“A Year in Photos” celebrates the exceptional visual reporting produced by Pulitzer Center-supported photographer grantees and partners, who contribute to furthering our mission. The work featured here, published between December 2023 and November 2024, visualizes complex issues, represents the diversity of our reporting networks, and showcases the global reach of the journalism we support.
https://report.pulitzercenter.org/annual-reports/2024-year-in-photos
The Guardian and Observer team of picture editors highlight the work of a number of photojournalists working for news agencies worldwide whose images have made an impact and contributed to our journalism during 2024
via the Guardian: https://www.theguardian.com/artanddesign/2024/dec/20/from-gaza-to-ghana-celebrating-the-agency-photographers-of-2024
The Guardian and Observer team of picture editors highlight the work of a number of photojournalists working for news agencies worldwide whose images have made an impact and contributed to our journalism during 2024
Photographers captured historic moments of war, grief and wonder that defined the year.
Link: https://www.nytimes.com/interactive/2024/world/year-in-pictures.html
This year was made up of such extraordinary moments. And Times photographers captured them in extraordinary images. The Year in Pictures brings you the most powerful, evocative and history-making of those images — and allows you to see the biggest stories of 2024 through our photographers’ eyes.
https://www.nytimes.com/interactive/2024/world/year-in-pictures.html
Barney’s large-scale portraits show the secret world of the haute bourgeoisie—and the way certain poses are handed down across generations.
via Aperture: https://aperture.org/editorial/how-tina-barney-became-an-astute-observer-of-the-upper-class/
The photographer’s signature large-scale portraits show the secret world of the haute bourgeoisie—and the way certain poses are handed down across generations.
https://aperture.org/editorial/how-tina-barney-became-an-astute-observer-of-the-upper-class/
I first met Anne Eder when taking her Plant-Based Photography workshop. I was instantly intrigued by her work, which is in deep conversation with the natural world. Once I entered Anne’s virtual classroom, I found out what an incredible educator she was, too. Since then, I’ve had the great fortune of working as the facilitator
via LENSCRATCH: http://lenscratch.com/2024/12/187573/
My background. Well, I was always a sort of square peg in a world of round holes. I’m a messy artist, and my practice includes sculpture, installation work, and storytelling in addition to photography. I received my first camera (a Kodak Brownie!) as a hand-me-down from a relative when I was eight years old, and immediately began to use it to document all kinds of daily minutia. So, I was shooting medium format film as a kid and developing my own from the time I was about 18. It was both how I saw and how I mediated the world around me, which was often a very unsafe place for me as a child
https://thephotosociety.org/marco-vernaschi-in-limbo-the-endless-struggles-of-mapuche/?utm_source=rss&utm_medium=rss&utm_campaign=marco-vernaschi-in-limbo-the-endless-struggles-of-mapuche
For Milei’s right-wing government, the Mapuche communities represent a fabricated threat. Officials frequently paint them as impostors staging indigenous identity to make false ancestral land claims, labeling them “terrorists” and criminalizing their efforts to reclaim or occupy land. This narrative has fueled aggressive state actions and public distrust, further alienating these groups from mainstream society.
Wanda is a friend of the family. She became sick and qualified for the Compensation Act of $150,000. Plutonium-239 looks unnatural. Its bright fluorescent green poses a radioactive danger to anyone working with it or living in the region. Its effects are slow and silent. The line of green here represents the depth of damage
via LENSCRATCH: http://lenscratch.com/2024/12/bootsy-holler-contaminated/
It’s a profound exhibition and the work of Bootsy Holler is a stand-out. CONTAMINATED is a layered historical exploration of the people affected by the secrets that the United States Government kept during the Manhattan Project, their subsequent illnesses, and the polluted land in eastern Washington State at the Hanford Nuclear site.
Cansu Yıldıran’s galvanic images of women activists and queer communities portray the pressures of a society in transition.
via Aperture: https://aperture.org/editorial/a-photographer-captures-the-experience-of-dispossession-in-turkey/
Cansu Yıldıran’s galvanic images of women activists and queer communities portray the pressures of a society in transition.
https://aperture.org/editorial/a-photographer-captures-the-experience-of-dispossession-in-turkey/
There are images of place, and then there are images about place. All photographs have to be made somewhere, yet the way photographers incorporate this layer of information could not be more varied. For some, conveying a sense of place is the central purpose for the work; for others, it is a concern secondary to,
via LENSCRATCH: http://lenscratch.com/2024/12/photographers-on-photographers-conner-gordon-in-conversation-with-gregory-halpern/
There are images of place, and then there are images about place. All photographs have to be made somewhere, yet the way photographers incorporate this layer of information could not be more varied. For some, conveying a sense of place is the central purpose for the work; for others, it is a concern secondary to, or even distracting from, other narrative or conceptual goals. Yet some of the best photographs manage to thread the needle between these approaches, allowing place to inform the work without reducing it to an expression of geography alone.
