Photographer Tells Stories of Women Across Rural India – Feature Shoot

Deepti Asthana is a self-taught photographer living in Mumbai, India. She was born and raised in a north-Indian city called Bareilly in Uttar Pradesh, where she grew up in challenging circumstances. Asthana graduated with a degree in engineering from Tamil Nadu and spent some time working in Mumbai and Delhi; all this while she knew she wanted more out of life. In 2011 she was sent to London for a project from her organisation and met a landscape  photographer there. This meeting helped her discover a talent and passion for telling women’s stories through photography, which led Asthana to begin her project titled Women of India, in 2016. Her journey since then has brought the two Indias closer through her work and continues to shape her perspective of travelling alone through rural India.

Leica TL2 mirrorless camera officially announced | Leica Rumors

“Like the previous T and TL models, the TL2 is a primarily touchscreen-driven camera that uses an almost smartphone-like icon-based interface in the place of any menu lists. However, beyond the move to a 24MP sensor for this latest version, Leica has made small but important changes to just about every aspect of the camera.” (dpreview)

LENSCRATCH Student Prize 1st Place Winner: Shawn Bush | LENSCRATCH

He most recent artist book A Golden State has been included in the Candella Gallery permanent collection, Fleet Library Special Collections and will be released as a trade edition in 2018.

Arles 2017 – What we missed – The Eye of Photography

Jonas and the entire team of The Eye of Photography have repeated it all week: the Rencontres this year are exceptional. We talked about two of the masterpieces, Annie Leibovitz and Roger Ballen. The third one was missing: Michael Wolf. Go to the website of his gallery and judge for yourself!

Start Your Engines: Photography’s Romance with the Car – The New York Times

Sprawling development, vast tire dumps, battered vehicles — the exhibition at the Cartier Foundation in Paris traces cars’ impact on the world through hundreds of photographs dating to the early 20th century.

Ken Weingart interviews Mark Seliger | LENSCRATCH

Mark Seliger is one of the best-known editorial portrait photographers in the U.S., for over thirty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

Third Circuit affirms the constitutional right to record police officers.

On Friday, a panel of judges for the 3rd U.S. Circuit Court of Appeals unanimously ruled that the First Amendment protects individuals’ right to film police officers performing their official duties. The 3rd Circuit now joins the 1st, 5th, 7th, 9th, and 11th Circuits in concluding that the Constitution guarantees a right to record. No federal appeals court has yet concluded that the First Amendment does not safeguard the right to film law enforcement officers conducting police activity in public.

Arles 2017 – The Cow and the Orchid, vernacular Colombian photography – The Eye of Photography

Timothy Prus is the curator of The Archives of Modern Conflict, and an atypical collector. He is the person who put together the controversial “Nein, Onkel!” archive, that depicts playful Nazi soldiers relaxing aside from the horrendous war. “You can go in many places around the world and discover photographs , very tightly linked to the individuals or the nature of the place. You meet people, friends of friends, in cafés, in street markets and little shops, and photos will start to emerge if you ask for them”, he explains.

Instagram Stories: In or Out? 4 Influential Photographers Weigh In

If you haven’t tinkered with Stories yet or are hesitant to start, we connected with a few well known photographers —  Chris Burkard, Helena Price, Katie Orlinksy, and Evan Sung — who are using the feature all the time. We wanted to know what they like about it, how it’s helping their photo business, and what tips they have for photographers who want to get started.

Drugs, Poop, and Harpoon Attacks: One Photographer’s Crazy Life – Feature Shoot

When I first wrote about photographer Benoit Paillé last year, it seemed as though he was in a different place every time I emailed him. “I’m always on the move,” he told me. “Okay,” I thought to myself, “I get it. Photographers travel.” Turns out, I hadn’t understood after all. He was being literal. This particular photographer lives on the road. His house is a 21-foot camper van.

You think Chris Christie’s beach photos were great? Just wait until drone journalism really takes off – Poynter

Mills’ photos give us the opportunity to think about how journalists can use photographs and videos taken from above — whether by helicopter, plane or drone — in really creative ways to break news and tell stories. How does shooting from above help the audience? How does it help tell a more nuanced story? And what kinds of stories can local newsrooms tell with these shots beyond tracking traffic, animals escaping, or the latest local fire?

