Photo editor of WIRED Samantha Cooper shares all the necessary ingredients for a bold, fresh and arresting portrait
via LensCulture: https://www.lensculture.com/articles/samantha-cooper-a-search-for-something-fresh
Photo editor of WIRED Samantha Cooper shares all the necessary ingredients for a bold, fresh and arresting portrait.
Late Winter brings about a new crop of contest winners and nary a season goes by without a whiff of controversy in some form or fashion. Yesterday World Press Photo announced its 2020 Photo Contest and Digital Storytelling Contest nominees. Among the fift
via PhotoShelter Blog: https://blog.photoshelter.com/2020/02/what-is-this-halo-around-a-world-press-photo-nominee/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
Finally, for those who don’t understand what the big deal is, consider that even though we bandy about the term “fake news” with abandon, most journalists and photojournalist work within an ethical framework set out by their professional organizations and/or publishers. When a visible aberration like this halo appears without explanation, we have to wonder what else might have been edited within the frame.
In the 1930s, more than 70,000 people sought refuge in Britain from Nazi-dominated Europe. Among them were a group of women photographers, now brought together in a new exhibition
via British Journal of Photography: https://www.bjp-online.com/2020/02/four-corners-women-refugee-photographers/
In the 1930s, more than 70,000 people sought refuge in Britain from Nazi-dominated Europe. Among them were a group of women photographers, now brought together in a new exhibition
Right on schedule, Fujifilm has fulfilled its promise and delivered the new Fuji X-T4: a flagship APS-C mirrorless camera with IBIS, a higher-capacity
Right on schedule, Fujifilm has fulfilled its promise and delivered the new Fuji X-T4: a flagship APS-C mirrorless camera with IBIS, a higher-capacity battery, vari-angle touchscreen, redesigned shutter mechanism and more.
Ten portraits along the railway lines of Ukraine give us a glimpse of traditional jobs that still value the human touch in the ever-changing 21st Century
via LensCulture: https://www.lensculture.com/articles/sasha-maslov-ukrainian-railroad-ladies
Ten portraits along the railway lines of Ukraine give us a glimpse of traditional jobs that still value the human touch in the ever-changing 21st Century.
The chair of the 2020 World Press Photo Digital Storytelling Contest jury talks about this year’s nominees
The chair of the 2020 World Press Photo Digital Storytelling Contest jury talks about this year’s nominees
OutVoice dares publishers to pay freelancers promptly
via Columbia Journalism Review: https://www.cjr.org/special_report/outvoice-invoices.php
OutVoice dares publishers to pay freelancers promptly
The nominees have been announced for this year’s World Press Photo Contest. Here, we highlight some of our favourites
via British Journal of Photography: https://www.bjp-online.com/2020/02/world-press-photo-nominees-highlights/
The nominees have been announced for this year’s World Press Photo Contest. Here, we highlight some of our favourites
Through a purposefully posed series of black and white imagery, the photographer uses her medium to challenge assumptions of what it’s like for people to live with disabilities.
Link: https://www.itsnicethat.com/articles/anna-grevenitis-regard-photography-250220
Through a purposefully posed series of black and white imagery, the photographer uses her medium to challenge assumptions of what it’s like for people to live with disabilities.
The competition celebrates the year’s best photojournalism across a range of categories.
The competition celebrates the year’s best photojournalism across a range of categories.
Chris Donovan The Cloud Factory [ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ] As a child, I looked up at the billowing smoke stacks of the refinery and asked my father if they made all of the worl…
via burn magazine: https://www.burnmagazine.org/essays/2020/02/chris-donovan-the-cloud-factory/
As a child, I looked up at the billowing smoke stacks of the refinery and asked my father if they made all of the world’s clouds. “No,” he replied. “They make money.” I grew up in Saint John, New Brunswick – an industrial city on the east coast of Canada – bookended by Canada’s largest oil refinery and a pulp mill owned by the same billionaire family. Despite the enormous wealth controlled by the Irving family, we also have the highest rate of child poverty in Canada, at around 50%. This billionaire family also owns every newspaper in the province. The Cloud Factory project is my way of fighting against censorship and addressing the environmental and social implications of industrial classism on my community.
