How Lee Friedlander Edits His Photo Books | PDNPulse

Friedlander said he typically Xeroxes his photos, then uses a hole-punch to put three holes on the left and right side of the images. That way, he said, when he puts them into a three-ring binder to see how they work in sequence, he can also easily switch the order, moving them from the left side to the right and back again as he wishes. When he thinks a book is done, he said, he’ll take a second look and almost always decide that two images facing each other have to be swapped.

No One Would Buy My Photos, So Here They Are For Free: Mosul 2017

My name is Kainoa Little, and I am a Shoreline, Washington-based conflict photographer. I was in Mosul in April and May 2017, documenting Iraqi forces as they fought Islamic State militants to liberate the city.

Canon Female Photojournalist Award, Other Prizes Announced by Visa Pour L’Image Fest | PDNPulse

The Canon Female Photojournalist Award of €8000 (approx. $9000 U.S.) will be given to Catalina Martin-Chico to support her project about women members of Colombian guerilla group FARC. That work will be shown at Visa Pour L’Image in 2018. The award, which is sponsored by ELLE Magazine, honors women photographers for outstanding contributions to photojournalism. Previous winners of the award, which has been given annually since 2001, include Darcy Padilla, Mary F. Calvert, Brenda Ann Kenneally and Ami Vitale.

Photographers edit photographers: A closer look at Benedicte Kurzen’s years covering South Africa – The Washington Post

NOOR photographer Alixandra Fazzina edits the work of her colleague, French photographer Benedicte Kurzen. Kurzen began her career in Gaza, covering the Middle East, before moving to South Africa in 2005. There she spent six years, focusing on conflict and social issues

Arles 2017 – Silin Liu, I’m everywhere – The Eye of Photography

The film Lucy conveys the following truth: once a person’s intelligence develops beyond 100%, the body, which serves as the intelligence-bearing vehicle, will turn to ashes. The descriptive capacity of “I am everywhere” surmounts temporal and geographic constraints, and at this point, a person transforms into a “god”. When material media can no longer bear the energy of information, the form of the medium will similarly dissipate. In this way, the image is chock full of “everywhere”—it has immense energy, but is also hugely false; it is the end but also the origin. Every time we take a photograph and share it, it is like a ritual ceremony. We are lost in this irrational worship, meanwhile emitting an entirely new version of ourselves, or, say we are releasing our pent-up selves; such a process expels the fear and helplessness of the environment, and the original but disordered environment might also gives us the freedom and opportunity to reselect our fate.

Portrait of Santa Rosa – americanreportage

Santa Rosa is dying. The town of nearly 2,800 is pressed against New Mexico’s largest freeway — once a booming destination, now a place long-haul truckers spend a night and move on.

Masahisa Fukase’s Landmark Photo Book To Get Republished This Year – Feature Shoot

Some have written that Fukase took so many photographs of his wife, Yoko, that he bordered on obsessive (she described their life together as “suffocating dullness interspersed by violent and near suicidal flashes of excitement”). Heartbroken when she divorced him in 1976, Fukase turned his lens/obsession to ravens — birds who, like crows, represent ominousness and bleak loneliness in Japan just as they do in the US — and published the works in a 1986 photobook called Karasu, also known as The Solitude of Ravens.

Martim Meirelles: Mozambique: A Portrait of an Orphan Nation | LENSCRATCH

Portuguese-American photographer Martim Meirelles submitted several compelling photographs and I selected the image above as 1st Place Winner. The photograph had a visual complexity and unique beauty–a visual narrative that didn’t give away the ending. Today I’m sharing the work that Martim created while volunteering at an orphanage in the town of Mumemo, Mozambique.

The 2017 Summer Fun Exhibition | LENSCRATCH

Happy Summer! On this day of fireworks, BBQ’s, and red, white, and blue by the beach, we hope you all have your cameras at the ready. Thank you for your wonderful submissions and a huge thank you to Julia Martin for compiling today’s post.

Virginia’s Heritage Music Trail – The Washington Post

It’s Friday evening at the Floyd Country Store, one of the landmarks along Virginia’s Crooked Road, which anchors a century-old tradition of live music throughout the state. The Stanley Brothers played along the road, which winds through southwestern Virginia and is formally known as Virginia’s Heritage Music Trail. The Carter family, too, for generations.

Arles 2017 – Iran, Year 38, the voice of 66 Iranians photographers – The Eye of Photography

It is not a coincidence that Iran has so many photographers. when today’s Iranians want to express themselves, they use the tools given to them by history. The modern version of poetry is photography, of course. images, photojournalism, documentary or art are visual poetry, if you will. With this exhibition, we want to introduce those who are shaping the image of Iran today. A very diverse mix of photographers, artists and filmmakers portraying a country still caught up in revolution and war, but also fast-changing beyond recognition. Iran is both a young and an old country at the same time. Thousands of years of history have come before the 1979 Islamic Revolution. We start counting again from that year. Iran: year 38, is to be an exhibition celebrating the culture of visual poetry embraced by Iranians.

Arles 2017 – Karlheinz Weinberger’s Swiss Rebels – The Eye of Photography

Karlheinz Weinberger was an unknown Swiss photographer until his photographs were widely discovered in 2011. This posthumous exhibition dedicated to his work, gives homage to an Helvetian generation in search of their identity.

Matt Henry – Murder a Go-Go « burn magazine

Somewhere in the mutinous haze of 1960’s America, a glamorous band of dancing militants dubbed the ‘Go-Go Gang’ is hard at work seducing and murdering chemical company executives in the name of environmental justice. This is Murder a Go-Go; a 16-image fictional series that I hoped would twin the sexualised and homicidal flavours of 1960’s explotation cinema with the rapidly emerging social movements of the time. 

Lee Friedlander’s Photos of 1960s T.V. Sets – The New York Times

As such, it is disconcerting to see the installation of Lee Friedlander’s prescient “The Little Screens” on the wall at Pier 24 in San Francisco, as 50 pictures are featured in “The Grain of the Present,” the current exhibition curated by Pier 24’s director, Christopher McCall. It’s interesting to view “The Little Screens” as the first artistic attempt to document television’s nascent dominance of America. The pictures were first shot in the early ’60s, when “Bonanza” and “Gunsmoke” were must-see T.V., and John F. Kennedy was president.

Why We Do It: Photographers on the Passion That Drives Them | Time.com

For this post, my last as editor of TIME LightBox, I asked 13 of my colleagues – some of the many photographers and photo editors who have influenced and inspired me over my last ten years in this industry – to answer these essential questions: Why do they do it? Why do they wake up every morning ready to take photographs, to edit them, to publish them? Why is photography important to them and, by extension, to all of us?

Chris Christie said he didn’t get any sun. Then, a newspaper showed him the beach photos – Poynter

Earlier that day, photographer Andy Mills flew by Christie and his family — twice — while taking photos from the open door of a small plane. Christie and his wife were catching some rays on an otherwise deserted shoreline behind a state-provided beach house.

Priscilla Briggs: Impossible is Nothing: China’s Theater of Consumerism | LENSCRATCH

Impossible is Nothing focuses on that phenomenon with a six year investigation of where the east meets west. She traveled throughout the eastern seaboard of China to examine a “new brand of Communism that embraces Capitalism with Chinese characteristics.” Her photographs reveal constructed realities, especially when then relate to ideas of luxury gleaned from Western capitalist values and also shares what lies beneath the façade and the costs of global consumerism, as shown in Briggs’ photographs of factories and polluted waterways. Portraits, still life images and urban landscapes, rich in detail, are woven together to create a lyrical ode to the optimism and imagination of a country where anything seems possible

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