Category: Portfolios & Galleries

A Limousine Driver Watches Her Passengers Transform | The New Yorker

A Limousine Driver Watches Her Passengers Transform

In the eighties, the photographer Kathy Shorr became a chauffeur, capturing working-class New Yorkers on their way to new lives.

via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-limousine-driver-watches-her-passengers-transform

Shorr shot in black-and-white, with a Nikon, often leaning through the partition that divided the driver from the driven during stops, so that the back of the car became a de-facto photo booth. From the moment that she announced her creative intentions to her subjects, she told me, “the whole dynamic of control and power in the car changed.”

https://www.newyorker.com/culture/photo-booth/a-limousine-driver-watches-her-passengers-transform

January 7, 2025
Review Santa Fe: Duygu Aytaç: Ankara 1974 – LENSCRATCH

Review Santa Fe: Duygu Aytaç: Ankara 1974 – LENSCRATCH

Today, we are continuing to look at the work of artists from the 2024 Review Santa Fe portfolio review event. Up next, we have Ankara 1974 by Duygu Aytaç. Duygu Aytaç’s photography often explores themes of indoctrination, childhood memories and one’s place in a social group. Her work has been exhibited in Turkey and the United States

via LENSCRATCH: https://lenscratch.com/2025/01/review-santa-fe-duygu-aytac-ankara-1974/

Duygu Aytaç’s photography often explores themes of indoctrination, childhood memories and one’s place in a social group. Her work has been exhibited in Turkey and the United States since 2010. She immigrated to the United States in 2015.

https://lenscratch.com/2025/01/review-santa-fe-duygu-aytac-ankara-1974/

January 7, 2025
Review Santa Fe: Kathleen Tunnell Handel: Where the Heart Is – LENSCRATCH

Review Santa Fe: Kathleen Tunnell Handel: Where the Heart Is – LENSCRATCH

Today, we are continuing to look at the work of artists from the 2024 Review Santa Fe portfolio review event. Up next, we have Where the Heart Is: Portraits from American Trailer and Mobile Home Parks by Kathleen Tunnell Handel. Kathleen and I originally met during the Atlanta Center for Photography portfolio reviews in early 2023, and

via LENSCRATCH: https://lenscratch.com/2025/01/review-santa-fe-kathleen-tunnell-handel-where-the-heart-is/

Where the Heart Is was begun in 2017 with travels photographing within communities, to date, in Maine, New Jersey, California, Texas, Colorado, New York, Georgia, Oregon, and Arizona.

https://lenscratch.com/2025/01/review-santa-fe-kathleen-tunnell-handel-where-the-heart-is/

January 6, 2025
Review Santa Fe: Denise Laurinaitis: The Missing Photographs – LENSCRATCH

Review Santa Fe: Denise Laurinaitis: The Missing Photographs – LENSCRATCH

In early November 2024, I had the great pleasure of attending and reviewing portfolios at CENTER’s Review Santa Fe event for the second consecutive year. I love participating in portfolio reviews because they reinforce my fondness of the photographic arts, and of learning in general. Speaking with artists about their work deepens my appreciation for

via LENSCRATCH: http://lenscratch.com/2025/01/review-santa-fe-denise-laurinaitis-the-missing-photographs/

The days pass quickly, and I take it all in. Childhood is fleeting, and I get to experience it all over again. The wonderment, the skinned knees, the giggles, and the in-between. I feel that excitement in holding a firefly, its tickle so gentle as it walks across my hand. Did I actually live this before?

http://lenscratch.com/2025/01/review-santa-fe-denise-laurinaitis-the-missing-photographs/

January 2, 2025
Pictures of the Year: Our photo staff’s best of the best, in their own words | The Seattle Times

Pictures of the Year: Our photo staff’s best of the best, in their own words | The Seattle Times:

The Seattle Times photo department produces some of the finest photojournalism in the country, bar none. It has been that way for decades: With stunning artistry, they consistently delight with the beauty of an aesthetic photograph, report with grit the most important news, and entertain with precision sports and feature coverage.

January 1, 2025
The Favorite Photograph You Took in 2024 Exhibition – LENSCRATCH

The Favorite Photograph You Took in 2024 Exhibition – LENSCRATCH

Happy New Year! Today we share our annual exhibition of your favorite photographs of 2024. Thank you for being part of this wonderful community and wishing you all a spectacular 2025! Browse the entire The Favorite Photograph You Took in 2024 ExhibitionPart 1 | Part 2 | Part 3 | Part 4 | Part 5

via LENSCRATCH: http://lenscratch.com/2025/01/the-favorite-photograph-you-took-in-2024-exhibition/

Happy New Year! Today we share our annual exhibition of your favorite photographs of 2024. Thank you for being part of this wonderful community and wishing you all a spectacular 2025!

http://lenscratch.com/2025/01/the-favorite-photograph-you-took-in-2024-exhibition/

