“Double Standard” is probably the best known of the eighteen thousand images that Hopper created with his Nikon from 1961 to around the time he began shooting “Easy Rider,” in early 1968, which happens to be when his and Hayward’s combustible marriage finally blew up
When Jamel Shabazz was a teenager in Brooklyn, a gang member opened his eyes to the power of photography. Shabazz was introduced by a junior high school friend to one of the Jolly Stompers. During Shabazz’s visit to his apartment, the Stomper, who was only 18 or 19 himself, took out thick photo albums with pictures of his confederates. “They had a style I had never seen before,” Shabazz said. “They wore suits, and their pants had creases. You would never know they were in a gang.”
The Syrian photographer Serbest Salih had just finished university, in 2014, when the Islamic State laid siege to his home town of Kobani. He fled to the Turkish province of Mardin, just over the border, where tens of thousands of Syrian refugees have settled during the past decade’s civil war. A multiethnic conflict zone at the edge of Mesopotamia, Mardin is home to a community center called the Sirkhane Social Circus School. Under the tutelage of volunteer instructors there, children affected by war learn to juggle, spin plates, and walk on stilts.
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer. The first in a two-part series.
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer. The second in a two-part series.
This year, we celebrated photography in New York and New Delhi, revisited Judith Joy Ross’s timeless portraits, considered the “photobook phenomenon,” and asked how images can tell new stories about Latinx identity.
Is it possible to retain an artistic vision—and ethical integrity—while making images for news media and fashion brands? Four photographers speak about responsibility, community, and the push for structural change.
Is it possible to retain an artistic vision—and ethical integrity—while making images for news media and fashion brands? Four photographers speak about responsibility, community, and the push for structural change.
A growing number of databases are championing the talents of Black, Indigenous and People of Color (BIPOC) photographers looking to get their foot in the door. Diversify Photo, Black Women Photographers, Indigenous Photograph, The Authority Collective and
A growing number of databases are championing the talents of Black, Indigenous and People of Color (BIPOC) photographers looking to get their foot in the door. Diversify Photo, Black Women Photographers, Indigenous Photograph, The Authority Collective and many other grassroots organizations have made and continue to make great strides in diversifying the lens through which we see the world. For many up and coming BIPOC photographers, though, access to internships and career-defining jobs remain onerous. Enter the BIPOC Photo Mentorship Program.
“It feels amazing, humbling, exciting and huge to think that I have been nominated by Magnum photographers, who have been among my favorite photographers since I started taking pictures. It also feels right to contribute with my point of view, as a documentarist and as an Arab woman,” says Boulos of her nomination. “I hope that the future holds, for me, many encounters, collaborations and new ways of documenting, questioning and resisting the world we live in.”
Even though there are tons of us out there, being a photographer can, at times, be quite lonely. In an industry where so many of us are in direct competition, it’s hard to step back and remember that we’re all in this together. We’re all working to share
In an industry where so many of us are in direct competition, it’s hard to step back and remember that we’re all in this together. We’re all working to share important stories and offer glimpses of powerful emotion without saying a word. We all struggle, but it’s important to remember that together we can all improve and propel the industry forward. At PhotoShelter, we believe everyone can benefit from a mentor or mentee. Don’t just take our word for it though. Below, hear about how two photographers, Miriam Alarcón Avila and Daniella Zalcman, connected and learn more about how mentorship can help you.
Hanging in the fourth-floor study of the renowned photojournalist Chester Higgins’s Fort Greene brownstone is a bunch of large dead leaves, fastened to a line in front of a well-stocked bookcase. Higgins grew the leaves in his window boxes, he told me, and he’s been making photographs of them for some time now. It’s a way, he said, to examine how “the spirit” manifests in all natural things.
Today, on The International Day of the World’s Indigenous Peoples, we’re sharing the work of the talented Indigenous photographers in the industry. Last week, in anticipation for this celebration, I reached out to Will Wilson, a Diné photographer and tran
No matter your specialty, photographers have many shared experiences. We all remember getting our first cameras and where we were for that memorable photo. We’ve worried about whether or not our work mattered. At one point or another, we didn’t know anyth
No matter your specialty, photographers have many shared experiences. We all remember getting our first cameras and where we were for that memorable photo. We’ve worried about whether or not our work mattered. At one point or another, we didn’t know anything about pushing back on contract terms, what photo editors were looking for or why one good portfolio review can really put things into perspective.
That changed in 2019, when, on a family trip to New York, Miller stopped by Howard Greenberg Gallery and learned that it had recently received a letter challenging the sale of Disfarmer prints. The author of the letter was David Deal, a lawyer who’d made his name leading a previous dispute over the estate of another Howard Greenberg artist, the photographer Vivian Maier. Maier, a nanny in Chicago, made no known attempts to sell or exhibit her work during her lifetime. Like Disfarmer, she became famous after her death. In 2014, Deal tracked down one of Maier’s distant cousins to fight for control of her archive. (A high-profile copyright-infringement case against one of the major collectors of her work was settled, confidentially, in 2016.) Now, as Deal’s letter informed Howard Greenberg, he was representing Disfarmer’s heirs—not one or two but nearly three dozen—in an effort to recover their “physical and intellectual property” and “any revenue generated by the appropriation” of copyrighted images. “He’s suing us,” a gallery associate told Miller. “And he’s gonna sue you.”
Few things in photography are as impactful as a portfolio review. They provide assurance, offer tips for improvement and can put your work into perspective. We’re hosting a free portfolio review webinar with photojournalist Essdras M. Suarez on July 16th
We recently talked with Lee Shulman, Film director, Founder and Curator of The Anonymous Project. He was kind enough to give Lenscratch an interview on the process of collecting photographs, building stories and entering so many people’s lives several dec
We recently talked with Lee Shulman, Film director, Founder and Curator of The Anonymous Project. He was kind enough to give Lenscratch an interview on the process of collecting photographs, building stories and entering so many people’s lives several decades later.
In April 2021, photographers Carmen Chan, Emiliano Granado, and Jared Soares launched Fuck Gatekeeping, a “professional photographic knowledge base” composed of a website and Instagram account to share their business experience with other photographers. A
In April 2021, photographers Carmen Chan, Emiliano Granado, and Jared Soares launched Fuck Gatekeeping, a “professional photographic knowledge base” composed of a website and Instagram account to share their business experience with other photographers. Although there’s no dearth of business books, trade associations, and YouTube videos, reaching younger and/or emerging photographers to disseminate best business practices has always been challenging. Intrigued by the trio’s irreverent approach, I reached out to them for answers.
