The making of The Family Imprint and lessons learned along the way
via Medium: https://witness.worldpressphoto.org/from-photo-essay-to-photo-book-ad813a7c10ee
The making of The Family Imprint and lessons learned along the way
The photographer’s book ‘Too Tired for Sunshine’ explores the bizarre hidden in plain sight.
via Vice: https://www.vice.com/en_us/article/qvz8nd/tara-wrays-weirdly-beautiful-photos-of-rural-vermont
The photographer’s book ‘Too Tired for Sunshine’ explores the bizarre hidden in plain sight.
Our photo editor picks his favorite books of 2017.
via Mother Jones: http://www.motherjones.com/media/2017/12/here-are-10-of-the-most-captivating-photo-books-of-the-year-just-look/
This past year seems like we were treated to more photo books than ever. That is, at least in part, due to crowdfunding efforts that are helping photographers defray the exorbitant cost of publishing. The unyielding flood of photo books is evidence that photographers are still turning to the medium as the preferred venue to get their work out into the world—and, with the rise of crowdfunding, on their own terms.
For as long as he can remember, Jonathan Alpeyrie was fascinated by history and had a fierce passion for adventure. He loved the worlds he could escape to when his father read adventure classics to him, like Call of the Wild and Moby Dick. “As I got older
For as long as he can remember, Jonathan Alpeyrie was fascinated by history and had a fierce passion for adventure. He loved the worlds he could escape to when his father read adventure classics to him, like Call of the Wild and Moby Dick. “As I got older, I was constantly reading history books, especially about Roman antiquity,” he says. “My uncles and grandparents fought in all the major wars including World War I, World War II, Indochina and Algeria. I played war in the backyard and drew maps of battles.”
Work that felt not only moving but also necessary.
Link: https://www.nytimes.com/2017/12/30/magazine/the-best-photo-books-of-2017.html?partner=rss&emc=rss
There are great photo books every year, and 2017 was no exception. But something about the strained times intensified my feelings about the work I saw this year. The role of art felt more urgent, both as a response to the general political disorder and as a refuge from it. I didn’t merely like or appreciate the best work I saw; I needed it. The photo books that made my list range from large scholarly catalogs to poetic little volumes. They were published in seven different countries. Some were more conceptual in approach, while others were freer and more visceral. These winners all had in common the special qualities of great photo books: the pleasure of turning pages, the precision of thoughtful book design, the tactility of paper and the glow of the afterimages in the mind long after the book is set down.
[contentcards url=”http://prometheus.med.utah.edu/~bwjones/2017/12/fovi8-volume-1-issue-4/”]
Havana. Ministry of Industry. Ernesto Guevara (Che), Argentinian politician, Minister of industry (1961-1965) during an exclusive interview in his office. © Rene Burri/Magnum Photos. We would like to believe that…
via Feature Shoot: https://www.featureshoot.com/2017/12/69-magnum-photographers-reveal-their-contact-sheets-in-new-book/
Magnum Contact Sheets (Thames & Hudson) offers a critical look at the necessity of context in our understanding of the photograph. Featuring 139 contact sheets from 69 photographers, as well as zoom-in details, selected photographs, press cards, notebooks, magazine spreads, and texts by the photographer or an expert chosen by their estate, the book deepens our understanding about the photographic and editorial processes.
When I first discovered the Diana camera in the 1990’s there were few places to look for inspiration. That was, until I found the seminal book by Nancy Rexroth titled IOWA. It was difficult to lay hands on a copy as it had been originally published in 197
via LENSCRATCH: http://lenscratch.com/2017/11/nancy-rexroth-iowa/
When I first discovered the Diana camera in the 1990’s there were few places to look for inspiration. That was, until I found the seminal book by Nancy Rexroth titled IOWA. It was difficult to lay hands on a copy as it had been originally published in 1977. But I did find it and the book is now dogeared, from hours of looking and being inspired by the magic that a simple toy camera, in the hands of an artist, could produce. Her poetic, well seen capture of people and places in her life were and are an inspiration to generations of photographers. Forty years after its original publication, IOWA has been reissued by the University of Texas Press, now in a hardcover edition that includes twenty-two previously unpublished images. The photographs are accompanied by a new foreword by Magnum photographer and book maker Alec Soth and an essay by internationally acclaimed curator Anne Wilkes Tucker, “who affirms the continuing power and importance of IOWA within the photobook genre”. New postscripts by Nancy Rexroth and Mark L. Power, who wrote the essay in the first edition, complete the volume.