Smith Galtney was first a writer, and then a photographer. Words and images are often at odds with each other, leaving a moment in between where ambiguity fizzles into its own daydreaming world. The tired saying that “a picture says a thousand words” raises the question: how important are those thousand words in conveying an
via LENSCRATCH: http://lenscratch.com/2024/12/smith-galtney-in-conversation-with-douglas-breault/
I used to take pictures of people more surreptitiously – go for a more journalistic “shoot first, ask later” approach. I guess I thought that was more authentic or something. But after some uncomfortable encounters that made me question everything, I started asking first and that felt so much better. You can still get something honest and I enjoy the sense of connection. People are genuinely touched by the request and the whole exchange feels generous, even when they say no.
http://lenscratch.com/2024/12/smith-galtney-in-conversation-with-douglas-breault/
In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness – using the camera to explore the essence of who I am and my connection to the art of photography. – Dana Stirling As we enter December Holiday madness, it’s a good time
via LENSCRATCH: http://lenscratch.com/2024/12/dana-stirling-why-am-i-sad-2/
In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness – using the camera to explore the essence of who I am and my connection to the art of photography. – Dana Stirling
Ali Al Shehabi’s images of the Gulf kingdom dwell on the texture of a homeland he felt alienated from for most of his life.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-bahraini-photographer-returns-home
Ali Al Shehabi’s images of the Gulf kingdom dwell on the texture of a homeland he felt alienated from for most of his life.
https://www.newyorker.com/culture/photo-booth/a-bahraini-photographer-returns-home
Lenscratch recently held its annual(-ish) call-for-projects, and the response was impressive. In total, there were over 500 submissions. We are eager to look through each of these entries and share some highlights over the months to come. Today I am in conversation with Constance Jaeggi about her collaborative project Escaramuza, the Poetics of Home. Constance Jaeggi
via LENSCRATCH: http://lenscratch.com/2024/11/constance-jaeggi-escaramuza-the-poetics-of-home/
Through photographic portraiture, poetry, and in-depth interviews, Escaramuza, the Poetics of Home considers how the escaramuza tradition persists in the present-day United States, what it means for the identity of its Mexican and Mexican-American female practitioners, and how it fosters a profound sense of belonging
http://lenscratch.com/2024/11/constance-jaeggi-escaramuza-the-poetics-of-home/
“Widening the Lens” at the Carnegie Museum highlights the ways images can reveal the long-forgotten and unseen histories of ecology.
via Aperture: https://aperture.org/editorial/how-can-photography-shape-our-relationship-to-the-environment/
An exhibition in Pittsburgh highlights the ways images can reveal the long-forgotten and unseen histories of ecology.
https://aperture.org/editorial/how-can-photography-shape-our-relationship-to-the-environment/
https://www.lensculture.com/articles/sachiko-saito-dardo-is-a-kurdish-word-for-pain
In the face of growing anti-immigrant sentiment, Sachiko Saito explores the struggles of the Kurdish community of Japan — building a nuanced portrayal of her neighbors as they grapple with identity, exclusion, and cultural survival.
The Bigger Picture – The Leica camera Blog:
Her timeless pictures reflect her ability to not only document specific moments, but to also create images that today – detached from the original occasion – reveal much more about the personality portrayed and the sensitive machinery of political staging. We spoke with the great photographer about her beginnings and her experiences.
In Adali Schell’s “New Paris,” which documents his family in the aftermath of death and divorce, individuals are more complicated than the worst thing happening to them.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-grandsons-urgent-chronicle-of-family-life-in-small-town-ohio
In Adali Schell’s “New Paris,” which documents his family in the aftermath of death and divorce, individuals are more complicated than the worst thing happening to them.
As resistance to integration mounted, Florence Mars bought a camera and began to photograph thousands of subjects, including the trial of the killers of Emmett Till.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/florence-mars-a-forgotten-eyewitness-to-civil-rights-era-mississippi
As resistance to integration mounted, Florence Mars bought a camera and began to photograph thousands of subjects, including the trial of the killers of Emmett Till.
A photographer took a road trip across the country during the Presidential race. What did he see?
via The New Yorker: https://www.newyorker.com/culture/photo-booth/living-in-the-shadow-of-an-american-election
For Nasseri, politics are, first and foremost, about people—their faces, their gestures, their often mundane interactions and environments—and he’s interested in exploring this theme even when not on explicitly newsy assignments. Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently.
https://www.newyorker.com/culture/photo-booth/living-in-the-shadow-of-an-american-election
Earlier this year, I was able to participate in the New England Portfolio Review hosted by The Griffin Museum of Photography. I am always happy to sit down and discuss the creative work with other artists who are genuinely excited about what they are making. It is informative, rousing, and delightful. Over the next few days,
via LENSCRATCH: http://lenscratch.com/2024/10/new-england-portfolio-review-ann-hermes-local-newsrooms/
AH: I’ve been a newspaper photographer for nearly 15 years and the early part of my career was spent in local newsrooms, so I understand how they work and what to highlight. I known to look for the police scanner, I know to ask where the newspaper morgue is and I know that I can usually find a bottle of whiskey in the office supply closet.
http://lenscratch.com/2024/10/new-england-portfolio-review-ann-hermes-local-newsrooms/