January 1, 2025
“La Vueltita de Tam” | By Irina Werning – burn magazine

“La Vueltita de Tam” | By Irina Werning

“La Vueltita de Tam” | By Irina Werning Why are most pictures of trans people in their rooms? What happens when they take to the streets and connect with people, especially in a very tr…

via burn magazine: https://www.burnmagazine.org/essays/2022/06/la-vueltita-de-tam-by-irina-werning/

Why are most pictures of trans people in their rooms? What happens when they take to the streets and connect with people, especially in a very traditional society like Bolivia? Tam is a 23-year-old non binary dancer from Bolivia, living in Buenos Aires. This is the story about Tam’s return to hometown for the first time since transitioning during lockdown.

https://www.burnmagazine.org/essays/2022/06/la-vueltita-de-tam-by-irina-werning/

December 31, 2024
Syria Faces Its Past and Its Future | The New Yorker

Syria Faces Its Past and Its Future

Images taken just after the precipitous end of the civil war reveal a secret legacy that is just becoming visible.

via The New Yorker: https://www.newyorker.com/culture/photo-booth/syria-faces-its-past-and-its-future

Images taken just after the precipitous end of the civil war reveal a secret legacy that is just becoming visible.

https://www.newyorker.com/culture/photo-booth/syria-faces-its-past-and-its-future

December 30, 2024
Opinion | 2024 in Photos: America’s Election Year – The New York Times

Opinion | The Moments That Shaped 2024, in 17 Photos

The people, places and objects that held our collective attention in this election year.

Link: https://www.nytimes.com/interactive/2024/12/19/opinion/2024-photos-america-election.html

For six months this year, Taryn Simon followed the political vapor trail to document the people, spaces and objects central to the 2024 presidential campaigns. Ms. Simon, who works at a distance from the daily news cycle, examines our distracted national gaze and desires, letting us pause and look at what we all experienced. “You can’t see anything reflected in boiling water. But when it’s still, water is a mirror,” she said. “It’s still in the anticipation, and it’s still in the aftermath. But we’re told to watch when it’s boiling.”

https://www.nytimes.com/interactive/2024/12/19/opinion/2024-photos-america-election.html

December 29, 2024
2024 Year in Photos

2024 Year in Photos

Link:

“A Year in Photos” celebrates the exceptional visual reporting produced by Pulitzer Center-supported photographer grantees and partners, who contribute to furthering our mission. The work featured here, published between December 2023 and November 2024, visualizes complex issues, represents the diversity of our reporting networks, and showcases the global reach of the journalism we support.

https://report.pulitzercenter.org/annual-reports/2024-year-in-photos

December 22, 2024
From Gaza to Ghana: celebrating the agency photographers of 2024 | News photography | The Guardian

From Gaza to Ghana: celebrating the agency photographers of 2024

The Guardian and Observer team of picture editors highlight the work of a number of photojournalists working for news agencies worldwide whose images have made an impact and contributed to our journalism during 2024

via the Guardian: https://www.theguardian.com/artanddesign/2024/dec/20/from-gaza-to-ghana-celebrating-the-agency-photographers-of-2024

The Guardian and Observer team of picture editors highlight the work of a number of photojournalists working for news agencies worldwide whose images have made an impact and contributed to our journalism during 2024

https://www.theguardian.com/artanddesign/2024/dec/20/from-gaza-to-ghana-celebrating-the-agency-photographers-of-2024

December 22, 2024
The Year in Pictures 2024: Far From Ordinary – The New York Times

The Year in Pictures 2024: Far From Ordinary

Photographers captured historic moments of war, grief and wonder that defined the year.

Link: https://www.nytimes.com/interactive/2024/world/year-in-pictures.html

This year was made up of such extraordinary moments. And Times photographers captured them in extraordinary images. The Year in Pictures brings you the most powerful, evocative and history-making of those images — and allows you to see the biggest stories of 2024 through our photographers’ eyes.

https://www.nytimes.com/interactive/2024/world/year-in-pictures.html

December 18, 2024
How Tina Barney Became an Astute Observer of the Upper Class

How Tina Barney Became an Astute Observer of the Upper Class

Barney’s large-scale portraits show the secret world of the haute bourgeoisie—and the way certain poses are handed down across generations.

via Aperture: https://aperture.org/editorial/how-tina-barney-became-an-astute-observer-of-the-upper-class/

The photographer’s signature large-scale portraits show the secret world of the haute bourgeoisie—and the way certain poses are handed down across generations.

https://aperture.org/editorial/how-tina-barney-became-an-astute-observer-of-the-upper-class/

