Photographers accounted for some of the hardest-hit professionals amid the coronavirus pandemic. During an incredibly challenging year both professionally and personally, many took the time to learn new skills and focus on personal projects. Now, in 2021
Today, we’re thrilled to release 45 Places to Find Photography Jobs in 2021, made in partnership with our friends over at Feature Shoot. We’re highlighting 45 places around the world where opportunities await. Browse job boards with full-time listings, websites for part-time gigs and social media groups specially curated for creatives. Uncover unknown creative networking platforms and sign up for newsletters design specifically for freelancers looking for work.
For centuries, across specialties, women photographers have shown great mastery and passion for the art and study of photography. The global community of women imagemakers is also often an inspiring force for good. From sharing supportive messages on Twit
In honor of Women’s History Month, we connected with a few PhotoShelter members who we’re proud to work with. These seven women photographers are offering their thoughts on representation in the photo industry and introducing us to the peers they admire most.
The photographer's guide to the rapidly-evolving NFT space.
Seemingly overnight, NFTs became the hottest acronym on social media and in headlines. On Thursday, a single JPG file created by Mike Winkelmann, also known as Beeple, sold in an online auction for $69.3 million. It was the first digital-only art sale for auction house Christie’s, meaning there was no physical copy involved.
Growing up in Ufa, the capital of the republic of Bashkortostan, Russia, Gulnara Samoilova fell in love with photography at the age of 15, and quickly discovered it was a…
Featuring the work of 100 contemporary artists from 31 countries pushing the boundaries of street photography in new and exciting directions, Women Street Photographers introduces expansive, experimental, and non-traditional approaches to a genre historically defined by the work of men. Bringing together women of all ages, races, ethnicities, creeds, and sexualities, Samoilova is on a mission to offer the kinds of opportunities and support she wished she had throughout her career.
Photography has long been a medium used to drive social and cultural change. The impact of documentary photography is immeasurable as both new and historic images play a role in how we see and interact with the world around us. As society has shifted in t
We sat down with Polly Irungu, the founder of Black Women Photographers, and talented independent photographers Dee Dwyer and Alexis Hunley to discuss the stories behind some of their powerful images, how the photo industry can better support Black photographers and more.
A new exhibition at PDNB Gallery explores how photographers working in the 1970s transformed not only the language of photography, but invented new ways of seeing the world.
Despite its long-standing marginalization, photography underwent a radical shift in the 1970s, catapulting it into the realm of fine art. Under John Szarkowski’s direction, the Museum of Modern Art staged a series of seminal exhibitions and wrote the landmark 1973 book, Looking at Photography, which reframed conventional notions of the relationship between photography and art. Recognizing that photography was not invented to serve a specific purpose, Szarkowski understood that its inherent plasticity of purpose made it the perfect medium for use by artists from all walks of life.
Last year, multimedia journalist, digital editor and self-taught photographer Polly Irungu took the photo industry by storm. As a Digital Content Editor at New York Public Radio (WYNC), she knows the power of promotion. So, when she masterfully used socia
Join us this Friday, February 19th, at 12PM ET as we talk with Polly and two incredibly talented independent photographers from the BWP community, Dee Dwyer and Alexis Hunley, about the social effects of photography and what Black photographers need from the photo industry. Sign up here.
In fact, I had expressed my surprise about the Trump team being so inept at visuals many times on Twitter. Having thought about this for a few days, though, I now think I had had it all wrong. Or rather, what I had commented on was not an ineptitude to produce visuals per se. It was the ineptitude (or unwillingness) to produce the kinds of pictures we expected to see.
His simple passion to document took him everywhere.
Corky Lee often described his life’s work as “photographing Asian Pacific Americans.” It was a simple passion that could take him anywhere. For nearly fifty years, New Yorkers never knew where they might run into Lee and his camera: a museum gala or a tenants’ rights meeting, construction sites or local laundries, youth basketball games or poetry readings, community fairs, concerts, or protests. Most often, it was somewhere along Mott Street, in the heart of Manhattan’s Chinatown, where his photographs of everyday life helped generations of Chinese Americans see themselves as part of a larger community. Lee died on Wednesday, at the age of seventy-three, of complications from covid-19.
Photographers for the magazine in 2020 located surprising forms of artistry within the pandemic’s constraints.
Among the many extraordinary challenges posed by 2020 were a few that were peculiar to photographers. When the pandemic hit, journalists who write for a living could conduct much of their reporting remotely, by phone or over Zoom, but photographers documenting the ravages of covid-19 had to go to the action—or at least within six feet of it. Philip Montgomery was the first photographer to venture out on assignment for The New Yorker when the virus overtook New York City in March. Donning an N95 mask and food-service gloves, he caught scenes of the city just as it was shuddering to a halt: customers eating a final meal in restaurants about to close their doors; anxious shoppers pushing carts past barren grocery shelves; eerily empty subway cars and airport halls; health-care workers in hazmat suits. At the time, such images looked brand-new, like dispatches from an alien world. Even the careful spacing-out of pedestrians on the city’s normally busy streets was a visual shock, an arrangement that, as Adam Gopnik wrote in an essay accompanying the images, seemed to “contradict the very concept of the city.”
In 2020, the photography industry was plagued with widespread job cancellations due to COVID-19, plus trips and workshops postponed courtesy of travel bans. But despite all of the challenges and unknowns, you adapted. We recently asked more than a thousa
Today, we’re thrilled to share The Photographer’s Outlook on 2021. Download your free guide now to see how photographers remained imaginative and adaptable despite an arduous year, including firsthand accounts of what worked and what didn’t, advice on where to focus your efforts and more.
Over the course of this article we’ll build a simple camera from first principles. Our first steps will be very modest – we’ll simply try to take any picture. To do that we need to have a sensor capable of detecting and measuring light that shines onto it.
"For artists who do stage their work and find it in situ, the photographic sketchbook is virtually unnecessary as a pre-game facilitator. I would suggest though, that the photographic notebook is an indispensable tool after cheap prints have been made ava
“For artists who do stage their work and find it in situ, the photographic sketchbook is virtually unnecessary as a pre-game facilitator. I would suggest though, that the photographic notebook is an indispensable tool after cheap prints have been made available”
Magnum Photos’ Gilles Peress in a conversation with Raymond Depardon offered an interpretation of this evolution of the print through history that could be applied to many other Magnum photographers: “When you look at Henri’s prints all through the years, you see an evolution between these “blond” prints of the fifties and the prints as of the years 1968-1970. As of that period, the prints have higher contrasts with another interpretation of light, and the question is, to know whether he [Henri-Cartier Bresson] is the one responsible, or if the times are. I think that in the fifties there was an interpretation of light and rendition that fulfilled another function, that of creating a certain harmony, a peace after the war, but that with the mounting of [societal] contradictions in the sixties, the tonality of prints not only of Henri’s, but of others too- undergoes a radical change.”