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Juxtapoz Magazine – From Africa to China with Pieter Hugo

Pieter Hugo is probably best known for his brutally frank portraits of his “kin,” mainly the Afrikaners of South Africas post-apartheid era. Later on, his portraits of Nigerian gangs wielding chained hyenas in intimidating poses brought international recognition. Traversing Africa, clearly unafraid to venture out to areas earlier closed to South African passport holders, Pieter has shot starkly direct portraits of young and old, often against a backdrop of ravaged landscapes and still life images. His photo work includes Rwandan children a decade after the genocide; Ghanaian city workers at toxic recycling dumps; Ghanas rural wild honey collectors, donning make-shift tree leaves against dangerous bee stings; South Africans with albinism; and, intimate looks at family and friends, as well as self-portraits.

Jonathan Torgovnik : Intended Consequences & Disclosure (25 years later)

In 2006, Jonathan Torgovnik worked on a photographic essay, on the children born as a result of rape during the genocide there in 1994.

Many Tutsi women were forced to watch their husbands killed right in front of them, and then were brutally and repeatedly raped by Hutu militias. They often contracted AIDS and gave birth to children, who were at the time unwanted. Their woes were exacerbated by their own tribe’s rejecting both mother and child because the child was the product of mixed parentage. These little family units received little or no help or comfort.

A Daughter’s Portrait of Her Mother Through Dementia | The New Yorker

The photographer Cheryle St. Onge is an only child. Her father was a physics professor and researcher; her mother, Carole, was a painter. “I had a truly magical childhood,” St. Onge told me recently. She grew up on university campuses, in Michigan, Massachusetts, and New Hampshire, going on sailing trips and nature walks with her parents. St. Onge’s photos, which often celebrate the natural world, pay tribute to that inheritance. “It was a mix of science, authenticity, and curiosity,” she said. “I think that’s the nature of life for me.”

Two and a Half Decades Observing Life in Rural America | The New Yorker

The subjects of Sheron Rupp’s photographs can often be found in their yards, where garden hoses twist in loops near their bare ankles and kids take up broken branches as props. People young and old move through gardens, sit back on porches, and stand amid drying laundry. Grass has been worn to dirt in patches between driveways and front steps. For two and a half decades, from the eighties into the two-thousands, Rupp traversed the United States, with her camera, lingering in rural towns. She would spot something that interested her—kiddie pools, bird houses, bicycles—pull over to the side of the road, and spark conversations with whoever she encountered. Only after getting to know them would she explain that she was a photographer. In her new book, “Taken From Memory,” we see the results of those acquaintanceships and the many ways that private life can spill out into public view.

The CENTER Awards: Project Launch Grant Winner: Igor Tereshkov | LENSCRATCH

Congratulations to Igor Tereshkov for being selected for CENTER’s Project launch Grant recognizing his project, Oil and Moss. The Project Launch  Award is granted to an outstanding photographer working on a fine art series or documentary project. The grant includes a cash award to help complete or disseminate the works, as well as providing a platform for exposure and professional development opportunities.This grant is awarded to complete or nearly completed projects that would benefit from the grant award package. It requires signature of a contract to participate in an exhibition during Review Santa Fe and offers participation in a winner’s exhibition at the Pictura Gallery in Bloomington, IN.

Examining Identity, Race and Responsibility Among White South Africans – The New York Times

Sydelle Willow Smith’s photos tease out the complexities of her white South African compatriots, who grapple with the question of national origin.

Juan Pablo Bellandi – The Tale Nobody Tells « burn magazine

My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a policeman, with the particularity that I possess a camera.

Fashioning the Feminine Ideal in the Photos of Martine Gutierrez – Feature Shoot

Martine Gutierrez is a star, restoring performance art to its rightful place in the pantheon. As artist and muse, Gutierrez uses film and photography as a medium uses a crystal ball, gazing into the vast unknowable realm until an image occurs — a lyrical poem, a visual ode to the mellifluous construction of the feminine as a look, a lifestyle, and the glorious manifestation of luminous artifice.

