t appear that anything has changed from a legal or rights standpoint.
The significance of the drowning photograph: America at a tipping point. What it says about Trump. When a photo like this should be seen.
We cannot know in this moment, but I suspect that this photo of Óscar Alberto Martínez Ramírez and his daughter, Valeria, will stand the test of time. Given the firestorm over immigrant detention and the moral freefall of this administration, I believe Americans will look back at this photo as a tipping point of the Trump presidency. I see the photo as a marker and container for the abrogation of the country’s values in this faux immigration crisis, much like the 1972 Napalm Girl photo memorialized US disillusionment and exhaustion over Vietnam, and hastened America’s final exit from the war.
What interests Keith Carter more than the stories Texas tells about itself are the everyday figures—idle kids, blue-collar workers, animals both domesticated and less so—that contribute to the state’s mythology.
The five decades that Keith Carter has spent documenting small-town Texas more than make up for the fact that he was born in Wisconsin. His family moved to the town of Beaumont when he was just a few years old, in the early nineteen-fifties, and his single mother took up commercial portrait photography to support them. Mesmerized by the red-tinted darkroom printing he witnessed in their kitchens growing up, he turned to photography after graduating from Lamar University with a business degree. He has since built a prolific career making art of and for the place he’s from. “My home town,” Carter has said, “is the backdrop for a rich East Texas storytelling culture, an occasional mystifying spirituality, and abundant folklore,” qualities that manifest themselves in the rich, allegorical images he produces.
The full length "Everybody Street" documentary film is now available on YouTube (with ads). You can also stream it for free on Amazon Prime Video (or purchase the DVD from Amazon): EVERYBODY STREET, directed by Cheryl Dunn ("102 Minutes that Changed Ameri
When Vox revealed in late January that Patrick Witty left National Geographic, where he was deputy director of photography, after an investigation for sexual harassment, an issue that’s long been discussed in private was catapulted into the open: Photo
In interviews with more than 50 people, in a CJR investigation spanning more than five months, photojournalists described behavior from editors and colleagues that ranged from assault to unwanted advances to comments on their appearance or bodies when they were trying to work. And now, as the #MeToo moment has prompted change across a range of industries—from Hollywood to broadcasting to the arts—photojournalists are calling for their own moment of reckoning.
Ralph Gibson self-published his own photo books decades ago. Now, those books — filled with dreamlike sequences — have been released in a single volume.
“I wanted to make photographs you could look at for a long period of time, photographs that were not ephemera, photographs that were made to last and could support a great depth of content,” he said. “That’s the opposite of working for the media.”
From Rohingya refugees in Bangladesh, to the disaster at Grenfell Tower and a seahorse clinging to a cotton bud: photographers describe how they took some of the defining images of 2017. Selection by Sarah Gilbert
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 speci
The Russian Emil Gataullin is a master of poetry in black and white, and of photography that recalls that of Henri Cartier-Bresson. It dances in a balance between austerity, deliberate reserve and romantic composition. His theme: the Russian village. A life far from the great decisions scandals, everything is in the light, honest and authentic. His wanderings in the small towns and villages are strolls in an unknown land, introspective walks, a return to his childhood. His photos are neither cynical nor idealist. They are only a moment in life, a declaration of love for a Russia that begins far away from Moscow.
Stephen Crowley, who has retired after 25 years of photographing Washington and politics, on working for The Times, the changes he’s seen in the country, and on what’s next.
After 25 years as a photographer for The New York Times based in Washington, D.C., Stephen Crowley has retired. His incisive and revealing photographs pierced the public veneer of Washington politics, bringing the viewer into the back rooms of power.
When the men died, I wanted to find them in a picture, as if seeing them right away would keep their memory from fading away.
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 Reagan, the rainbow spectrum of the Obamas. But this election is perfectly captured in black and