Blind – When War Reporters Document Peace

The VII Foundation presents a new book by photographer Gary Knight. Imagine: Reflections on Peace (also published in French as Imagine: Penser la paix), created in collaboration with several photo reporters and journalists, is a collection of 200 images accompanied by reflections on the imperfect construction of peace.

Mårten Lange's Ghost Witness: A Spectral and Transitional Architecture

"The skyscrapers are vertical signatures that penetrate the evening sky all glass and reflective. Water pools on their surface creating an impermeable glare as one winces into the crow’s nest of their rapacious skyward capacity" I think of the

I feel a call to resist what I am observing in these images. I feel a tremor of uncomfortability in what Lange is showing us and yet I know he is not taking any position on the matter. He has found a way to read metrics and to report them back to us in a byte stream while still retaining some concerns that exceed the full governance of non-human observation. The question that remains is as to where Lange will go next-will his vision force him into the role of digital ghost or will he re-trench and rally against an increasingly interesting master of new observations in which images rely on metrics more than emotions? This is a defining achievement for Lange and for the medium of photography itself.  This has my Highest Recommendation and is truly one of the most important books of the decade thus far, but you will need to remember I said this from a point in the future.

One Photo 2020: The Power Of A Moment - PhotoShelter Blog

This year has brought new challenges, new adventures (even if they were spent at home), new things to be grateful for and a new outlook on the year ahead. In 2020, we’ve also seen incredible examples of unity and togetherness, despite so many of us being

We asked our photo community to reflect on the past 12 months, look through their portfolios and tell their story of 2020 with just one photo.

Magnum’s moment of reckoning

In the nearly three years since the #MeToo movement transformed journalism, Magnum Photos, the world’s most prestigious photo agency, has portrayed itself as an industry leader. Magnum issued a code of conduct for its members in 2018, and its CEO boast

But even as Magnum touted its efforts to confront the industry’s abuses, women who worked with one of the agency’s best-known photographers were telling a different story. Eleven women have described to CJR inappropriate behavior from David Alan Harvey over a span of 13 years, ranging from suggestive comments to unwanted sexual advances to masturbating without their consent on video calls. His behavior was reported to Magnum as early as 2009, but the agency sat on the information for more than a decade. It finally took action in August of this year, but only after the allegations spilled into public: a story published on the website Fstoppers reported that Magnum was selling explicit photographs of sexually exploited minors on its website, including photographs from a series taken by Harvey in Bangkok in 1989. That led photojournalist Amanda Mustard to write a Twitter thread about Harvey, alleging that sexual misconduct allegations against him were an open secret in the industry.

New Yorker Photography in a Year of Crisis

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.”
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