December 14, 2024
Anne Eder: The Seer – LENSCRATCH

Anne Eder: The Seer – LENSCRATCH

I first met Anne Eder when taking her Plant-Based Photography workshop. I was instantly intrigued by her work, which is in deep conversation with the natural world. Once I entered Anne’s virtual classroom, I found out what an incredible educator she was, too. Since then, I’ve had the great fortune of working as the facilitator

via LENSCRATCH: http://lenscratch.com/2024/12/187573/

My background. Well, I was always a sort of square peg in a world of round holes. I’m a messy artist, and my practice includes sculpture, installation work, and storytelling in addition to photography. I received my first camera (a Kodak Brownie!) as a hand-me-down from a relative when I was eight years old, and immediately began to use it to document all kinds of daily minutia. So, I was shooting medium format film as a kid and developing my own from the time I was about 18. It was both how I saw and how I mediated the world around me, which was often a very unsafe place for me as a child

http://lenscratch.com/2024/12/187573/

December 14, 2024
Marco Vernaschi, IN LIMBO: the endless struggles of Mapuche – The Photo Society

https://thephotosociety.org/marco-vernaschi-in-limbo-the-endless-struggles-of-mapuche/?utm_source=rss&utm_medium=rss&utm_campaign=marco-vernaschi-in-limbo-the-endless-struggles-of-mapuche

For Milei’s right-wing government, the Mapuche communities represent a fabricated threat. Officials frequently paint them as impostors staging indigenous identity to make false ancestral land claims, labeling them “terrorists” and criminalizing their efforts to reclaim or occupy land. This narrative has fueled aggressive state actions and public distrust, further alienating these groups from mainstream society.

December 12, 2024
Bootsy Holler: Contaminated – LENSCRATCH

Bootsy Holler: Contaminated – LENSCRATCH

Wanda is a friend of the family. She became sick and qualified for the Compensation Act of $150,000. Plutonium-239 looks unnatural. Its bright fluorescent green poses a radioactive danger to anyone working with it or living in the region. Its effects are slow and silent. The line of green here represents the depth of damage

via LENSCRATCH: http://lenscratch.com/2024/12/bootsy-holler-contaminated/

It’s a profound exhibition and the work of Bootsy Holler is a stand-out. CONTAMINATED is a layered historical exploration of the people affected by the secrets that the United States Government kept during the Manhattan Project, their subsequent illnesses, and the polluted land in eastern Washington State at the Hanford Nuclear site.

http://lenscratch.com/2024/12/bootsy-holler-contaminated/

December 11, 2024
A Turkish Photographer Captures the Experience of Dispossession

A Photographer Captures the Experience Dispossession in Turkey

Cansu Yıldıran’s galvanic images of women activists and queer communities portray the pressures of a society in transition.

via Aperture: https://aperture.org/editorial/a-photographer-captures-the-experience-of-dispossession-in-turkey/

Cansu Yıldıran’s galvanic images of women activists and queer communities portray the pressures of a society in transition.

https://aperture.org/editorial/a-photographer-captures-the-experience-of-dispossession-in-turkey/

December 9, 2024
Photographers on Photographers: Conner Gordon in Conversation with Gregory Halpern – LENSCRATCH

Photographers on Photographers: Conner Gordon in Conversation with Gregory Halpern – LENSCRATCH

There are images of place, and then there are images about place. All photographs have to be made somewhere, yet the way photographers incorporate this layer of information could not be more varied. For some, conveying a sense of place is the central purpose for the work; for others, it is a concern secondary to,

via LENSCRATCH: http://lenscratch.com/2024/12/photographers-on-photographers-conner-gordon-in-conversation-with-gregory-halpern/

There are images of place, and then there are images about place. All photographs have to be made somewhere, yet the way photographers incorporate this layer of information could not be more varied. For some, conveying a sense of place is the central purpose for the work; for others, it is a concern secondary to, or even distracting from, other narrative or conceptual goals. Yet some of the best photographs manage to thread the needle between these approaches, allowing place to inform the work without reducing it to an expression of geography alone.

http://lenscratch.com/2024/12/photographers-on-photographers-conner-gordon-in-conversation-with-gregory-halpern/

December 6, 2024
Smith Galtney in Conversation with Douglas Breault – LENSCRATCH

Smith Galtney in Conversation with Douglas Breault – LENSCRATCH

Smith Galtney was first a writer, and then a photographer. Words and images are often at odds with each other, leaving a moment in between where ambiguity fizzles into its own daydreaming world. The tired saying that “a picture says a thousand words” raises the question: how important are those thousand words in conveying an

via LENSCRATCH: http://lenscratch.com/2024/12/smith-galtney-in-conversation-with-douglas-breault/

I used to take pictures of people more surreptitiously – go for a more journalistic “shoot first, ask later” approach. I guess I thought that was more authentic or something. But after some uncomfortable encounters that made me question everything, I started asking first and that felt so much better. You can still get something honest and I enjoy the sense of connection. People are genuinely touched by the request and the whole exchange feels generous, even when they say no.

http://lenscratch.com/2024/12/smith-galtney-in-conversation-with-douglas-breault/

December 3, 2024
Dana Stirling: why am I sad – LENSCRATCH

Dana Stirling: why am I sad – LENSCRATCH

In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness – using the camera to explore the essence of who I am and my connection to the art of photography. – Dana Stirling As we enter December Holiday madness, it’s a good time

via LENSCRATCH: http://lenscratch.com/2024/12/dana-stirling-why-am-i-sad-2/

In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness – using the camera to explore the essence of who I am and my connection to the art of photography. – Dana Stirling

http://lenscratch.com/2024/12/dana-stirling-why-am-i-sad-2/

December 1, 2024