Tag: Paolo Pellegrin

  • Paolo Pellegrin’s Photographic Quest for the Sublime | The New Yorker

    Paolo Pellegrin’s Photographic Quest for the Sublime

    Paolo Pellegrin’s Photographic Quest for the Sublime

    For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.

    via The New Yorker: https://www.newyorker.com/magazine/2022/05/23/paolo-pellegrins-photographic-quest-for-the-sublime

    “To find silence, you need silence,” Pellegrin had observed, and as we drove in darkness no one spoke. An hour later, Anthony parked in the sand. Pellegrin handed me a flash and a tripod, and we set off on foot into the dunes. Here there was no sky; a thick fog obscured it. Individual particles cascaded in front of us, refracting light from the headlamps—tiny droplets, seen but not quite felt. Nearby was a brown hyena, sensed but not yet seen.

  • I’m Usually a Conflict Photographer. Now, I’m Documenting My Family. – The New York Times

    https://www.nytimes.com/interactive/2020/05/16/magazine/covid-quarantine-family.html
    I was in Australia, working on a photographic project on the aftermath of the wildfires, and there was a moment when I realized that this pandemic was not being contained. It was spreading everywhere. My family was back in Switzerland, and I was playing these scenarios through my mind: Borders being closed. What if I get sick? What if I get stuck? What if my wife, Kathryn, gets sick, and I can’t reach her?
  • Photojournalism Now: Friday Round Up – 15 June 2018 – Photojournalism Now

    [contentcards url=”https://photojournalismnow43738385.wordpress.com/2018/06/15/photojournalism-now-friday-round-up-15-june-2018/”]

    Photojournalism Now: Friday Round Up – 15 June 2018 – Photojournalism Now

    When I was commissioned to interview Paolo Pellegrin back in 2008 it was a turning point in my career. I remember placing a call to Pellegrin who was in Jordan, at 5am my time. When he learned how early it was he told me he wasn’t worth getting up that early for. Wrong!  Since then photojournalism and social documentary in particular has become a passionate pursuit that inspires both my journalistic work and my scholarly research. So when I saw this new work from my dear friend, I wanted to share it with Photojournalism Now readers.

  • Documenting the Anguish of War: An Interview With Photojournalist Paolo Pellegrin – Pacific Standard

    [contentcards url=”https://psmag.com/magazine/interview-with-photojournalist-paolo-pellegrin”]

    Documenting the Anguish of War: An Interview With Photojournalist Paolo Pellegrin – Pacific Standard

    After more than two peripatetic decades of assignments in the Balkans, Lebanon, Palestine, and Afghanistan, among many other places of conflict, photographer Paolo Pellegrin is still out there.

  • Italy by Magnum , from Henri Cartier-Bresson to Paolo Pellegrin – The Eye of Photography

    Italy by Magnum , from Henri Cartier-Bresson to Paolo Pellegrin

    For L’Italia di Magnum. Da Henri Cartier-Bresson a Paolo Pellegrin, an exhibition currently on view at CAMERA – Centro Italiano per la Fotografia, in Torino, twenty photographers have been called upon to recount events, great and small, through Italian figures and localities from the post-war years right up to the present day, in a blend of famous and less familiar photographs, of places known throughout the world and of ordinary citizens who make up the social and visual fabric of Italia.

  • Magnum Photos Blog

    The Battle For Mosul by Paolo Pellegrin

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    On assignment for the New York Times Magazine, Paolo Pellegrin photographed the ongoing battle as well as the situation of the internally displaced people

  • Fractured Lands: How the Arab World Came Apart – The New York Times

    Fractured Lands: How the Arab World Came Apart

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    Scott Anderson’s story gives the reader a visceral sense of how it all unfolded, through the eyes of six characters in Egypt, Libya, Syria, Iraq and Iraqi Kurdistan. Accompanying Anderson’s text are 10 portfolios by the photographer Paolo Pellegrin, drawn from his extensive travels across the region over the last 14 years, as well as a landmark virtual-reality experience that embeds the viewer with the Iraqi fighting forces during the battle to retake Falluja.

  • The latest New York Times Magazine is a 40,000-word, grant-funded book – Poynter

    The latest New York Times Magazine is a 40,000-word, grant-funded book

    Not long after Jake Silverstein was named editor of The New York Times Magazine in 2014, he had a dinnertime conversation with writer Scott Anderson and photographer Paolo Pellegrin, two longtime contributors to the magazine. The subject? “A big, epic project,” timed to the fifth anniversary of the Arab Spring, that would take over the entirety of the magazine

  • Extraordinary New Book Unveils the Untold Stories of the World’s Greatest Photojournalists – Feature Shoot

    Extraordinary New Book Unveils the Untold Stories of the World’s Greatest Photojournalists

    As suggested by Italian journalist Mario Calabresi in his extraordinary book Eyes Wide Open, however, the best storytellers are those who allow themselves to be submerged within often painful events, to forgo absolute objectivity in favor of something rarer: a precarious marriage of impartiality and intimate involvement. In interviews with ten photographers who have not only documented but in many ways shaped the course of history—Steve McCurry, Josef Koudelka, Don McCullin, Elliott Erwitt, Paul Fusco, Alex Webb, Gabriele Basilico, Abbas, Paolo Pellegrin, and Sebastiao Salgado

  • Magnum Photos Blog

  • Magnum Photos Blog

    Desperate Crossings

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    In late July 2015 Paolo Pellegrin boarded an MSF (Doctors Without Borders) ship tasked with intercepting migrant-packed vessels originating from Libya, bound for Europe.

