Getty Images Bans Photos Containing Photoshopped Weight

France’s new law, which was passed in December 2015, takes effect for commercial digital photos starting on October 1st, 2017. From that date forward, photos with digitally manipulated models will need to be marked as “photographie retouchée,” which translates to “retouched photograph.”

Gérard Uféras, Bolshoi Song – The Eye of Photography

Bolshoi Theatre, literally translated – the grand theatre – is a highly reputed opera and ballet houses. The ballet company was created in 1776 by Prince Pyotr Ouroussoff and Michael Maddox by order of the empress Katarina II. Having more than 250 members, the Bolshoi Ballet is one of the most prestigious classical dance company in the world. It inspires amateurs of ballet and gathers the greatest dancers of the former USSR.

The 2017 edition of Unseen Amsterdam – The Eye of Photography

Last weekend was held the sixth international photography showcase of Unseen taking place in Amsterdam (22-24 September 2017). This year, Unseen presented the first campaign image, created by the Dutch multi-media artist Melanie Bonajo (1978, Heerlen, The Netherlands). Melanie Bonajo created a series of photographic works that were the face of Unseen Amsterdam 2017. In her campaign series, Melanie Bonajo explores the relationship that future generations will have with nature. She questions whether our children will stand up against the power structures that are currently in place and will turn back to nature and the enchantment of the natural world. The series investigates whether a new time will come in which the next generation might find themselves increasingly dehumanised or whether they are secretly creating a new mystical world. Melanie Bonajo said: “Through this photo series commissioned by Unseen, I am giving a voice to the children and focussing on ethics based on a world in between worlds, the long-forgotten power of myths and fairy tale stories. The world of the child who still carries a vision or belief in magic, which was once so near to us all. Together with the children I am exploring how we can pull the mystical spells of the plants into our living rooms in order for us to connect with these irrational shadows. In this series, you can follow the elves at work.”

Land of the Hermit King | New Republic

Meticulously choreographed military parades. Strident news announcements on state television. Missile tests presided over by a grinning Kim Jong Un. Propaganda from North Korea comes to us fully formed and almost alluring in its opacity: a finished product that has been carefully constructed to convey an idealized image of strength and unity. 

Carl De Keyzer, a photographer based in Belgium, offers a different and more intimate view: a glimpse of the process of indoctrination within North Korea

Anthony Hernandez: Landscapes for the Homeless and Public Transit Areas | LENSCRATCH

The Yancey Richardson Gallery in New York City recently opened its first exhibition of Los Angeles native Anthony Hernandez, running through October 12th. As a native Angeleno myself, I find the work compelling in it’s simplicity and truthfulness. I’ve always felt that Los Angeles is a difficult city to photograph, as so much of this city is not what we see on postcards or in the movies. There are parts of Los Angeles that are stark and unremarkable and Anthony’s work brings a “formal integrity and bleak beauty to the harsh realities of his native Los Angeles”.  His work about Los Angeles captures a sense of isolation within an urban setting, acknowledging people whose lives are on the fringes and create home wherever they can. The exhibition is comprised of two of two projects: Landscapes for the Homeless and Public Transit Areas. This exhibition coincides with a career retrospective at the Milwaukee Art Museum which originated in Fall 2016 at the San Francisco Museum of Modern Art.

Andrea Grützner Wins $11.8K ING Unseen Talent Award

German photographer Andrea Grützner has been awarded the €10,000 ($11,848.50 USD) Jury Prize of the 2017 ING Unseen Talent Award. Robin Lopvet has won the Public Prize, which comes with a commission to create new work for the ING Collection. The three finalists for the awards are Belgium photographer Tom Callemin, UK-based photographer Alexandra Lethbridge and Austrian photographer Stefanie Moshammer.

Nazar Furyk – Province « burn magazine

This series is about the everyday life of young people in the province, about a way of everyday life where life drugs and alcohol are present, about the days that go unnoticed and they aren’t really any different, whether it is a weekday or a regular working day. I’ve started taking pictures quite a long time ago. And I can’t say why and how, I do not know, just at some point, I realized that the moments, which at first glance are quite ordinary for someone, are really important and unusual for me. Such a usual life, one just needs to cover, because it can be interesting for others. I do not know if the viewer needs to see these photos. Sometimes it seems to me that no – they’re too personal because I’m not a third-party viewer, because I’m also part of this everyday life.​

These photos show the children of the Cheyenne River Reservation in South Dakota – The Washington Post

From June 12 to July 18 of this year, The Washington Post partnered with Visura in an open call for submissions of photo essays. The Post selected three winners out of more than 200 submissions. We are presenting the first winner today here on In Sight — Emily Schiffer and her work “Cheyenne River.”