Blue Earth Alliance: Richard Street: Knife Fight City and the Kingdom of Dust | LENSCRATCH

A hard-luck story from a hard-luck place, Richard Street’s “Knife Fight City and the Kingdom of Dust” takes us to Huron, the poorest town in California. Direct on-camera flash lends a Weegee-like aesthetic to desperate scenes of migrant men running afoul of the law, or a rival gang, or their own worst impulses. See a close overhead shot of EMTs resuscitating one field hand overdosing on black tar heroin, or of a different field hand being dragged kicking and screaming into a drunk tank by a police sergeant, the hand-to-hand human contact forming a perverse visual counterpoint of the Sistine Chapel ceiling. But Street aligns himself more pointedly with the empathetic tradition of Dorothea Lange, following immigrant agricultural workers after their workday to a lonely gully wilderness where they eke out an existence on the bank of a ditch, tending to their hand-built homes of cardboard and corrugated metal under a California sun. —Thomas Patterson

This City Is an Overcrowded, Illogical, Inhospitable Marvel – The New York Times

A generation before Kouwenhoven, Berenice Abbott captured this heathen beauty in a portfolio of photographs she called “Changing New York,” which was exhibited at the Museum of the City of New York in 1937. Her city is not a nesting ground for the people who lived there but a rivalry of individual egos craning to fill the horizon with their concrete and glass. If people live there, it is only because the buildings have not yet had time to crowd them out.

Blue Earth Alliance: Tim Matsui: Leaving the Life | LENSCRATCH

One of the remarkable aspects of Tim Matsui’s “Leaving the Life” is the work he’s done to make sure that the project is more than an affecting, well-told story. For Matsui, creating an award-winning documentary film was just the beginning. He ran a successful Kickstarter campaign to raise money to produce DVDs that he could use in his grassroots outreach. And he has helped aid and educate policymakers and others who are working to end sex trafficking of minors. Matsui pushes us to expand our thinking about the role visual storytellers can play in contemporary society. A longtime partner of Blue Earth, Matsui is currently fundraising for a follow-up film about the culture and politics creating the demand for sex buying.

Dave Heath: A Master of Photographing Solitude – The New York Times

In Dave Heath’s vision, even the smushed faces of young lovers smooching is a picture of loneliness and alienation. The woman’s eyes are slightly open, not meeting the gaze of her partner, whose head is tilted so far their faces misalign. The uncertain promise of intimacy and connection is revealed in a frame made so close one imagines kisser and kissee must have flinched when the shutter clicked.

Looking at San Francisco Through Hamburger Eyes – Feature Shoot

Back in 2001, brothers Ray and David Potes were putting out photo zines the old fashioned way. Ray would edit and art direct while Dave ran copies while working in a college copy department. The one titled Hamburger Eyes really stood out — and began attracting photographers who wanted to share their work.

Ignacio Colo – At the Same Time « burn magazine

Eduardo and Miguel Portnoy are two 50-year-old twins from Buenos Aires, Argentina. They live together, they have never been apart since they were born, and today they are all alone in this world. Their family passed away with time: their parents, their only brother, also their uncles. They don’t have any close friends. They do everything alone. But they are never alone, because they have each other. The only support they have, their last safety net, is the Jewish community, that gives them employment, helping them materially but also, to a certain extent, emotionally. But, all in all, their main support is the love they have for each other and that symbiosis so typical of twins. The two of them are their only shelter, built upon love, loneliness and vulnerability.

Días Eternos – The Leica camera Blog

Venezuelan photographer Ana María Arévalo spent a long time living abroad. When she returned to her homeland in 2017, she found a country in a deep state of crisis. She began her Días Eternos series by photographing women being held in detention centres. Many of them have been imprisoned arbitrarily and languish there for months or even years before coming to trial. For Arévalo, the image of the inhuman conditions these women experience while they wait, was a reflection of the crisis in Venezuela. We spoke with the photographer about closeness, respect and the advantages of the Leica Q, an inconspicuous, quiet camera.

A Photographer Confronts His Family’s Tragic Past in Colombia’s War – The New York Times

Colombia’s bloody conflict left Andres Cardona an orphan. After years of covering how political violence devastated others, he now looks at how it changed his life forever.

The 2019 Ordinary Animals Exhibition | LENSCRATCH

Lewis Hine said a wonderful thing a long time ago: “We should be photographing two things. The things that should be put right and the things that should be appreciated.” David Hurn used to have this quote on his wall when he was teaching. When I learned of this, it made me appreciate that a Magnum photographer such as David Hurn didn’t have to be a war photographer to create an important image. There are subjects more on the domestic side that interest me more. Hope, humor, empathy are qualities I value in a photograph.

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