Greetings from Uzbekistan, the Country that Grows Cotton in the Desert

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.

Enrique Metinides, criminal photographs in Mexico City

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.

From Artificial Intelligence to Intelligent Imaging

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

California Sunday Magazine Wins National Magazine Award for Photography

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.

ICP Perpetual Revolution: The Flood, Refugees and Representation


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.

ICP – Carol Squiers: “ Web photography must be considered with the same seriousness”

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.

Really Social Photojournalism

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.

Finding the True North in Canada

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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.

16 Taylor Wessing Photographic Portrait Prize


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.

Steve Schapiro, Eyewitness


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.

Nurturing New Storytellers in Africa and Latin America

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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.

Richard Mosse’s “Heat Maps”: A Military-Grade Camera Repurposed on the Migrant Trail

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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 : Mmm, mmm, good


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.

My Farewell to Twitter

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.”