A Poetic Reminder of What Korea Used to Be Like – Feature Shoot

Described by ICP curator Christopher Phillips as “the long-lost Korean cousin of Magnum photographers such as Henri-Cartier Bresson” is the lesser known Han Youngsoo.

Canon’s New ‘Virtual Camera’ Tech is Something Straight Out of Sci-Fi

Intel isn’t the only one working on sci-fi-style virtual camera systems for things like sporting events. Canon just announced that it’s developing a new “Free Viewpoint” virtual camera system that will let you virtually move around inside a recorded event.

A new space for creativity – Witness

The program will be a rolling process of nomination and selection to identify six new talents from each of the world’s six continents. We are looking especially for people who are not yet well known outside of their own countries. Each year, the 6×6 program will highlight work from three of six global regions. The individuals who are nominated must be current passport holders of one of the countries in the region for which they are being nominated. New work from those selected will be published every four months so a new global perspective will be completed every two years.

Michal Cala, Silesia 1975-1985 – The Eye of Photography

Silesia 1975-1985, a solo exhibition by Polish photographer Michal Cala in London focuses on his black and white series from the Silesian landscape made during his early career. Silesia is an industrial district in Poland which at the time of 1970’s and early 1980’s was experiencing its peak of development and activity. Although providing massive employment for the area, the environmental issues were ignored.

The Second Biennale of Arab Photography: breaking with conventions – The Eye of Photography

This second edition of the Biennale of Contemporary Arab World Photography extends the first by spotlighting artists who are developing an original, personal vision of the contemporary Arab world. The way the artists represent it may at first sight seem poetic and deeply informed by aesthetic concerns. These photographs are far removed from the violent, numbing, not to say stifling, images that populate media coverage of numerous destabilized or conflict-ridden territories in the region. Media images are, for the most part, snapshots responding to the urgency of the moment and transmitted, we must remember, by reporters who often risk their lives. By contrast, the artists featured in the Biennale step away, in terms of time and space, from the turmoil of daily news. That distance, or apparent neglect, is, however, no doubt only a surface impression; for there is something that continues to bring them back to fragments of reality, be it social, cultural, or historical, and they refer to it indirectly, in a more or less roundabout way. Their symbolic or imaginary universe is constructed, to a greater or lesser extent, on the basis of reality, and it is the gaps and misalignments that lend their photographic project its substance and originality. And this is also how the artists invite us to interpret their work.

Italy Between Past and Future – The New York Times

There they are again, the perpetual Italian migrants. They wait on a platform at the Milan train station in 1970, their many suitcases secured with rope, their bags filled to the brim. A box of panettone, a Milanese holiday specialty, accompanies this family of travelers, suggesting Christmastime. Dressed for the cold, the family of five — parents, children, and an older woman wearing black from head to toe — gaze to the right, pondering perhaps their unknown destinies. We see them in Gianni Berengo Gardin’s photograph, shot at mid-distance from above, a portrait of Italy as a migrant nation.

Pete Turner, Whose Color Photography Could Alter Reality, Dies at 83 – The New York Times

When the photographer Pete Turner was on assignment in Amboseli National Park in Kenya in 1964, a lone giraffe galloped across the empty plain before him, and he captured it in all its solitude, its neck rising above the horizon.

Mr. Turner’s resulting transparency was overexposed, but he saved it by rephotographing it and using filters to transform it into a spectacular and eerie new image.

Poynter workshops produce new drone journalism ethics policy | Poynter

In addition to exam prep and hands-on drone flight training, our partners and I vowed to produce a “code of drone journalism ethics” that would take into account journalism and photojournalism ethics policies but add the legal considerations for flying in government-controlled airspace and safety concerns that come with remote controlled flight.  

The remains of the Maginot Line, by Alexandre Guirkinger and Tristan Garcia – The Eye of Photography

Bunkers blackened with time, overgrown hedges, drab vegetation spewing out of crevasses: there is no color other than dark in Alexandre Guirkinger’s photographs. The remains of the Maginot Line, which failed to protect the French against the Germans, are like discolored scars on the face of the European twentieth century, convulsing with spasms and bathed in tears.