  • Worth a look: Desperate Crossing by Paolo Pellegrin | dvafoto

    Desperate Crossing

    Screen Shot 2015 09 03 at 12 26 56 PM

    PHOTOGRAPHY AND VIDEO BY PAOLO PELLEGRIN. TEXT BY SCOTT ANDERSON.

    via dvafoto
  • Alex Majoli and Paolo Pellegrin photograph the Republic of the Congo in their book, Congo.

    Alex Majoli and Paolo Pellegrin photograph the Republic of the Congo in their book, Congo.

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    Compared to its larger Central African neighbor, the Democratic Republic of Congo, the Republic of Congo has not been widely documented. Alex Majoli and Paolo Pellegrin provide plenty of visual records in their book, Congo, which Aperture published in May, but they don’t seek to illuminate much, at least in terms of names, places, and historical context. Their photographs, a mix of captivating city scenes and tropical landscapes, are uncaptioned and untitled. An interview with Majoli over email yielded little more in the way of concrete information. Their goal, he said, was to leave viewers with only “what is necessary” to draw their own conclusions—namely, images—and nothing more.

  • Collective book: Congo by Paolo Pellegrin and Alex Majoli published by Aperture – The Eye of Photography

    Collective book: Congo by Paolo Pellegrin and Alex Majoli published by Aperture

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    Magnum photographers Paolo Pellegrin and Alex Majoli present a collaborative document of the Congo and its people. Bringing together the best of each photographer’s personal styles as well as experimental forays into abstraction and collage, this volume captures what Alain Mabanckou describes as a full range of the landscape, “from urban scenes to great forests and back, reflecting the way it is in most African societies today.” With no captions or individual photo credits, the densely printed images—presented on full-bleed pages, as gatefolds, or as double-spread gatefolds—become wholly immersive.

  • Nothing but Pictures: Alex Majoli and Paolo Pellegrin’s “Congo” – The New Yorker

    Nothing but Pictures: Alex Majoli and Paolo Pellegrin’s “Congo”

    Congo Aperture 02 690

    There are a lot of great pictures in the colossal new book “Congo” (Aperture, 2015), by the photographers Alex Majoli and Paolo Pellegrin: pictures of immense panoramic scope and texture, pictures of deep, elaborate landscapes and of the human dramas that play out across them, scenes of labor, scenes of commerce, scenes of festivity, and scenes of tranquility, crowd scenes and portraits, interiors and exteriors, urban, rural, and wilderness, day and night, life and death.

  • Life in the Valley of Death – NYTimes.com

    Cover 1600Life in the Valley of Death

    Srebrenica has come to symbolize the Bosnian war’s unspeakable brutality and the international community’s colossal failure when confronting it. Photographs by PAOLO PELLEGRIN

  • The Pictures of the Year International Contest Concludes

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    Link: The Pictures of the Year International Contest Concludes – NYTimes.com

    Top honors in the 70th annual Pictures of the Year International contest went to Paolo Pellegrin of Magnum Photos for freelance photographer of the year and Paul Hansen of the Swedish newspaper Dagens Nyheter for newspaper photographer of the year.

  • POYi Punts on Pellegrin Controversy


    Link: PDN Pulse » Blog Archive » POYi Punts on Pellegrin Controversy

    they dodged the issue that is central to the debate: the legitimacy of one particular documentary-like image of a subject posing with a gun in a parking garage–at Pellegrin’s request. (The subject told PDN that the image “put him in a bad light.”)

  • POYi Issues Statement On Paolo Pellegrin’s Pictures, Affirm Award


    Link: POYi Issues Statement On Paolo Pellegrin’s Pictures, Affirm Award | NPPA

    Today a statement from POYi says, “The spirit of Pictures of the Year International is to honor photojournalists and celebrate their outstanding documentary photography. We do not probe for reasons to disqualify work.”

  • World Press Hits Pellegrin with Wet Noodle (And Other Contest Scandals)


    Link: PDN Pulse » Blog Archive » World Press Hits Pellegrin with Wet Noodle (And Other Contest Scandals)

    Today, World Press photo organizers issued a statement that said, “The jury is of the opinion that although a more complete and accurate introduction and captions should have been made available by the photographer, the jury was not fundamentally mislead by the picture in the story or the caption that was included with it.”