Magnum photographer Jonas Bendiksen was troubled by potential for photographers to fabricate a story and photos from scratch using technology and social media to propagate a false narrative. He was so frightened that he “decided to try to do this myself.”
The road to hell is paved with good intentions....so is the road to fake news apparently.
The latest and probably most potent existential rain dance is Magnum’s own Jonas Bendiksen Veles experiment. Using a mixture of AI, computer-generated content, real photos, and GPT 3, he put together what he hoped would be a self-destroying fake photo essay
Elliott Erwitt, Zun Lee, Alec Soth, and more on the turning points in their photographs—from global and national events to the most personal moments.
Turning points in the lives and works of photographers often span the extremes—from global and national events to the most personal moments. Photographers such as Alec Soth and Zun Lee are able to not only bear witness to events that shape our collective history, but also to map more intimate transitions within their craft and their everyday lives.
Photographer Jonas Bendiksen describes himself as “a man of little faith.” His latest project The Last Testament, a years-long exploration of the lives of seven self-proclaimed Messiahs around the world who claim to be the second coming of Christ, will resonate with doubters and the spiritually curious alike. But what about believers?
Jonas Bendiksen has shot these epic, super slow-motion videos of soccer fans and amateur soccer players in action. He’s called them “Still Films,” and below he explains why he sees these pieces as photographic works of art, and not as videos.
As photographic careers go, Jonas Bendiksen's has been pretty barnstorming. A member of the prestigious Magnum photo agency, awards, international solo shows, big clients such as National Geographic. Why on earth then would he choose to take a job at a lo
"Why on earth would a seasoned, decorated photographer take a job at a local, small-town newspaper in the northern reaches of Norway?
That’s what we asked Jonas Bendiksen after he announced on Magnum’s blog that he’d be working at the Bladet Vesterålen newspaper, with a circulation of only 8,000"
This month Magnum Photos releases Georgian Spring: A Magnum Journal, a group project for which ten photographers—Thomas Dworzak, Martine Franck, Mark Power, Alex Majoli, Martin Parr, Alec Soth, Jonas Bendiksen, Antoine D’Agata, Gueorgui Pinkhassov and Paolo Pellegrin—traveled to the Eastern European country to document the contemporary culture and national identity. The book is curated and published by Chris Boot, a former Magnum director in London.
The Places We Live – Magnum Photos
Jonas Bendiksen/Magnum Photos
In 2005, I started work on The Places We Live, a project about urban poverty and slums. For three years, I visited dozens of families in four slums around the world.
The Places We Live was not a search for finding the absolute extremes of urban poverty—I wasn’t looking for the dirties spot, the poorest hovels or the most crime-ridden street corner. My task was to find how people normalize these dire situations. How they build dignity and daily lives in the midst of very challenging living conditions.
In Access to Life, eight Magnum photographers portray people in nine countries around the world before and four months after they began antiretroviral treatment for AIDS. Paolo Pellegrin in Mali, Alex Majoli in Russia, Larry Towell in Swaziland and South Africa, Jim Goldberg in India, Gilles Peress in Rwanda, Jonas Bendiksen in Haiti, Steve McCurry in Vietnam and Eli Reed in Peru
Jonas Bendiksen Wins $50,000 National Geographic Grant
The second annual National Geographic magazine photography grant has been awarded to Jonas Bendiksen, a Magnum photographer who is working to document urban population growth.
The grant offers a documentary photographer $50,000 to work on a long-term project. Bendiksen proposed to document the population explosion in Chongqing, a city in western China that is considered the fastest growing metropolis in the world.
The Soviet collapse spawned 15 new countries that are now established members of the international community. However, economic, political and ethnic disparities also gave birth to a series of far less known unrecognized republics, national aspirations and legacies. Jonas Bendiksen, a Norwegian and Magnum’s youngest photographer, started his “multi-year project about states that do not actually exist”. “Satellites” is a photographic journey through the scattered enclaves, unrecognized mini-states, and other isolated communities that straddle the southern borderlands of the former USSR. The itinerary goes through places such as Transdniester, a breakaway republic in Eastern Europe, Abkhazia, an unrecognized country on the Black Sea, the religiously conservative Ferghana Valley in Central Asia, the spacecraft crash zones between Russia and Kazakhstan, and the Jewish Autonomous Region of Far Eastern Russia.