Irma’s Path Across the Caribbean and Southeastern U.S. – The Atlantic

Days after Hurricane Irma wreaked havoc across the Caribbean and several U.S. states, government officials and residents are beginning to assess the widespread damage, pick up the pieces, and figure out their next steps. For some Caribbean islands, like Saint Martin, the destruction is nearly total, with evacuations underway as officials try to rebuild basic infrastructure. FEMA reports that 25 percent of all homes in the Florida Keys were destroyed, while 65 percent were significantly damaged.

I Shot a Hurricane Irma Photo That Went Viral, and I Wasn’t Paid a Dime

My name is Michael Sechler, and I’m a photography enthusiast based in Sarasota, Florida. I recently shot a Hurricane Irma photo that went viral and was used by media all over the world… and I wasn’t paid a dime. Here’s why.

No More Excuses: Diversify Launches Database of Photographers of Color | PDNPulse

After five months of planning, Diversify Photo today launched a database of 340 photographers of color from around the U.S. Brent Lewis, senior photo editor at ESPN’s The Undefeated, told PDN in May that he and photographer and filmmaker Andrea Wise had begun compiling the database to show photo editors, art buyers and other creatives who hire photographers “that there are a lot of talented people out there that they may not see, have the time to go looking for, or just don’t know where to begin to find.”

Matthew Pillsbury’s “Sanctuary” Finds Solace in American Cities | The New Yorker

For more than a decade, Matthew Pillsbury has been photographing city scenes using long exposures, a process that turns his environs, whether a cherry-blossom-filled park in Tokyo or the High Line in New York City, into opalescent blurs of light and movement. Pillsbury’s work last appeared on Photo Booth in 2015, when we featured his exuberant series devoted to summertime in New York City—rooftop parties, the Coney Island boardwalk, Prospect Park Bandshell, and public pools glinting and shining in the sun. In the months since the Presidential election, though, the tone of Pillsbury’s work has shifted. For the photos featured in his new exhibition, “Sanctuary” (opening at Benrubi Gallery, in Chelsea, on September 14th), Pillsbury told me that he was interested in “how we maneuver the pathways in between the political chaos,” and how cities, even with their crowds and chaos, can act as sites of refuge and facilitate acts of resistance. His photo of the Women’s March on Washington, taken for the New York Times Magazine, became one of the most indelible images of the event. In it, an array of pink pussy hats forms a shimmering sea around the Washington Monument, which soars above the crowd stark and in focus. Pillsbury’s long exposures have a way of highlighting individuals who are lost in private moments as the city whirls around them—the man sitting by himself on a diner bench, the woman lost in the screen of her phone. That kind of atomized urban existence is on display in “Sanctuary,” too, such as in a photo of a woman taking a selfie at sunset on North Avenue Beach, in Chicago, standing alone on a vast stretch of sand that reaches back toward the skyline. But other images in the series emphasize the city as a collective space. Recently, Pillsbury went to Columbus Circle to photograph a protest against President Donald Trump’s plan to end daca. At the edge of one photo from the event, you can just make out the blurry slogan of a sign—“Protect daca! Here to Stay!”—but it’s the cloud of protesters, unified in their display of resistance, that keeps the eyes fixed to the frame.

Sarah Lowie – Sixmille « burn magazine

Sixmille is the post code of Charleroi. An ancient industrial city in Belgium, called “The black city”. Formerly covered in coal dust, Charleroi is particular, strange, awkward. A small town where almost everybody knows each other. And here I am, coming from the outside. Discovering a fascinating world, a universe completely different than what I used to know. They let me come, knowing I was a photographer. I came back the next weekend, and the weekend after that… Then every time I could. I started to live with them. To follow their routine, to enter in their privacy. And their daily life. It became mine. I became one of them. They became my family. A world made of parties, lies, laughs, weed, troubles, excitements, manipulations, betrayals, dreams and derision, alcohol… A world build around the present moment. We were enjoying life, fully. An african mentality on the european territory. An way more authentic world then the one I knew before. Intense. The one that awakens instincts. The one that shows what adrenaline really is. A world that challenges everything.Reality. No. Your reality. A love story is born there. Between me and one of them. Django. Immersed and overwhelmed by so many things… Let me introduce you the rapper group, Madil City Gang.

