Robert Glick believes, “When we do documentary photography, we establish a permanent bond with those we photograph and the community in which we work.” In the early 1980s, Glick was working as a photographer for the New York Chinatown History Project, which is now the Museum of Chinese in America. The goal of his work was to document the community as it transformed from an primarily older, male population to a generation of young families due to rapidly expanding immigration
At the end of his career, John Szarkowski, the legendary curator of photography at the Museum of Modern Art, quipped that Arbus, Friedlander, and Winogrand sounded more like the name of a law firm than like the names of the artists he first exhibited in 1967, in his influential show “New Documents.”
Once she got sober, Rocio De Alba began noticing women trying to stop drinking or using drugs everywhere she looked. She saw them on the news, interviewed in decrepit halfway houses. She saw them in documentaries, caught in alleys and corners dying for a fix — and dying to stop. She studied their close-ups in photo essays, their faces creased and spotted, roadmaps of their worst days.
Over the last four years, as Venezuela descended into economic and social chaos, Meridith Kohut, a Houston-born photographer based in Caracas, built one of the most complete photographic chronicles of the country’s collapse. Working for the New York Times, she covered the breakdown of Venezuela’s public hospitals, workers flocking to illegal gold mines, people turning to drug smugglers to get out of the country, as well as a wave of extrajudicial killings at the hands of the police and military.
Between August 5th and 9th, 2015, the LGBT community in Uganda held their fourth Pride celebration despite the country being one of the worst in the world for LGBT rights. Moreover, the turnout was larger than ever before. As with previous Pride celebrations, the events were held in “secret”: they were not advertised to the public, and took place in private locations disclosed to members of the LGBT community and their supporters only a few days before an event. The program included presentations on issues of concern to LGBTs, a Mister and Miss Pride competition, a Pride march, and various other performances and festivities.
For L’Italia di Magnum. Da Henri Cartier-Bresson a Paolo Pellegrin, an exhibition currently on view at CAMERA – Centro Italiano per la Fotografia, in Torino, twenty photographers have been called upon to recount events, great and small, through Italian figures and localities from the post-war years right up to the present day, in a blend of famous and less familiar photographs, of places known throughout the world and of ordinary citizens who make up the social and visual fabric of Italia.
“I want people to know that no matter where you are, no matter what town you’re in, if you feel helpless where you are, there’s beauty there.”
In March 1945 a man who had witnessed far too much human misery dug into ground hardened by the Polish winter and retrieved what he had buried months earlier. Thus, in a manner of speaking, did he provide the dead with an afterlife.
His name was Henryk Ross.
Ukrainian photographer Sergey Melnitchenko first arrived in China as a dancer. Performing in a nameless Chinese club he describes as being “more like a huge bar with a stage,” it wasn’t until he paid full attention to the surroundings that the singular atmosphere of the place struck him. “At one moment, I realized how many great things are going on here, and that’s how the series Behind the Scenes appeared,” says Melnitchenko.
In October of last year, some three months after the last reported shooting, Phoenix photographer Jesse Rieser made the forty-minute drive to Maryvale and spent a little more than a week in the neighborhood. Joining him was the French journalist Emmanuelle Andreani-Facchin of Society Magazine, who spoke with residents and detectives about the case. Their story ran in the magazine on the week of the US election, as part of the “America” issue.
My work is actually made of two strands: on one hand, the story of a land, tormented by an underworld pollution, that’s sentencing the inhabitants to death. On the other hand, my purpose is to tell the story of its inhabitants: young children who died of cancer; inconsolable but courageous mothers, who unceasingly march and protest against this massacre; ill people, daily fighting to keep alive; teenagers who lost their parents and claim a better future
“The Communist Party is like the sun. Wherever it shines, it is bright.” A look at political messaging during China’s Cultural Revolution.
These are the lyrics of “The East is Red,” a song praising Mao Zedong that became China’s unofficial national anthem during the Cultural Revolution (1966-1976). These are also the words that inspired the title of photographer Sheila Zhao’s latest project “The East was Red,” which examines the power and prevalence of political messaging in photography from that time.
Inviting the large number of Iranian followers of our Instagram page, we launched the hashtag, #1415IRAN, for six months, and collected over 16,000 images from more than 300 Instagramers. This reflected an incredible visual richness and provided eyewitness accounts of life, tastes, habits, entertainment, traditions, healthcare, women, family life, modernity, country life, religion, and street life from the people of Iran.
Monroe, Ga., population 13,250, is an old cotton town that sits comfortably between Atlanta, about an hour to the west, and Athens, a half-hour east. Travelers might call it a highway exit, a pleasant pit stop between two of the state’s most popular cities, and leave it at that.
Stephanie Calabrese, a documentary photographer, sees it differently
On behalf of the Lenscratch staff, we are honored to share hundreds of images of a remarkable day in this massive ten part post, being celebrated today on International Women’s Day. We thank the many organizers around the globe and we hope this is a reminder of the day that women ruled the world
Here is a visual exploration of the environmental consequences of oil production – from the Alberta Tar Sands in northern Canada to the pipelines and refineries across America – as told through the work and words of nine photographers.
‘I buried my negatives in the ground in order that there should be some record of our tragedy.’ The photographs of Henryk Ross.
Officially, former Polish press photojournalist Henryk Ross was forced to work by the Nazi regime as a bureaucratic photographer for the Jewish Administration’s statistics department. He took photographs for Jewish identification cards, as well as images used as propaganda for the Lodz Ghetto. Ross was one of at least 160,000 people held in the Lodz Ghetto in Poland, second only to the Warsaw Ghetto in German-occupied Europe.
For the past four years, photographer Emin Ozmen has been documenting the plight of Syrian refugees living in Turkey. According to the United Nations refugee agency, there are more than 2,8 million registered Syrian refugees in Turkey. And more than half of them are children.
In 2015, photographer David Gaberle walked over 2,200 miles (3,600 kilometers) through some of the world’s most metropolitan areas, photographing people in cities such as New York, Tokyo, Hong Kong, Shanghai, Sydney, London and Seoul. He’s now turning this project into a book titled Metropolight.