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via Time: https://time.com/section/lightbox/
Last week, seven Palestinian men sat for Pulitzer Prize-winning Israeli photographer Oded Balilty in a home in the West Bank village of Bilin. Against a black backdrop, one man posed with a taut slingshot, two small pebbles resting in the sling. Another stared defiantly through a gas mask. A third carried a tire.
The street is truly at the core of my work. The wonder and the random encounters of the streets are at the heart of my fascination with photography – especially within the context of the human condition. This is where it started for me and where I still go to this day for inspiration. To me, there is nothing like going for a walk with music in my ears and a Leica in my hand.
Los Angeles-based Michael Goldberg photographed these candid portraits on the streets of Madrid, New York, Sydney, Bangkok and Barcelona over two years. In this work he aims to ‘blur the line between fact and fiction, and play the tradition of candid street photography off the more artificial look of theatrically-staged photography’.
His first assignment was to make a fall-themed Colorama. He went to Vermont at the peak of the leaves’ color, driving around for a couple of days looking for scenes. He found a nice scene on a small lake. He painted a borrowed rowboat red and hired a couple of locals to sit in the boat. To take the picture, he used an 8×20-inch Deardorff camera with ISO 10 film and a “very strong, powerful tripod.”
Both crime-ridden and trendy, Hackney is one of the host boroughs for the Olympic Games in London.
Zed Nelson’s work appeared on Lens in 2010, showing how bodily transformations reflect globalization.
Altered Bodies »
It is also the home of the photographer Zed Nelson, who spent much of his childhood in this racially and culturally diverse area that occupies seven square miles of London.“It has violence, beauty, wildlife, concrete wastelands, poverty and affluence jumbled together, vying for space,” he recently wrote. “It is tattered and fractured, but very alive.”
Mogadishu is enjoying its longest sustained peace in 21 years of civil war. But don’t mistake that for a return to normality. As TIME contract photographer Dominic Nahr’s pictures reveal, when the tide of war rolled back off Somalia’s capital, it left behind one of the world’s strangest-looking cities.
The Homecoming Project, which began when Trieb spent months with soldiers from the 10th Mountain Division after their return from Afghanistan, documents the struggles many troops face when they return home from combat. “Somehow, we’ve got to have a conversation about these two wars in a way that’s palpable for the public and in a way that they’re not burned out seeing or hearing it,” Trieb says. “It’s been too long and I feel like it doesn’t even faze them. It’s my job to be a journalist and report, but ultimately it’s my passion to reach the public in a really meaningful way.”
This ongoing series by English photographer Julian Germain, entitled Classroom Portraits, began in schools in North East England in 2004. Since then, Germain has taken large-scale portraits of classrooms from North and South America, Europe, Africa, Southeast Asia and the Middle East and has amassed an impressive 450+ portraits of schoolchildren in over 20 countries.
Facing criticism for presenting a limited view of life on the Pine Ridge reservation, Aaron Huey let its residents tell their own stories.
via Lens Blog: http://lens.blogs.nytimes.com/2012/08/17/photographing-and-listening-to-the-lakota/
A few months after the Lens piece was published, Mr. Huey received over 40 letters from students at the Jesuit-run Red Cloud High School. Many of the letters asked why he couldn’t show families like theirs: sober, employed, “normal.” The students wanted him to balance the story and to include them. The letters stuck with Mr. Huey.
“In 1999, as I walked out my apartment, I saw a transformation taking place. New street lights? What is this about? As I searched for answers, I saw and heard of more changes starting to occur in my neighborhood of Bedford-Stuyvesant, Brooklyn (street vendors were being moved, the Franklin Avenue shuttle was being rebuilt and talks of rent in the neighborhood being doubled in ten years were being discussed at community board meetings). Two years prior, I had just started teaching myself how to photograph. With change coming to the community and the stigma of the neighborhood being a slum, I decided to make photographs that would reflect what I saw.
Growth is a project in which I reconstructed and re-photographed pictures that my dad took of me and my three little sisters when we were children. I tried to make the new photograph look as similar as possible to the old one: the place and the composition are the same, and so are our positions and facial expressions.