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Dawoud Bey: 40 Years of Photos Affirming the ‘Lives of Ordinary Black People’ – The New York Times

As a socially conscious teenager, Dawoud Bey was intrigued by the controversy over the Metropolitan Museum of Art’s 1969 exhibition, “Harlem on My Mind: Cultural Capital of Black America, 1900-1968.” The show featured photos, audio and text about daily life in Harlem. It did not, however, include paintings, drawings or sculptures by African-American artists, which sparked protests organized by the Black Emergency Cultural Coalition. Mr. Bey, then 16, went on his own to the museum, hoping to see the picket lines and find out more, but when he arrived there were none that day.

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Andrea D’Amico: Bay Window | LENSCRATCH

The monotony of the workday commute is easily forgettable. It is common for a driver to arrive at their destination with no recollection of the time or events that recently passed by. This occurrence can be attributed in part to the repetitive nature and familiarity of the activity. In the series Bay Window, we sit passenger to the views of Italian photographer Andrea D’Amico’s life on the road. Living in his Volkswagen Bus, he is a person in constant commute. His windows frame moments that might otherwise be neglected. We see roadside culture. We see others in transition and pause. We experience the fleeting sensations of impermanence. D’Amico’s photographs archive these events and suggest that there is variety in a daily drive, and things to remember.

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The Fresno Bee and the War on Local News | GQ

Local newspapers like The Fresno Bee have long been an endangered institution in America, and that was before California Rep. Devin Nunes began waging a public campaign against his hometown paper. Zach Baron spent time with the reporters fighting to keep news alive in an age when the forces they cover are working equally hard to destroy them.

The Most Powerful Moments in Photojournalism in 2018 – Artsy

This year, the number of internet users worldwide reached the record-setting 4-billion mark, according to a report from We Are Social and Hootsuite. As 3 billion people access social media each month, our world has never been so connected—and so, it’s never been easier for high-impact photographs to rapidly spread, at times so fast that their necessary context gets left behind. Photojournalists remain crucial to our understanding of world events, providing us with front-row views that would otherwise be inaccessible. Here, we share the unforgettable news images that defined 2018.

Boglárka Éva Zellei: Furnishing the Sacred | LENSCRATCH

With Christmas on the horizon, it’s a time to consider Christian rituals or religion in general, especially when shopping for Santa. Boglárka Éva Zellei‘s photographs came to our attention when she garnered 1st Place (along with Mike Whiteley) in our 2018 Seeing is Believing Exhibition, jurored by Drew Nikonowicz. Her series, Furnishing the Sacred, is a fascinating look at religious spaces and the sacred act of baptism. The juxtaposition between this solemn ablution and the quirky containers of purification make for a fascinating typology.

How “Women Photograph” Created a Different Year in Photos – PhotoShelter Blog

This is why I was fascinated by Women Photograph’s 2018 Year in Pictures – a compilation photographed and edited by women and non-binary visual storytellers. The collection of images felt qualitatively different to me. It’s not that the individual images were “better,” but I found myself surprised at what I was seeing in a way that I found both challenging and inspiring.

Life After Horrific Death for the Journalist James Foley – The New York Times

Mrs. Foley has a desperately keen understanding of what happens in a conflict zone. “Jim” was her son, the freelance photojournalist James W. Foley. He was kidnapped in 2012 while covering the Syrian civil war, held hostage for 21 months and brutally murdered in 2014 by members of the Islamic State in an execution filmed by his captors and released online. Many remember his death, but his mother and Mr. McCallum, who is painting a series based on Mr. Foley’s work, want people to remember his chronicle of war, its human cost and his humanity.

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Mike Whiteley: Holiday Home Tour | LENSCRATCH

Mike Whiteley has a legacy of considering landscape, including the humorous human interventions that come with the holidays. Mike’s image of a woman’s head emerging from a field in Iowa garnered 1st Place (along with Boglárka Éva Zellei) in our 2018 Seeing is Believing Exhibition, jurored by Drew Nikonowicz. This sent me to his website where I discovered today’s project, Holiday Home Tour.

Photojournalism Now: Friday Round Up – 21 December 2018 – Photojournalism Now

This is the final Photojournalism Now: Friday Round Up for 2018 – this week it’s all about women photographers. In New York the exhibition Women Street Photographers features 75 photographers including eight Australians; in Ballarat Lumina Collective, an all women group, launches Echoes exhibition; and Women Photograph reports a stellar year of activities designed to elevate women photographers and close the gender gap.

Leica Gallery Los Angeles unveils “Digital Color” by renowned photographer Ralph Gibson – Leica Rumors

LOS ANGELES–Paying tribute to the milestone 80th birthday of renowned photographer Ralph Gibson, Digital Color will be presented by Leica Gallery Los Angeles through an exhibition and vernissage from January 17th, 2019 through February 24th, 2019. The exhibition will feature a series of captivating digital photographs taken by Gibson, who solely used a Leica Rangefinder and a 135mm Apo-Telyt-M lens to capture each image.

Tommaso Protti « burn magazine

“Terra Vermelha,” which means red earth, is essentially a portrait of the modern day Brazilian Amazon that explores and illustrates the intersecting social and environmental crises of the region, in the states of Pará, Amazonas, Maranhao, Rondonia and Roraima.

This Photo of a Girl Starving in Yemen Helped Define 2018 | Time

Mere days after her photograph was published in the New York Times, capturing the attention of millions across the world, Amal became one of the millions of Yemeni children who are falling like dead autumn leaves after four years of starvation, shelling, landmines and epidemics of preventable diseases.

Creating a Community of Latin American Women Photographers – The New York Times

She has been answering that question almost four years now, after she founded Foto Féminas, a digital platform and library that features a different photographer working in Latin America and the Caribbean each month. With her eye focused on their images and not on their credentials or contacts, Ms. Sanchis Bencomo has convened a virtual community of experienced and emerging photographers alike whose styles range from documentary and photojournalism to fine art and conceptual photography.

On Photo Contest Controversy & Criticism – PhotoShelter Blog

When money and prestige is on the line, some photographers will find a way to cheat, steal and lie to win. Photo contests have unfortunately been plagued with scandals ranging from image manipulations to questions about authenticity and ethics in dealing with a subject.

Zanele Muholi & The Women’s Mobile Museum: Who is Art For? | LENSCRATCH

Earlier this year, the Philadelphia Photo Arts Center (PPAC) introduced the The Women’s Mobile Museum – a year-long residency and apprenticeship program led by internationally renowned South African artist-activist Zanele Muholi in her first major US-based project: a collaboration with ten (10) women artists of different ages, ethnicities and socio-economic backgrounds. Beginning in September 2018, the artists and Muholi took their finished projects on the road in a six-month traveling exhibition that challenges social and economic barriers of the traditional art world and asks the question: Who is art for?

The Year In Pictures 2018 – The New York Times

NEWS PHOTOGRAPHY is often meant to be consumed instantly, on paper, on our screens, in endless scrolling feeds. It tells us what the world looks like right at the moment. But it can lose much of its power that way — the power to seize us, to shake us awake, to interrupt the everyday. There is always a new image. Scenes of the present become instantly the past.

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