Projects featured this week were selected from our most recent call-for-submissions. I was able to interview each of these individuals to gain further insight into the bodies of work they shared. Today, we are looking at the series Warn’d in Vain by Chara
via LENSCRATCH: http://lenscratch.com/2020/02/charalampos-kydonakis-warnd-in-vain/
Projects featured this week were selected from our most recent call-for-submissions. I was able to interview each of these individuals to gain further insight into the bodies of work they shared. Today, we are looking at the series Warn’d in Vain by Charalampos Kydonakis.
Mofokeng, who died in January, made work that waded through themes of history and land, and helped shape the course of South African photography.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/how-santu-mofokeng-shaped-south-african-photography
These images, by the South African photographer Santu Mofokeng, ostensibly depict scenes of segregated transport during apartheid. Yet in their composition they evoke something more: the rhythms and textures of everyday life. Taken from within and among a crowd of commuters, the pictures seem to sway with the velocity of the train carriage. Shards of light blur the edges of figures, interplaying with shifting shadows as passengers move in unison. Titled “Train Church,” Mofokeng’s series was made during a few weeks in 1986, and in South Africa it became veritably synonymous with his name. Mofokeng, who died in January, at the age of sixty-three, was a photographer whose body of work—both images and text—waded through themes of history and land, memory and spirituality, and helped shape the course of South African photography.
Fascinated by Japanese photography, and specifically the Provoke group, the Australian self-made photographer Meg Hewitt, headed to Tokyo in 2015, to produce an emotional series that transcends photojournalism and leaves room for the viewer’s imagination.
Italian photographer Carolina Repezzi unfolds the story behind this arresting portrait of a young water seller, taken in the Agbogbloshie e-waste scrapyard in Ghana
via LensCulture: https://www.lensculture.com/articles/carolina-rapezzi-to-discover-a-story
This award-winning photo was made in a hellish place that has become one of the biggest electronic waste dumps in the world. Carolina Rapezzi, an Italian-born photographer now based in London, won the single image category in the LensCulture Art Photography Awards 2019. One photograph among the many that make up her project Burning Dreams, the image is of a young woman called Rashida selling water in the Agbogbloshie scrapyard and electronic waste dump in Accra, Ghana.
Projects featured this week were selected from our most recent call-for-submissions. I was able to interview each of these individuals to gain further insight into the bodies of work they shared. Today, we are looking at the series Crown Ditch and the Pra
via LENSCRATCH: http://lenscratch.com/2020/02/kyler-zeleny-crown-ditch-and-the-prairie-castle/
Projects featured this week were selected from our most recent call-for-submissions. I was able to interview each of these individuals to gain further insight into the bodies of work they shared. Today, we are looking at the series Crown Ditch and the Prairie Castle by Kyler Zeleny.
This month, editor, publisher, and executive director at Aperture Foundation Chris Boot reflects on his life and career
via British Journal of Photography: https://www.bjp-online.com/2020/02/any-answers-chris-boot/
This month, editor, publisher, and executive director at Aperture Foundation Chris Boot reflects on his life and career
The photographer explores rarely covered regions, dealing with isolation and arrests on his journey.
The photographer explores rarely covered regions, dealing with isolation and arrests on his journey.
Trust in visual content is quickly eroding. Technology can help by enforcing authenticity, authorship, and integrity. But only if everyone agrees.
via Kaptur: https://kaptur.co/can-visual-content-remain-trustworthy/
Out of six senses, vision is, by far, the one we trust the most for critical information. Studies show that if receiving conflicting information from our senses of sound and touch, for example, vision is always the sense we rule correct. It is our primary source of trust. If we see it, it exists. If not, it might not be real. If we can no longer believe what we see, our world will be torn apart.
His sublime black-and-white images of everyday life in South Africa both during and after white rule capture hope and unfulfilled expectations.
Santu Mofokeng, a photographer whose searing images of everyday life in South Africa’s black townships documented the prospects of freedom from apartheid and the unfulfilled promise of its overthrow, died on Jan. 26 in Johannesburg. He was 63.