One year ago, record-breaking floods submerged one fifth of Pakistan’s total land area for months, affecting some 20 million residents and causing some $10 billion in damage. Eleven million Pakistanis were left homeless, and the aid organization Oxfam estimates that more than 800,000 remain without permanent shelter to this day. Many of them, frustrated by limited government assistance, are struggling to rebuild their own homes. Reuters photographer Adrees Latif was in Pakistan one year ago to record the disaster and has just returned to recreate some of his most iconic images. His then-and-now photos reveal what has changed (and what has not) over the course of a year. Collected below are photos from Latif and others that show how Pakistanis continue to cope with last year’s disaster. [39 photos]
Looking at the world through via Google Earth offers striking images of the diversity of our planet and the impact that humans have had on it. Today’s entry is a puzzle. We’re challenging you to figure out where in the world each of the images below is taken. (You’ll find answers and links at the bottom of the entry.) North is not always up in these pictures, and, apart from a bit of contrast, they are unaltered images provided by Google and its mapping partners. So I invite you to open up Google Earth (or Google Maps), have a look at the images below, and dive in. Good luck! [25 images]
What is a Times Magazine celebrity portrait? Kathy Ryan, the director of photography, doesn’t believe in boundaries. That’s one reason it’s so hard to define.
What makes a good celebrity portrait? It has a lot to do with finding a presence. Avoiding the superficial. Rendering an individual almost dreamlike.
Kathy Ryan, the director of photography of The New York Times Magazine, describes it as “that split second when something intense seems to be happening with the person in the portrait.”
Shortly after eleven o’clock on the night of May 1st, two MH-60 Black Hawk helicopters lifted off from Jalalabad Air Field, in eastern Afghanistan, and embarked on a covert mission into Pakistan to kill Osama bin Laden.
Somewhere in the virtual world, I came across The Point, a new Blurb book that is the collaborative effort of Kirk Crippens and Michael Jang. I’m a big fan of both photographers, and I love the idea of working apart and together to create a significant project.
Step back to those years in what was the active, peaceful city of Austin, Texas. The city is nestled hard against the banks of the Colorado River that knives through central Texas. This state govern
If students were taking Garry’s class to learn photographic techniques and methods, they were sorely disappointed. Garry didn’t teach much technique. That was left to the PJ side of the photography world or to his “TAs”. You have a lifetime to learn technique, he seemed to be saying, but I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
While mainstream sports photography has become blunted by the controlling instincts of administrators and the ubiquity of same-brand digital SLRs, a select band of shooters – often focused on “adrenalin” sports that offer greater co-operation and freedoms – are finding new perspectives on the action. Diane Smyth talks to six of the best.
“What’s it like photographing a National Geographic story?”
It’s a question frequently asked and to be honest, a rather intriguing one because a National Geographic story — the process from beginning to conclusion — is not always what we might think.
For one thing, I tend to get very wet and ruin equipment.
Matt Siber’s Untitled Project transforms images made in the traditional documentary style by stripping away the text of all visible signage, and digitally reconstructing it in an adjacent frame.
Photographer Joseph Szabo, best known for his pictures of teenagers, recently made a remarkable re-discovery—a very different body of work he calls Hometown—pictures taken four decades ago that he had all but forgotten.
Brooklyn painter, street artist, and musician Dan Witz has a solo show opening at NYC’s Jonathan LeVine Gallery on June 30. The series of large-scale hyper-realistic figurative paintings is t…
Applying old master techniques, (Witz) achieves impressively convincing trompe l’oeil illusions of light, shadow and depth in his finely rendered portraits, landscapes and still lifes. The artist recently added digital media tools to his process (having previously used traditional projection methods). Combining old master techniques and digital technology, he photographs his subjects, composes in photoshop, prints an a-chromatic underpainting on canvas then glazes and scumbles over this foundation using traditional representational painting…
I have photographed the street life on negative black-and-white film. I then rewound the film and exposed the entire roll once again in another city somewhere else in the world.
Jing Huang, born in Guangzhou and now a resident of Shenzhen, China, was just named as the recipient this year’s Leica Oskar Barnack Newcomer Award. His self-selected portfolio of 12 black-and-white fine art images shot with his beloved Leica M4-P were chosen from over 2,000 entries.
Matt Black, 40, who has spent years documenting the migrant population in the Central Valley (“Oaxacan Exodus“), could very well see the effects in California. But for “People of the Clouds,” he wanted to understand what has happening on the other side of the border.
Melanie Light is an American writer and former co-founder of Photovision, a non-profit organization devoted to promote documentary photography. She also teaches. Her last two works are Night at the Met with photographer Larry Fink, Mad Day Out, on the Beatles’ photographs (Stephen Goldblatt). She has sent us her text on photojournalism today, which we find remarkable, and are publishing it in La Lettre.
Over the course of his 18-year career, acclaimed Danish photojournalist Jan Grarup has covered many of recent history’s defining human rights and conflict issues with his camera. His work reflects his belief in photojournalism’s role as an instrument of witness and memory to incite change and the necessity of telling the stories of people who are rendered powerless to tell their own.
Stephen Mayes, Managing Director of VII Photo and one of my favorite photo thinkers, is presenting a lecture titled, “Restructuring the Photographic Process,” during the Flash Forward Festival today, June 3, at noon EST.
If you’d like to see what he has to say but can’t join us in Boston, please check in here, where I’ll liveblog his talk and any subsequent discussion.
