https://petapixel.com/2021/03/12/what-is-an-nft-and-why-should-photographers-care/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PetaPixel+%28PetaPixel%29

Seemingly overnight, NFTs became the hottest acronym on social media and in headlines. On Thursday, a single JPG file created by Mike Winkelmann, also known as Beeple, sold in an online auction for $69.3 million. It was the first digital-only art sale for auction house Christie’s, meaning there was no physical copy involved.

100 Contemporary Women Street Photographers Redefining the Genre

Featuring the work of 100 contemporary artists from 31 countries pushing the boundaries of street photography in new and exciting directions, Women Street Photographers introduces  expansive, experimental, and non-traditional approaches to a genre historically defined by the work of men. Bringing together women of all ages, races, ethnicities, creeds, and sexualities, Samoilova is on a mission to offer the kinds of opportunities and support she wished she had throughout her career.

How the 1970s Revolutionized the Art of Photography

Despite its long-standing marginalization, photography underwent a radical shift in the 1970s, catapulting it into the realm of fine art. Under John Szarkowski’s direction, the Museum of Modern Art staged a series of seminal exhibitions and wrote the landmark 1973 book, Looking at Photography, which reframed conventional notions of the relationship between photography and art. Recognizing that photography was not invented to serve a specific purpose, Szarkowski understood that its inherent plasticity of purpose made it the perfect medium for use by artists from all walks of life.

https://cphmag.com/green-helicopter/

In fact, I had expressed my surprise about the Trump team being so inept at visuals many times on Twitter. Having thought about this for a few days, though, I now think I had had it all wrong. Or rather, what I had commented on was not an ineptitude to produce visuals per se. It was the ineptitude (or unwillingness) to produce the kinds of pictures we expected to see.

https://www.newyorker.com/culture/2020-in-review/new-yorker-photography-in-a-year-of-crisis

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.”

New Guide! The Photographer’s Outlook on 2021

Today, we’re thrilled to share The Photographer’s Outlook on 2021. Download your free guide now to see how photographers remained imaginative and adaptable despite an arduous year, including firsthand accounts of what worked and what didn’t, advice on where to focus your efforts and more.

https://ciechanow.ski/cameras-and-lenses/

Over the course of this article we’ll build a simple camera from first principles. Our first steps will be very modest – we’ll simply try to take any picture. To do that we need to have a sensor capable of detecting and measuring light that shines onto it.

https://www.itsnicethat.com/features/dave-obrien-social-solidarity-in-the-creative-industry-conscious-creativity-031220?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+itsnicethat%2FSlXC+%28It%27s+Nice+That%29

Low or unpaid work has become a seemingly unavoidable factor in entering the creative industries. But to stop further social inequality, it’s time we rethink the value of cultural work itself.

Dafna Talmor, László Moholy-Nagy & Josh Kern- The Photographic Notebook

“For artists who do stage their work and find it in situ, the photographic sketchbook is virtually unnecessary as a pre-game facilitator. I would suggest though, that the photographic notebook is an indispensable tool after cheap prints have been made available”

Picto and Magnum Photos: 70 Years of Correspondences

Magnum Photos’ Gilles Peress in a conversation with Raymond Depardon offered an interpretation of this evolution of the print through history that could be applied to many other Magnum photographers: “When you look at Henri’s prints all through the years, you see an evolution between these “blond” prints of the fifties and the prints as of the years 1968-1970. As of that period, the prints have higher contrasts with another interpretation of light, and the question is, to know whether he [Henri-Cartier Bresson] is the one responsible, or if the times are. I think that in the fifties there was an interpretation of light and rendition that fulfilled another function, that of creating a certain harmony, a peace after the war, but that with the mounting of [societal] contradictions in the sixties, the tonality of prints not only of Henri’s, but of others too- undergoes a radical change.”

https://petapixel.com/2020/11/21/what-can-it-mean-to-truly-collaborate-as-a-photography-collective/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PetaPixel+%28PetaPixel%29

The ability for individual photographers to have any kind of cultural impact feels diminished and diluted when you consider just how many are working towards the goal of producing meaningful work.

What “Greater New York” Got Right about Photography in the Age of Instagram

In 2010, photography was at a turning point. How did an ambitious survey at MoMA PS1 anticipate a generation of artists who define the field today?