London-based photographer Marco Barbieri has always been interested in countries where politics and religion play a central role in people’s lives. He decided to travel to Uzbekistan after seeing images from the disappearing Aral Sea, but his initial plan became much more than he thought it would. His photo series Water in the Desert places water in the country’s broader context, and reveals how a dictatorship can turn logic upside down and make the absurd an acceptable part of daily life.
From 1948 until his forced retirement in 1979, the Mexican photographer Enrique Metinides took thousands of images and followed hundreds of stories in and around Mexico City. And what images and stories they were: car wrecks and train derailments, a bi-plane crashed on to a roof, street stabbings and shootings in the park, apartments and petrol stations set alight, earthquakes, accidental explosions, suicides, manslaughters, murder.
Showkat Nanda grew up hard in Indian-run Kashmir, a child of war, iron-fisted rule and relentless tragedy.
First, the program is given an 8 x 8 pixel image, which it “maps” to a similar higher resolution sample to produce a workable outline of the portrait or scene. Then, a second network adds resolution to that image
It’s been almost a month since Johannesburg-based photojournalist Shiraaz Mohamed disappeared in Syria while travelling with the disaster relief organisation, Gift of the Givers Foundation.
we need more smartness in our photo lives: we’re taking way too many photos, which are way too difficult to keep track of, way too hard to enhance into must-keep masterpieces, and way too time-consuming to combine with other content into enticing collages, multimedia trailers, or printed photobooks
More often than not, photography coming out of India tends to focus on the “exotic.” We’ve seen the pictures many times before — people performing religious rites in the Ganges River or huge gatherings like the Kumb Mela. So it is refreshing to see work that diverges from this path. Swarat Ghosh’s photographs of street scenes in India do just that
The California Sunday Magazine received the 2017 National Magazine Award for Photography in a ceremony held Tuesday in New York City. Pacific Standard took home the award for Feature Photography, which honored “Adrift,” a story about the refugee crisis shot by Francesco Zizola aboard search-and-rescue boats in the Mediterranean Sea.
ISIS also proposes to offer a better, more meaningful life to its followers while it plans and supports deadly mayhem. It skillfully uses both positive and negative propaganda, which is blasted across multiple online platforms in endless streams of photographs, videos, podcasts, and texts
It also includes images that have sparked a near-instant virality, fleetingly igniting the world’s attention, yet burning deeply enough in virtual space to affect real-world policies. Some content circulates on robust networks not visible to the public at large: the surveillance systems of governmental bodies, and the networks of migrants themselves, whose smartphones are survival tools.
There are a multitude of thoughts a visitor could have—I wouldn’t want to try to tell people what to think. Among the conclusions I reached as a result of doing the exhibition is that photography on the Web must be considered with the same degree of seriousness as more traditional forms of photography that originally appeared only as photographic prints or as reproductions in books, newspapers, and magazines.
As the disruption of traditional business models and practices of journalism plays out in 21st-century industrial societies, a paradox has taken shape around the theory, practice and discourse of photojournalism.
Smithsonian (Matt Black) journeyed from Maine to California to update a landmark study of American life
When the Globe and Mail, one of Canada’s national newspapers, made plans to move to smaller and more modern premises, the fate of its photo archives was uncertain. Rumor had it that the new building wouldn’t be able to support the physical weight of the roughly 750,000 prints that were produced before digital photography became the norm. The Archive of Modern Conflict, funded by David Thomson, the chairman of both the daily publication and of Thomson Reuters, came to the rescue.
The 16th edition of the Taylor Wessing Photographic Portrait Prize highlights a diversity of techniques and formats in contemporary photography. Among the total of 4303 images by 1842 photographers, the judges have chosen 57 with the intention of showing a wide range of representations of the other. The visitor thus has the opportunity to discover a fantastic selection of portraits that challenge this “genre” in photography, the process of its production, and its interpretation.
An extensive exhibition of photographs from key moments of the Civil Rights movement by American documentary photographer Steve Schapiro is starting on February 10 at Monroe Gallery, in Santa Fe.
For some people, the idea of “serious” photography conjures up dramatic scenes of suffering, violence and poverty. This can be especially so in parts of Latin America and Africa, where careers have been made by foreign journalists who go in looking for drama. While no doubt there are pressing issues in these regions, there are also scenes of daily life, or less dramatic situations, that go unnoticed, slanting how a global audience sees people and places.
For his series of panoramic images, titled “Heat Maps,” the photographer Richard Mosse co-opted these capabilities for a different purpose. In 2016, Mosse visited routes commonly travelled by refugees—from the Persian Gulf to Berlin, and from northern Niger to the now-cleared Jungle camp in Calais, France—and used a military-grade infrared camera to document scenes along the way.
Classic Photographs Los Angeles is the comfort food of photography fairs: warm and satisfying, a kinder, gentler throwback to the hotel fairs of the early 1980’s. The Unseen Eye was there to get out of New York and to take a look, do a walkthrough and book signing. He had a yummy time. The set up at Bonham’s was modest and handsome, a quiet setting for a collegial weekend during which two dozen veteran dealers could genuinely engage with clients and, for much of the time, with each other. The Women’s March and the torrential rains may have had a dampening effect on attendance, but the audience seemed engaged and left fully sated.
Playing the wrong game was turning me into someone I did not want to be: a petty, dependent validation hog. An embarrassing example: If someone did not like or retweet one of my tweets within three minutes after posting, my anxiety would skyrocket to the point that I would delete it and post something else instead. Or I would post at a different time. Trying to “please” Twitter followers became a compulsive, life-draining pursuit which violated my core philosophy of “Write what you love, not what you think others will like.”