The surprising serendipity of images from a photographer shooting from the hip – The Washington Post

For the past six years, photographer Scott Strazzante has been creating a shadow body of work separate from the images he makes working full time for a daily newspaper.

Strazzante, who has excelled at every kind of news assignment in his nearly three-decade-long career, was looking for inspiration back in 2011 when his daughter showed him the unique look of photos made with the Hipstamatic image filter app on an iPhone. He was instantly hooked and has used the technique to create a body of street photography that is much more Garry Winogrand than news photojournalist.

Carolyn Drake’s Haunted Photographs of America’s Borderlands | The New Yorker

The photographer Carolyn Drake set out for the U.S.-Mexico border just after Donald Trump won the Presidency. On the stump, he’d talked obsessively about building a wall—“big, fat, beautiful”—and Drake was struck, but not surprised, by its popular reception. “A lot of people in the U.S. were imagining that idea for a long time,” she told me recently. “There are people in this country who want to protect themselves from what they perceive as the dangers of Mexico and Mexicans, and I wanted to see the place that felt like it needed protection.” For two weeks, she drove from California to El Paso, taking pictures of the people, scenes, and landscapes she saw along the way. She made another trip just after the Inauguration, this time starting in El Paso and driving east, across Texas. “I felt I could see America better from a little north of the border,” she said.

Arles 2017 – Sylvain Granjon, I was born a rainbow – The Eye of Photography

I was born a rainbow is the new series by Sylvain Granjon. It is selected in the favorites of the Rencontres d’Arles and will be screened during the night of the year, on July 7, 2017 in front of the Papeteries Etienne. While taking varied forms, Sylvain Granjon’s work is indeed crossed by lines of force and obsessions: creative immersion in an imaginary universe, the complexity of our relationship to time, memory and childhood, self-representation and self-portraits. The photographer writes: « In April 2014, I bought a trunk containing the belongings of a fair monster on the Biron flea market in Paris. The Rainbow Man. He had kept all the records of his life. What struck me at once was the graphic quality of these archives. The monster was dubbed by an artist, certainly self-taught, in a style reminiscent of the surrealists of 1920’s: photomontages, collages, use of extracts of articles or the hand colored of each pictures representing him and his family. I could not keep such a discovery for myself, so I made a precise inventory of the many documents and photos in order to try to convey the life of this man as accurately as possible »

Arles 2017 – A Conversation between Guillaume Herbaut and Eleonore Lubna – The Eye of Photography

For this fifth edition, the Olympus Photography Conversation is changing by having only one pair instead of three “to create more in-depth work ,” explains Didier Quilain, former Olympus France-Belgium president and, today, advisor for the brand.Who is also calling for candidates, addressing the ENSP graduates of the past two years. So was born the conversation between Eleonore Lubna, 2016 ENSP graduate, and Guillaume Herbaut, who works in documentary photography for the press. Their practices crossed on a subject of predilection for the photojournalist:Ukraine, where he has been going regularly for the last fifteen years. In response to his images relating to the front, Elenore offered to bear witness to the life of the inhabitants who fled the combat zones. Below, an interview with Guillaume Herbaut on this new experience.

Arles 2017 – Actes Sud : Mathieu Asselin, Monsanto – The Eye of Photography

In the United States, dozens of Monsanto sites (classified as sensitive by the Federal Environment Agency) are maintaining activities with severe sanitary and environmental consequences. In the name of human and environmental rights, scientists and institutions have already raised alarm. This photographic quest aims to raise awareness about Monsanto’s current practices to understand the impact of their activities on human beings and their environment. This work offers a photographic dive into the chemical company’s past and present. It combines the company’s archival documents and many portraits and landscapes directly affected by the environmental consequences of this industrial production.

Capturing the Birth of Rock ‘n’ Roll – The New York Times

Eddie Rocco’s rock ‘n’ roll photos, taken in the 1950s and early 1960s for magazines like Sepia, Hep and Rhythm and Blues, seem to have had one aim: to let the good times roll. Not for him the brooding pose, the soulful gaze, the glimpse into the inner life of the creative artist. His was an aesthetic of action: hips swinging, pipes roaring, fingers popping, taffeta crumpling. Even when his subjects were lying down, as in his shot of the Carolina fireball Esquerita recumbent at a Texas diner (slide 2), they’ve got bounce by the ounce.

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