"In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture".
Lọlá Ákínmádé Åkerström has been a PhotoShelter member since 2013 but a champion for travel photography and writing for much longer. A Stockholm-based photographer and author, she’s taking over our Instagram this week to share moments from her travels acr
It’s no secret that we’re big fans of anything that makes photography more accessible. The FENCE, a traveling photo exhibit put on by our friends at United Photo Industries (and the same team behind Photoville), does just that. It brings outstanding photo
Brittney Denham was born in California and raised in Wyoming. She graduated from The Ohio State University in 2012 with an MFA. Currently she is Printmaking and Photography Faculty, as well as the Gallery Director at Sheridan College in Sheridan Wyoming.
I like Gilden. It takes a lot of balls to walk up to someone on the street and push a flash camera in their face. Does it take some special photographic talent? No. But that’s not the point. It takes a certain unified vision. The point is Gilden has created an aesthetic unique to him and hasn’t much deviated from it in 50 years. As such, he’s created a large, coherent body of work. I’ve heard people criticize his work, claiming it gimmicky and artless, something any 8th grader would be capable of. Could your kid have taken these pictures? Yes. But your kid didn’t, and Gilden did, just like it would have been within your kid’s skill set to have painted Jackson Pollock’s Alchemy, 1947. Your kid didn’t, because your kid would have never considered the aesthetic potential inherent in the medium. The genius of Pollock -and Gilden- is having seen the aesthetic others missed.
Acclaimed photojournalist Tom Stoddart has vowed never to put down the camera as he reflects on his remarkable career today. Known for his distinctive black and white shots, Mr Stoddart has documented key moments in history from his “ringside seat”.
The Italian-born photographer presents his “Scene” series at the BAL in Paris until April 28th. Armed with an imposing device made with electronic flashes as in a studio, Alex Majoli catches the image of a group of people in strong situations, sometimes in events of the news. It questions the way of doing photojournalism today and tries to capture the theatricality of the world. He gave an interview to The Eye of Photography.
It’s a grim old day in London, though David Bailey isn’t too bothered. “Miserable Monday, but it could be worse,” he says, before falling into one of his trademark, impromptu giggles. “Today’s quite easy for me.” By now, his work needs no introduction: sy