The proliferation of images via cell phones may have taken away the war photographer’s ability to create a single, arresting, and iconic image, but their accumulation will haunt us.
neither the cell phone video nor the drone will explain what has really happened. They are better processed as phenomena of social media, which never really tells us anything new but, rather, provides an endless stream of confirmations of what we think we already know
A barrage of social media disinformation related to the escalating Israel-Palestine war has made it far more difficult to discern the credibility of visual evidence
Gregory and Rachel Barker founded their photobook publishing house, Stanley/Barker, based in Shropshire in the West Midlands of England, in 2014. Their first publication, Tod Papageorge’s Studio 54 (2014), sequenced the photographer’s unpublished portfolio as a one-night journey into the depths of perhaps the most mythical nightclub ever. Stanley and Barker, who studied photography and art in London, and who are now both in their midthirties, have since published monographs by lesser-known but nonetheless formidable photographers, reviving interest in Mimi Plumb, Judith Black, and Jack Lueders-Booth. Superb black-and-white reproductions and narrative structure have become hallmarks of the Stanley/Barker approach, as well as a sensitivity to the look and feel of a publication held in the hand.
And although we’ll never know why, it doesn’t stop us wondering. And sometimes we have to be careful not to drive ourselves mad in the process. Was it PTSD? Did he empathise so much that his emotional reserves ran out? Did he feel too much of the pain of those he photographed?
At 66, Jim Goldberg is edging into his golden years but still young at heart. Give him a pair of scissors and some rubber cement and he’s like a kid in a sandbox
My entire life I have wanted to visit New York, not only to see the sights but to connect with the people who choose to call this fanciful city home. Although I have not physically stepped foot on New York soil, Meryl Meisler’s photographs makes it seem as though I have. Through her eyes, the
My entire life I have wanted to visit New York, not only to see the sights but to connect with the people who choose to call this fanciful city home. Although I have not physically stepped foot on New York soil, Meryl Meisler’s photographs makes it seem as though I have. Through her eyes, the people of New York are bold, youthful, emphatic, and somehow vulnerable in an unexpected way. Meisler shows us humanity that is overlooked on a daily basis, year after year. Though her work spans many generations, the emotions that are presented in each photo remain constant.
I met Greg Mo while attending an artist talk by Harry Gruyaert of Magnum on Bastille Day in Marseille this summer. He mentioned his keen interest in the work of Gruyaert and informed me that he had just come from Arles where one of his recent books had been featured during the Rencontres events at
Greg Mo is a photographer specializing in street photography in Asia, his complexly framed images play with vivid colors, shadows, and enigmatic shapes. His work evokes the world of dreams, where various protagonists mingle and meet in surreal atmospheres resulting in more questions rather than providing answers.
Born into a family of newspaper photographers in Wisconsin, Jim acquired the photography bug naturally, becoming one of the most celebrated and honored of National Geographic’s legendary photographic staff
While investigating the array of European photographers involved in diverse collectives focused on street photography, I came across Kristin Van den Eede‘s eerie and engaging world view. What intrigues me about her work as a street photographer is her preference for the darker mysteries of the night. One feels like a voyeur or Peeping Tom
While investigating the array of European photographers involved in diverse collectives focused on street photography, I came across Kristin Van den Eede‘s eerie and engaging world view. What intrigues me about her work as a street photographer is her preference for the darker mysteries of the night. One feels like a voyeur or Peeping Tom when delving into her images.
Over the course of her subsequent twelve year career as a photojournalist she covered more than a dozen of the world’s bloodiest armed conflicts across three continents and was honored with the Robert Capa gold medal; a World Press Club Award; a Pulitzer nomination; and the Courage in Journalism Award.
As the lines between the real and the artificial blur, photography’s role in preserving and portraying reality becomes even more paramount. While GenAI forces a reevaluation of the purpose and essence of photography, it certainly doesn’t diminish its value. Instead, it pushes photographers to evolve, to be more discerning in their approach, and to capture the world with an authenticity that only they can provide.
The photo book, ‘Calm before the Storm. How we lived at normalization. Photos from the 70s and 80s’, by Czech photographer Jaroslav Kučera, is an impressive testimony to the decades known as “normalization”.
After receiving a commission for new works, the photographer agreed to a show that she regards as a ‘classroom’ for those who want to follow in her path.
“I do feel the portrait has its own genre,” Ms. Leibovitz said. “And I certainly have, I guess, my own style. I mean, I’m not standing behind a building with the long lens, you know, trying to sneak a picture.” Instead, her method is “definitely a collaboration between myself and the person having the photograph taken,” she explained. “And it’s very psychological.”
Last weekend, at least a dozen people surrounded the home of a left-wing Israeli commentator who had expressed concern about civilian deaths in Gaza, shouting “traitor” and firing flares in his direction.
Even in the long-fractious relationship between publishers and tech platforms, the latest rift stands out — and the consequences for the news industry are stark.
Aronofsky’s 18K resolution film plays back at Sphere at a blistering-fast 60 frames per second, more than twice the speed of the typical 24p motion picture, and is about half a petabyte in size, or about 500 terabytes. Aronofsky explains that the movie is about 32GB of data per second, or nearly 2,000 GB a minute.