Woman Paper Visa: women talk about photojournalism – The Eye of Photography

For the twenty-ninth edition of Visa pour l’image, Anna-Alix Koffi launched a newspaper  titled Woman Paper Visa, that offers a look at a selection of female photo-reporters, journalists and photo editors. Cloé Kerhoas (Le Journal agency, Istanbul) has chosen the new front-line from the news and documentary world of the Moddle East. A tribute to the photographer Stanley Greene by the women who shared his professional life, has been put together by Clément Saccimani (Director of the Noor agency). If women are not represented in this profession, African women are even less so: presentations of the work of Rahima Gambo and Malin Fezehai try to correct this impression. Unpublished pictures by Dominique Issermann who, with Serge July, witnessed the independence of Mozambique in 1975, and a portrait of Sylvie Grumbach by Marie Sumalia (photo editor at Le Monde). “What use is a publication devoted to women?”, demands Anna-Alix Koffi. “Practically, none”. A cosmetic gesture. As a double minority, it has to be shown, demonstrated with perseverance. To act as a peaceful but pugnacious force until this kind of action is unnecessary. What use are cosmetics to a woman police officer? Practically, none?”

Landskrona Photo – Cortis and Sonderegger, Icons – The Eye of Photography

In 2012, Swiss-based artists Jojakim Cortis and Adrian Sonderegger challenged themselves to recreate iconic images in their studio. Scouring books with history’s memorable photographs, they used optical tricks to reproduce what seemed impossible to duplicate: pivotal moments that often triggered creative or political rebellion. What began as a joke has developed into an ongoing series involving in-depth research and a sense of play in re-staging these events.

Landskrona Photo – Sovan Philong, In the City by Night – The Eye of Photography

Despite their desire for “modernization”, Cambodian cities are far from the powerful megacities of South-east Asia which they try to emulate.
Most cities in Cambodia preserve their small-town character, a provincial atmosphere inherited from the time of the colonial protectorate. Outside the well-lit major arteries, the avenues crossing the city and the docks where bars and restaurants can be found, lighting is poor or non-existent and every evening the city is plunged into darkness. But the hustle and bustle continues.

Photoville: New York’s Premier Photo Festival – The New York Times

Photoville, the free outdoor photo festival housed in shipping containers on the Brooklyn waterfront, is back. This year the festival will run for two weekends, offering everything from exhibitions and walking tours to Education Day, which will bring 600 middle and high school students to the festival.

Diversity in Photojournalism: ‘Talk Is Cheap’ – The New York Times

Over the years, Brent Lewis has stood out in media scrums on assignment or in the audience at conferences and workshops: He’s usually among the very few photographers of color — or the only one — around.

“We are easy to spot in a crowd at photo events,” said Mr. Lewis, the photo editor for ESPN’s The Undefeated. “Yet I personally know many black photographers.”

Sony Unveils the RX10 IV with Blazing Speed and a 24-600mm Lens

Inside the RX10 IV is a 1-inch 20.1-megapixel Exmor RS CMOS stacked image sensor paired with a BIONZ X image processor. The camera can do continuous shooting at a whopping 24fps with full AF/AE tracking and a buffer of 249 shots.

Visa Pour l’Image: long live the reportage – The Eye of Photography

The International Festival of Photojournalism in Perpignan once again takes its visitors on a world tour, offering a fresh look at the state of the planet beyond the narrative clichés often made necessary by the urgent need to document.

Vanessa Gilles, Dosta: Words and Memories of Gypsy Women – The Eye of Photography

Gypsy, Romany, Manouche… Traveling between Arles and Les Saintes Maries de la Mer, the photographer Vanessa Gilles came into contact with women of diverse origins. These women reveal themselves in her images and gaze at us with dignity. Fixed in black and white, the photographs seem to deliver a timeless message that extols pride and attachment to one’s roots. Children are playing in front of the camera seemingly carefree, while women eye it with a stare that says a lot about the years of discrimination which is still omnipresent.

Franck Vogel, Transboundary rivers and their challenges – The Eye of Photography

The French photographer uses photography to tackle the destruction of ecosystems, climate change and the geo political problems of several great rivers across the world. 

Jim Argo, longtime photographer for The Oklahoman, dies at age 79 | News OK

Jim Argo, a former photojournalist for The Oklahoman whose powerful images captured the character of the state and spirit of its people for more than 50 years, died Saturday.

A Photographer’s Search for Cracks in North Korea’s Propaganda Machine | The New Yorker

The photographer Max Pinckers likes his images to call into question the truthfulness of the subjects before him. In some of his photographs, the use of elaborate lighting and staging techniques can make it difficult to divine what is real and what isn’t. Recently, while preparing to travel to Pyongyang to take pictures for Evan Osnos’s New Yorker piece “The Risk of Nuclear War with North Korea,” Pinckers knew that he would be entering a controlled environment, closely shaped by state officials, and he was fascinated by the knowledge that the scenes he photographed would be orchestrated by a foreign power.

The New York Times

In 2007, the top-selling image for the search term “woman” in Getty Image’s library of stock photography was a naked woman lying on a bed, gazing at the camera with a towel draped over her bottom half.

In 2017, it’s a woman hiking a rocky trail in Banff National Park, alone on the edge of a cliff high above a turquoise lake. She’s wearing a down jacket and wool hat, and her face isn’t visible.