Any photographer today who finds themselves engaged with photography and photographers online, in print or in person, will find it…
To help me explain where we are today with book publishing I often use the metaphor of football — soccer if you prefer — leagues, where the publishers are the teams and managers and the players are the photographers. The metaphor of league tables is not to denote quality of work but to explain an approach to the game and the medium of photography based on the financial clout of the teams involved.
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[contentcards url=”http://loeildelaphotographie.com/en/2017/10/24/article/159970197/malick-sidibe-le-grain-de-la-joie/”]
[contentcards url=”http://loeildelaphotographie.com/en/2017/10/24/article/159969699/a-city-seen-todd-webbs-postwar-new-york/”]
From cynicism to a surprising sadness
via Medium: https://medium.com/vantage/viewing-the-last-testament-as-a-person-of-faith-5b3d3ab65e84
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?
[contentcards url=”http://prometheus.med.utah.edu/~bwjones/2017/10/fovi8-volume-1-issue-2/”]
[contentcards url=”http://loeildelaphotographie.com/en/2017/10/12/article/159968478/alvaro-laiz-the-hunt/”]
A proof-of-concept study of what they tell us about our understanding of war
via Medium: https://witness.worldpressphoto.org/american-wars-in-the-photobook-75b576dc328f
I want to attempt to come to conclusions about both the way photographers described war and how underlying larger professional and societal trends influenced the description. Needless to say, these two aspects are not independent at all. Photographers are embedded in societies. However much they might try, they can never escape the restrictions put upon them. They might fully embrace them, fight them, or engage in a combination of both. This then feeds back into the societies, which might change their thinking around wars based on what photographs tell them. It’s an imperfect feedback loop, whose imperfections are frequently being discussed by both photographers and society. Both tend to voice their dismay about war imagery not having enough power and/or impact to dissuade the starting of yet another war (by the same society having such conversations).
I had the pleasure of meeting Jenny Sampson at Photolucida last April. She brought a stellar portfolio of wet plate collodion tintype portraits of skateboarders–the process a perfect reflection of the gritty street activity that draws an interesting comm
via LENSCRATCH: http://lenscratch.com/2017/10/jenny-sampson/
I had the pleasure of meeting Jenny Sampson at Photolucida last April. She brought a stellar portfolio of wet plate collodion tintype portraits of skateboarders–the process a perfect reflection of the gritty street activity that draws in interesting community of athletes. Jenny also shared that she was releasing a monograph of Skaters: Tintype Portraits of West Coast Skateboarders, through Daylight Books, coming out this Fall. The book has just been made available and it reflects her commitment to the skater community by using a large format camera and portable darkroom at skate parks in California, Oregon and Washington. The book includes a foreword by Bret Anthony Johnston and essay by Joel Rice.
[contentcards url=”http://loeildelaphotographie.com/en/2017/10/09/article/159967949/harry-gruyaert-east-west/”]
I have always been more interested in the subtle and familiar moments of everyday life, not the big news stories. They are telling in different ways and just as powerful. Nothing was scripted but played out right before me. As Patti Smith once said,” You
via LENSCRATCH: http://lenscratch.com/2017/10/carrie-boretz-street/
powerHouse Books has just released an almost thirty year look at the streets of New York, seen through the eyes (and photographs) of Carrie Boretz. Aptly titled, Streets: New York City – 70s, 80s, 90s, the work reflects a city in flux, more gritty and unstable, but her focus remains with the simple gestures of everyday life in neighborhoods and communities that were familiar. The book is a testament to seeing, Carrie managing to stay hyper aware of juxtapositions and relationships, but it is also a testament to commitment, returning year after year to the streets in search of that split second of something real and beautiful.
[contentcards url=”http://loeildelaphotographie.com/en/2017/09/22/article/159966263/the-remains-of-the-maginot-line-by-alexandre-guirkinger-and-tristan-garcia/”]