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Slow Violence, Slow Photography: Chris Gregory’s Portrait of Puerto Rico after Maria – Reading The Pictures

How do you photograph systemic failure? How do you photograph the long tail of the United States’ brutal, gradual, incompetent betrayal of Puerto Rico after Hurricane Maria? Christopher Gregory does it through juxtaposition. He moves from portraits to infrastructure and back again. He pairs photographs in diptychs that simultaneously jar and gel. He pictures Puerto Rico one year after Hurricane Maria but makes the hurricane seems like yesterday.

2018 In the Rear View Mirror | LENSCRATCH

Today instead of mulling over the past year, I wanted to share part of a commencement speech that artist Teresita Fernández gave some years ago at the Virginia Commonwealth University of the Arts, Richmond, Virginia. Teresita is an acclaimed sculptor and recipient of the Macarthur Fellowship. She was appointed to Barack Obama’s Commission of Fine Arts in 2011. Her words transcend her art and hopefully will provide you with some inspiration for 2019.

Defending ‘Needles in the Sewer’ and Photographing the Disadvantaged

I will usually disagree quite strongly with anyone who argues that consent is necessary for street photography in public. The law in the UK and many other countries defends photographers and photojournalists when it comes to candid photography in public spaces. Often “permission” will destroy the integrity of a true photojournalistic-scene.

Betsy Karel: America’s Stage | LENSCRATCH

There is a bowtie-shaped intersection in New York city that draws tourists by the hundreds of thousands, particularly Monday night in anticipation of the infamous ball drop. If we can’t be there in person, we watch from the comfort of our couches as hordes of merry makers chant down the final ten seconds of 2018. Photographer Betsy Karel takes a insightful look at this crush of humanity, all seen from the perspective that “five New York City blocks are a metaphor for urban America today, where almost every inch of public space has been taken over by private corporate interests.”

Of the Trillion Photos Taken in 2018, Which Were the Most Memorable?

But that age has come to an end: Digital journalism and social media have changed the way we consume images. Each day, audiences are bombarded with photos. Many are shocking, inspiring and heartbreaking. But in their overwhelming volume, they’re easily forgotten.

The State of Photojournalism Today – Interview with MaryAnne Golon by Cat Lachowskyj | LensCulture

The Washington Post’s Director of Photography offers her insights into why photojournalism will always prevail, despite our persistent doubts.

2018 Seen Through the Lens of Yasuyoshi Chiba – The Atlantic

Yasuyoshi Chiba, a staff photographer with AFP, spent nearly the entire year of 2018 in Kenya, documenting an incredibly wide range of subjects, landscapes, and issues. Chiba has been on staff with AFP since 2011, winning multiple awards for his photojournalism, which is based mostly in Brazil and Kenya. This year, he captured the faces and stories of some of the 50 million people who live in Kenya, an East African nation of incredible diversity in culture, landscape, and wildlife. His photos cover subjects from a China-backed railway cutting across Nairobi National Park to the hundreds of thousands of refugees in the Dadaab refugee complex, from fashion shows and premieres in Nairobi to lions in open grassland and tribal festivals, and much much more. Below, in roughly chronological order, is a look at some of the stories brought to us through Yasuyoshi Chiba’s lens in the past year.

Beyond the Wall at Mexico’s Border: Six Photojournalists’ Perspectives – The New York Times

The idea of building a border wall remains a central flash point of the Trump era. But as Times photojournalists have seen for themselves, a wall already exists, and it takes many forms.

A Mother and Daughter’s Unlikely Journey as Migrant Workers – The New York Times

Seated in her eight-room apartment, in a wealthy section of Hong Kong, Kathryn Louey stared quietly at her copy of Xyza Bacani’s first book, “We Are Like Air,” studying the words and photographs carefully. When she finished, she sought out Xyza’s mother, Georgia, who was in another room of the apartment they share, and the two hugged and cried together.

13 Stories That Captured Photography in 2018 – The New York Times

Because photography touches most everything, our topics have been far-ranging — from the environment, cyberbullying and immigration to race, gender and class. We have written about famed photographers like Dorothea Lange, Gordon Parks and Diane Arbus as well as emerging image makers like Citlali Fabián, Fethi Sahraoui, Daniel Edwards and Mengwen Cao. And we have written about the need for more diverse storytellers to help us better understand the world we live in.

Shocker: News Photography Gets Worse Without Actual News Photographers | Fstoppers

Researchers Tara Mortensen and Peter Gade, in a study published in Journalism & Mass Communication Quarterly, analyzed photographs from the Middletown (N.Y.) Times Herald-Record pre- and post-layoff of the photo staff in 2013. From this set of photographs, 488 were identified as taken by a professional and 409 were not. These photos were then classified on a scale devised by Ken Kobré, a professor who wrote the seminal photojournalism text, “Photojournalism: The Professionals’ Approach.” The scale rated photos as informational, graphically appealing, emotionally appealing, and intimate.

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.

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