Category: Portfolios & Galleries
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Arles 2013: South Africa Viewpoints
The 2012/2013 France-South Africa Seasons project was set up to engage a dialogue between two peoples. It brings together artists who did not necessarily know much about each others’ work : six South African and six French photographers who met and joined forces in an adventure which began in South Africa in 2012.
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Steichen’s Family of Man Restored: New Life for a Photographic Touchstone
LightBox | Time
Read the latest stories about LightBox on Time
via Time: https://time.com/section/lightbox/
In 1955, a decade into the Cold War, the Museum of Modern Art in New York opened its doors to a monumental photography exhibition, an aesthetic manifesto visualizing ideas of peace and “the essential oneness of mankind.” Edward Steichen, then director of the MoMA photography department, curated 503 photographs — from a pool of two million — by 273 artists from 68 countries with the at-once simple and grand goal of definitively “explaining man to man.”
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Looking Back To Move Forward: 13 Years Of Photographing Afghanistan
Looking Back To Move Forward: 13 Years Of Photographing Afghanistan
Saying goodbye to something you’ve known for a decade can be a landmine of emotion — even if that thing is a war.
On his most recent trip to Afghanistan, NPR staff photographer David Gilkey shot this personal iPhone photo essay in his downtime
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Gay Pride and Same-Sex Marriage Around the World
A Timely Victory
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-timely-victory
Ladakh, nestled in the northernmost realms of India between the Kunlun and Himalaya mountain ranges, is one of the last remaining strongholds of Buddhism in South Asia.
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A Period of Transition in South Africa
“‘Second Transition’ is the term that came to mind when I was photographing in Brits, Ga-Rankuwa, Marikana and Rustenburg,” says Sekgala. “Second Transition” describes a new phase of negotiations under Apartheid,” he adds, referencing the farms located between Brits and Rustenburg, an area of about 40 miles, that were assimilated and eventually became the independent state of Bophuthatswana after the introduction of the Natives Land Act in 1913.
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Photo Essay: Chasing Meth in Laurel County, Kentucky
Photo Essay: Chasing Meth in Laurel County, Kentucky
Stacy Krantiz’s intimate look at methamphetamine addicts and the cops trying to to nab them.
via Mother Jones: https://www.motherjones.com/politics/2013/08/photoessay-meth-laurel-county-kentucky-kranitz/
The first call we went on was in an abandoned trailer with no running water or electricity. The walls were covered with cryptic texts and morbid poems. Jason arrested three repeat offenders who were squatting there, and they were very nice about the whole bust. They would joke with Jason and talk about mutual friends. It was much more casual than I had expected
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Daniel Zvereff: Unecha
As I walk around Unecha, I wonder what it is about this place that feels so nostalgic to me. I can’t help but think about all the events that took place in order for me to be here as a stranger: the Russian revolution and World War II, which sent my father’s side of the family first to China and then, finally, California, and my mother’s chance meeting with my father. I don’t feel like I am of this place, but I also don’t feel completely severed from it.
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Moises Saman in Cairo
Moises Saman in Cairo
via The New Yorker: https://www.newyorker.com/culture/photo-booth/moises-saman-in-cairo
“In the two years since I moved here, every milestone of the revolution has been marred by an outburst of street violence,” he says. “However, the events of the past week are unprecedented: rocks have been replaced by sniper bullets, city mosques transformed into front line field hospitals, and isolated street clashes superseded by systematized killings.”
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Stunning Photos of Alaska’s Four Seasons Photographed Through One Window
Stunning Photos of Alaska’s Four Seasons Photographed Through One Window
“A meditation on one scene” is how Anchorage-based photographer Mark Meyer describes An Alaska Window, his collection of images he has been making for almost a year through the original sash windows with single pane glass in his 100-year-old log house. He tells us the windows are “terrible for energy efficiency in a climate like Alaska, but they tend to take on the character of the weather and can be quite striking. So I started a study in minimalism that explores the subtle and sometimes not so subtle changes throughout the year.” Wonderfully tranquil, Meyer’s windows are abstract in their beauty and nostalgic in their passage of time and season.
via Feature Shoot: https://www.featureshoot.com/2013/09/stunning-photos-of-alaskas-four-seasons-photographed-through-one-window/
“A meditation on one scene” is how Anchorage-based photographer Mark Meyer describes An Alaska Window, his collection of images he has been making for almost a year through the original sash windows with single pane glass in his 100-year-old log house
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Pumpjacks: Photographs of Oil Seen from Space by Mishka Henner
LightBox | Time
Read the latest stories about LightBox on Time
via Time: https://time.com/section/lightbox/
Eighteen Pumpjacks is part of a larger project I’m working on related to the impact of American industry on its landscape. From the lofty heights of imaging satellites orbiting earth, the abstract forms created by oil fields resemble the shapes and patterns of circuit boards. Over time, I began to wonder if these images reflected something more profound about US pursuits and preoccupations at home and abroad.
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The Photographers on Photography
Chances are if you walked past a National Geographic photographer on the street, you wouldn’t know it—and that’s how they like it. As photographer and Editor at Large Michael “Nick” Nichols puts it, “I want people to remember the pictures, not my name or what I look like.” But as part of our 125th anniversary special issue this October, we wanted to turn the camera around on Nick and his fellow photographers.
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Renegotiating a Complex History – Stacy Kranitz’s Portrait of Central Appalachia
Renegotiating a Complex History – Stacy Kranitz’s Portrait of Central Appalachia
Stacy Kranitz’s work “As It Was Given To Me” is a complex and evocative body of work made in central Appalachia that places the photographer squarely in the middle of the conversation.
via Feature Shoot: https://www.featureshoot.com/2013/10/renegotiating-a-complex-history-stacy-kranitzs-portrait-of-central-appalachia/
Stacy Kranitz’s work “As It Was Given To Me” is a complex and evocative body of work made in central Appalachia that places the photographer squarely in the middle of the conversation. These images are a brave attempt to renegotiate a people and a place that have been stereotyped and marginalized, and whose habits, customs, and mannerisms have been codified to better fit outsiders’ perspective of a subculture with whom much of America is not at all familiar.
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Reality on a Need-to-Know Basis
Now I have this further distinction, whether to go with stills or video. At 15 seconds, an Instagram video is almost more like a shifting still—in between a still and a video. I can open a window to our other senses. For me it’s the sound even more than the motion. It feels less permanent than a still image but can feel more real
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The Non-Conformists: Martin Parr’s Early Work in Black-and-White
LightBox | Time
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via Time: https://time.com/section/lightbox/
“In the 70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white,” master photographer Martin Parr tells TIME. “Color was the palette of commercial photography and snapshot photography.”