Mary F. Calvert, Maggie Steber and Zoe Strauss are among the 12 photographers who have been named Guggenheim Fellows for 2017
The band. The dance. The audience. The everything.
The image is unbearable. The photograph, released by the Associated Press, shows the lifeless bodies of at least seven children in the minutes after a chemical weapon attack on Khan Sheikhoun, a rebel-held town in Syria. Piled up in the back of a pickup truck, the dead are forever frozen in unnatural positions that speak of the last minutes of their lives.
Distance and finances would keepThomas Kern from dropping everything and dashing to Haiti to cover the latest political or environmental crisis. While scores of journalists would descend on the island for brief trips, Mr. Kern — a freelance photographer who at times has lived in San Francisco or Switzerland over the last 20 years — had to take a different approach, slower and solo.
Every Day has received media attention because of what it is and what the media’s function has become. Although a number of journalists have written/commented about the project thoughtfully and with insight, much of the time I find myself in a position of trying to explain my motivation[s] in a way that might compel the interviewer not to file the project in the Ripley’s Believe it or Not/Guinness Book of World Records/Weird News Dept. Of course I fail more than I succeed; after all, one reason I’m being interviewed is because they already have me pegged. To some extent, this brings us back to the lack-of-website issue
n the middle of 2014, after the Syrian government had retaken the city of Homs from rebel fighters, Sergey Ponomarev stood with his camera and surveyed the damage. The photojournalist found a family who had returned to their old flat and captured the scene: in a street buried in rubble and lined with destroyed buildings, they load whatever possessions they can salvage into a taxi. Their son wears a brightly coloured party hat he has found. It is at once mundane – the family calmly going about their business – and devastating.
Romain Mader (1988, Switzerland) is the winner of the eleventh Foam Paul Huf Award 2017. This annual prize, given to a photography talent under 35 years old, consists of €20.000 and an exhibition at Foam Museum. The jury chose Romain Mader from a pool of 100 nominated photographers, from 25 countries worldwide. Mader wins the prize for his series Ekaterina, a narrative in which he seeks a bride in the imaginary city of Ekaterina.
There are few photographs more consequential in African-American history — and our nation’s — than those of Emmett Till’s mutilated corpse. The images from 1955 are gruesome and emotionally devastating, coming as they did after the 14-year-old was beaten and shot by two white men. And while authorities in Mississippi tried to bury the teenager as quickly as possible, his mother, Mamie Till Mobley, insisted otherwise, allowing photographers to commemorate the ghastly scene.
Salemi captures the crumbling remains of a small ship, marooned when the lake itself fled. Where once was water is now desiccated land, stretching to the far horizon. What is left seems more desolate than any desert, because the exposed lakebed contains the memory of the water it once supported. It is an image that seems to be from a far future, but was only taken last July. “In Iran you can see climate change in action,” says Salemi.
Feature Shoot Editor-in-Chief Alison Zavos has selected five photographers to win the cash prize of $750. Her winning photographers are Mary Shannon Johnstone, Suzanne Stein, Benoit Paille, Michael Joseph, and Diana Bagnoli.
Focusing on the theme of “Main Street: a Crossroad of Cultures,” the exhibition, curated by Jerome De Perlinghi and co-curated by Catherine Coulter Lloyd and Régina Monfort, features the work of 100 photographers from 31 countries with an equal number of men and women. Among the artists included in this years’ edition are: the late Marc Riboud, Olivia Arthur, Linda Bournane-Engelberth, Omar Havana, James Nachtwey, Martin Parr, Eugene Richards, Gaia Squarci and Jo Ann Walters.
Nancy Baron and Pamela Littky are showing works from their respective series of photographs documenting the physical and social terrain of the American Desert
With the headline “¡Adios!” in large type emblazoned across its front page, a newspaper in Ciudad Juárez, Mexico, announced on Sunday that it was shutting down after nearly 30 years after three journalists from other news organizations were killed last month.
Nate has dedicated himself to a social documentary framework in which to explore a fascinating swath of America and demonstrate how exploring archives and locations allow photography to become a witness and participant in the discursive understanding of our world.
The influence of social media platforms and technology companies is having a greater effect on American journalism than even the shift from print to digital
Liebowitz believes that a judge evaluating the latest lawsuit will consider previous cases of infringement by the defendant. “As a result of the second infringement, the damages should be significantly higher,” he says.
“As a child I already felt a strong affinity with Soviet culture, because of the history and place I lived in” writes photographer Frank Herfort, who was born in Leipzig, East Germany, in what was then the German Democratic Republic (GDR). “As a young kid with 8 or 9 years or so, I already dreamt of Moscow”, he continues, “don’t ask me why, there was something magnetic about the city’s atmosphere”. Some dreams come true—Frank now resides between Moscow and Berlin.
When the photographer William Gedney left for India, in the fall of 1969, he had just started to win a slender repute for his intimate portraits
The archive, which was provided to the library as a gift from an anonymous donor, includes 575,000 images. About 50,000 of those images are prints, and the rest are negatives and slides, the library said in its March 20 announcement of the gift.
Mumbai photographer Neenad Joseph Arul used to be shy about approaching people, so instead, he turned to the dogs in his neighborhood. Unlike people, the stray animals were never judgmental, and they didn’t mind being photographed. Over time, what started for Arul as a simple lesson in street photography evolved into a longterm relationship with the city’s canine inhabitants.