“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…
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.
When Russia’s invasion of Ukraine stymied his travel plans, photographer Carl De Keyzer decided to take a virtual trip instead, creating a series of AI-generated images. He was unprepared for the consequences.
From his home, the lauded documentary photographer began to work on a collection of images about Russia with the help of generative artificial intelligence (AI). He was unprepared for the consequences.
Don Bartletti is Southern California based photojournalist. His 32-year career at the Los Angeles Times and 10 years prior with other San Diego County newspapers took him throughout the United States and around the world for news. Don is a Pulitzer Prize winning photojournalist dedicated to creating photo essays, videos, exhibits, lectures and guest teaching to promote a greater understanding of causes and consequences of illegal immigration into the United States from Mexico and Central America. —- Support this podcast: https://podcasters.spotify.com/pod/show/matt-brown57/support
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.”
Michael Kitada earned his bachelor of arts degree in communication with an emphasis in photojournalism from California State University, Fullerton. After graduation, he was employed as a staff photographer at the Orange County Register where he was able to travel and document top events of the time over the last 25 years. For the last 10 years, he managed his own photography business and taught photojournalism as an adjunct at UCLA, California Baptist University and Biola University. —- Support this podcast: https://podcasters.spotify.com/pod/show/matt-brown57/support
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EIGHTEEN THOUSAND DOLLARS in grants — $3,000 to each of six photojournalists — is being dispersed in this the 10th year of the Yunghi Kim Grant.
I first became aware of the Holy Land theme park in Orlando when I saw Gordon Stettinius’ hilarious toy camera project on the mecca of all things Jesus. I finally made my own pilgrimage to the this sun filled hallowed destination in Florida shortly before it closed down for good in 2020. I had the
I love how much I could compress into the frame in the Holy Land work. I think that in the work I make today, I take more images to tell a story. That may be the influence of the photobook. In the 1980’s, there were few examples of photobooks as narratives. Photographers showed their work as catalogs of images. Today, we use the book form to slow down the pace. We allow our emotions and understanding to build over the course of a book’s pages.
This year, our visual stories covered a range of subjects: the U.S. presidential race and election, the Olympics, artificial intelligence, extreme weather events, and continued war in Ukraine and Gaza. 2024: The Year in Visual Stories and Graphics.
On Friday, the Senate passed the EXPLORE act which will do away with requirements for permits for all “commercial” photography and filming in National Parks. President Joe Biden is expected to sign the EXPLORE act into law.
“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.
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
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
We reached out to photography experts from around the globe, and we asked them to recommend books that are their personal favorites from 2024. This year’s list of favorites features 34 titles, and as you can imagine, the range of topics and styles is wide and varied.
Valentina Abenavoli is an editor, book designer and visual artist working at the intersection of photography, video, sound and text. She has led intensive workshops on photo editing and bookmaking internationally. In 2012, she co-founded Akina, an independent publishing house producing challenging photobooks by emerging photographers. Her first photobook, Anaesthesia, was released in 2016, followed by her second book, The Harvest, in 2017. Both are part of an ongoing trilogy investigating the subjects of empathy and evil. Recently, she co-founded Neighbour, an alternative art space in Trivandrum, India, focusing on exhibitions, publishing and collaborations.
When I think of my life before working at Akina, I recall a fascination for photobooks that was raw and unshaped – an early, unrefined intuition that supported an imaginative approach without prior knowledge, in its mad and vast simplicity. I would pick up a book because of its cover or title, without knowing what to expect with each turning page. As I learned the narrative structures and rhythm of sequences, I took my sweet time with each book, and some stories, in all their complexities, would linger in my mind for a long time, unfolding in multiple serendipities and nocturnal epiphanies. It was a real pull, a magnetic one, that had been the primary subject of my thoughts for many years. That blissful ignorance is what I now miss deeply.
Discover ethical challenges in AI graphic design: bias, plagiarism, and ownership. Learn to address imbalanced data, copyright issues, and content authenticity while using AI responsibly for creative, inclusive design solutions.
The question of who owns AI-generated content is perhaps one of the most complex and unresolved issues in the realm of AI and graphic design today. As AI technologies continue to advance, producing increasingly sophisticated outputs, the traditional notions of authorship and ownership are being challenged in unprecedented ways.
