A small suburb of Brazzaville in Congo has become an unlikely style capital, thanks to its dedicated followers of foppish fashion. Dressed to the nines in bowler hats and tailored suits, a group of cigar-wielding ‘sapeurs’ have been strutting their stuff through the shanty town – and on to the pages of a glossy new book by Italian photographer Daniele Tamagni.
Bhautik Joshi is the curious type, and likes to learn by doing. So when he started to wonder if he could hook up an SLR lens to an iPhone, the obvious thing to do was to try it. The resulting behemoth is the Phone-O-Scope, a monstrous mingling of an iPhone, a Canon lens and a sprinkling of plumbing supplies.
Copyright Arnoud Bakker, 2009, courtesy Stichting Fotografie Noorderlicht To be in love, or perhaps in lust, is to experience a kind of narcosis and paralysis, with an inability to focus, while the…
The subject of Bakker’s book recently published by Noorderlicht, both directly and indirectly, is the portrait of women, attempting to reveal their inner natural beauty. The photographer also attempts to not betray them in the process, revealing a complex interrelationship of photographer and subject. Implied in Schoonhaven’s essay, Bakker is attempting to “create golden girls on paper… and that girls love cameras and they want to be seen…potentially by as many people as possible….and a woman who is prepared to be recorded, presents herself”.
Moises Saman has returned to Afghanistan time and again with the hope of documenting the promise of peace and prosperity, which now seem ever more elusive.
KABUL — I was one of the hundreds of young photojournalists who came to this distant country in 2001 to photograph my first war; naïve, a little reckless, and mostly unprepared. At the time, the Taliban ruled most of the country. Only a thin slice of mountainous territory in the north, between Tajikistan and the Panjshir Valley, was controlled by the opposition, the Northern Alliance. My travel companions were Matthew McAllester, who was then a foreign correspondent for Newsday, and Tyler Hicks, a photographer for The New York Times.
Considering that today is World AIDS Day, this seemed like the perfect time to highlight a new book from photographer Karen Ande, Face to Face: Children of the AIDS Crisis in Africa. Although hardly the first person to document this topic, Karen’s emphasis on telling positive stories is unusual. And her technique presents a hard — but important — question for documentary photographers: Do too many images of suffering make people feel helpless to improve things?
Adobe has released a public beta of Lightroom 3, the company’s tool for processing and organizing cameras’ RAW images. While still an early release, Lightroom 3 looks to be a worthy upgrade thanks to impressive speed improvements and baked-in image sharin
Adobe has released a public beta of Lightroom 3, the company’s tool for processing and organizing cameras’ RAW images. While still an early release, Lightroom 3 looks to be a worthy upgrade thanks to impressive speed improvements and baked-in image sharing tools.
The PDN Virtual Trade Show, taking place live December 2 and 3, allows you to interact with exhibitors, attend seminars and ask questions without leaving your desktop. And it’s free.
[slidepress gallery=’petriuutela_passersby’] Hover over the image for navigation controls Petri Uutela Passers by play multimedia I don’t know how to analyze or comment som…
I don’t know how to analyze or comment something that personal as my street photography. It’s therapy for me to wander in the streets trying to capture moods, events or gestures that I feel somehow connected to. Even if I’m taking pictures of total strangers, my street photography actually reflects myself – this is an autoportrait series, although it’s not me who is in the pictures.
Yesterday I was given the stunning news that my friend, Cindy Schafer, had been killed, along with her husband, Paul, in a small plane crash near Vancouver. I’ve spent all day processing this devasting news, which is so hard to absorb because when I had lunch with her a month or so ago, she was full of life and full of the future. I don’t know what I can do other than share Cindy and her photography with you.
In 1976, Richard Avedon went to Washington to photograph Henry Kissinger. As Avedon was leading him to his mark, Kissinger said, “Be kind to me.”Artists have been making portraits of the mighty for centuries—from Velázquez’s Philip IV to Lucian Freud’s El
This past September, when nearly all the world’s leaders were in New York for a meeting of the United Nations, Platon, a staff photographer for this magazine, set up a tiny studio off the floor of the General Assembly, and tried to hustle as many of them in front of his lens as possible. For months, members of the magazine’s staff had been writing letters to various governments and embassies, but the project was a five-day-long improvisation, with Platon doing his best to lure the likes of Mahmoud Ahmadinejad, Hugo Chávez, and Muammar Qaddafi to his camera.
Many of the photos from my first days in Oaxaca are of walls. Photographing the layers of paint and history and decay and culture was natural because of the beauty of the textures and colors, but it also gave my brain a chance to soak in the scene without intruding in a new place where I was mute.
Time, the photographer Finlay McKay and the parents should all be ashamed, they certainly should not be boasting about their so called achievement, which, btw, esquire mag beat them to a few months ago. I do believe Esquire achieved their cover image without engineering fear and upset in babies.
A city where anything was possible. Sand too hot? Then build a beach with underground refrigeration.
As the orgy of building ground to a halt earlier this year, the photographer Lauren Greenfield set out to tell the story of Dubai and the foreign workers who make up most of its population.
First published in France in 1958 and – to considerable controversy – in America the following year, The Americans remains one of the most important photography books of the 20th century. “It is difficult to remember how shocking Robert Frank’s book was,” the late, great John Szarkowski wrote in 1968, having curated an earlier show of the work at New York’s Museum of Modern Art. “The pictures took us by ambush then … He established a new iconography for contemporary America, comprised of bits of bus depots, lunch counters, strip developments, empty spaces, cars, and unknowable faces.”
Having realized “there was much more to Iran than just political turmoil and religious fundamentalism,” Paolo Woods set out to capture it, as Eirini Vourloumis reports.
“I knew I was on the wrong path photographically,” Paolo Woods recalled. “I had first started photographing by what I had seen in other photographs of the country and what my colleagues were shooting. I recognized there was a way of dramatizing with black-and-white film, which I was not comfortable with anymore. I realized quickly that there was much more to Iran than just political turmoil and religious fundamentalism.”
The Joop Swart Masterclass has been organized by World Press Photo every year since 1994 and is established as one of the most prestigious events of its kind. The Masterclass is a gathering of some of the most experienced individuals in photojournalism with 12 young, promising photographers. The goal of Masterclass is for the masters to share and pass on their knowledge and experience to the younger photographers.
The US Supreme Court today rejected an appeals court ruling that ordered the release of photos that document war-on-terror prisoners being tortured by U.S. military personnel. At first, President O…
