After going unseen for decades, Michael Jang’s work is finally gaining the plaudits it deserves – and the 68-year-old is loving every second.
via Huck Magazine: https://www.huckmag.com/playlist-archive/michael-jang-who-is-michael-jang-photography/
The 68-year-old’s photography views the world through a mischievous lens. After going unseen for decades, it’s finally gaining the plaudits it deserves – and he’s loving every second.
After many accurate rumors and leaks over the past couple of weeks, Fujifilm has officially unveiled the long-awaited X100V: a fixed-lens APS-C camera
After many accurate rumors and leaks over the past couple of weeks, Fujifilm has officially unveiled the long-awaited X100V: a fixed-lens APS-C camera with a redesigned lens, the latest generation of X-Trans sensor, a 2-way tilting rear LCD screen, “optional” weather resistance, and much more.
When the photographer Greg Girard first ventured into Kowloon Walled City in Hong Kong in 1986, he didn’t take any pictures. Instead, he simply absorbed the sights, sounds, and smells…
via Feature Shoot: https://www.featureshoot.com/2020/02/welcome-to-the-kowloon-walled-city-one-of-the-most-misunderstood-places-in-history/
When the photographer Greg Girard first ventured into Kowloon Walled City in Hong Kong in 1986, he didn’t take any pictures. Instead, he simply absorbed the sights, sounds, and smells that surrounding him on all sides: illuminated windows, densely packed across 12-14 story buildings, voices from televisions and the hum of fans and air conditioners filling the streets.
The company, owned by Google’s parent, introduced a free tool it calls Assembler to sort out real images from fake ones.
Link: https://www.nytimes.com/2020/02/04/technology/jigsaw-doctored-images-disinformation.html
The company, owned by Google’s parent, introduced a free tool it calls Assembler to sort out real images from fake ones.
CIPA—the Camera & Imaging Products Association—has released their December 2019 sales breakdown, rounding out a devastating decade for the camera industry
CIPA—the Camera & Imaging Products Association—has released their December 2019 sales breakdown, rounding out a devastating decade for the camera industry with the worst overall year for camera sales yet. But while there’s plenty of doom and gloom to go around, there’s reason to be optimistic, too.
Last week, Emerald Expositions, the owner of Photo District News (PDN), announced that PDN would no longer publish new content online or in print. The
Like a local newspaper shutting its doors, I can’t help but wonder what we are losing when niche publications cease to exist. Does industry journalism get reduced to tweets and the occasional Medium post? Do we relegate ourselves to watching YouTube videos with forever sunny hosts reviewing the most expensive gear possible? Or will something substantive eventually rise in PDN’s place?
The garden is a space in which experiments and critical thought are born and carried out. It is a space in which growth is mediated within the flora of its inhabitants, but also in the contemplative mental space of its guardian. Work and toil produce chal
via AMERICAN SUBURB X: https://americansuburbx.com/2020/02/massao-mascaro-jardin-a-rumination-of-plots.html?utm_source=rss&utm_medium=rss&utm_campaign=massao-mascaro-jardin-a-rumination-of-plots
The garden is a space in which experiments and critical thought are born and carried out. It is a space in which growth is mediated within the flora of its inhabitants, but also in the contemplative mental space of its guardian. Work and toil produce challenge and transformation within the confines of the garden. The garden itself must have perimeters for it to function as a space for devotion-if its edges bled into a forest; it would no longer have the withstanding position to incur its sacred status. We can make considerations of the garden’s attributes as holy, possessing the anima of transcending ruminations. Within the garden, not wholly unsympathetic with the conscription of the maze we, like Jorge Luis Borges, understand its position as an allusion to the mind itself. The frame and edges of a garden are holding vessels for thoughts and complications to be unwound.
https://loeildelaphotographie.com/en/the-legacy-of-issei-suda-1940-2019-human-memory-gg/
Miyako Yoshinaga presents The Legacy of ISSEI SUDA (1940-2019): Human Memory, the first posthumous exhibition in the United States of renowned Japanese photographer Issei Suda who passed away in early 2019. This is the gallery’s second exhibition of the artist, following the 2014 exhibition “Life in Flower: 1971-1979.”
I never get tired of looking at Thomas Alleman’s remarkable photographs. His curiosity takes him into worlds personal, familiar, and unknown, and no matter the destination, he finds gold where ever he points his lens. His powerful project about his mother
via LENSCRATCH: http://lenscratch.com/2020/02/thomas-alleman-social-studies/
I never get tired of looking at Thomas Alleman’s remarkable photographs. His curiosity takes him into worlds personal, familiar, and unknown, and no matter the destination, he finds gold where ever he points his lens. His powerful project about his mother, The Unwinding garnered him a Top 50 nod in Critical Mass some years back. At the core of his abilities are two things–he is a humanist and has a history of getting the story, with a legacy of traversing streets and landscapes with laser sharp curiosity. Today we feature his project, Social Studies, an 18-year quest to find his photographic voice at the beginning of his stellar career.
DJ, filmmaker and subcultural superstar Don Letts sits down with a new guest to discuss their life and work. This week, he meets legendary skateboarder and artist Ed Templeton.
via Huck Magazine: https://www.huckmag.com/art-and-culture/joining-the-dots-ed-templeton/
Joining the Dots is a new Huck podcast. Each week DJ, filmmaker and subcultural superstar Don Letts sits down with a new guest to discuss their life and work. This week, he meets legendary skateboarder and artist Ed Templeton.
On June 26 2016, the United Kingdom voted to leave the European Union. In the three and a half years since that moment, there has been room for little else on the political agenda as politicians wrangled over the issue. “Brexit means Brexit,” we were told
via Huck Magazine: https://www.huckmag.com/perspectives/reportage-2/brexit-britain-is-this-what-freedom-looks-like/
At 11pm on Friday night, Britain left the European Union – and thousands headed to Parliament Square to celebrate. Photographer Theo McInnes headed down to capture the crowds.
One of the wonderful things about photography is how broad it is as a pastime. The options are absolutely endless, from capture media, camera type, process to display. In fact, with the revival of film photography, combined with what digital photography a
One of the wonderful things about photography is how broad it is as a pastime. The options are absolutely endless, from capture media, camera type, process to display. In fact, with the revival of film photography, combined with what digital photography and computers have brought to the table, not to mention all the other traditional types of photography, we as photographers are spoiled for choice.
Klaus Bo’s stark images documenting death rituals from around the world are a rare visual record of cultural traditions
via LensCulture: https://www.lensculture.com/articles/klaus-bo-dead-and-alive
Klaus Bo’s stark images documenting death rituals from around the world are a rare visual record of cultural traditions.
The particularity of the photo industry is its deathwish. At its core, everything and everyone in this industry seems hell-bent into destroying itself and, along with it, the whole industry.
via Thoughts of a Bohemian: http://blog.melchersystem.com/the-things-that-kill-themselves/
The particularity of the photo industry is its death wish. At its core, everything and everyone in this industry seems hell-bent into destroying itself and, along with it, the whole industry.
These newswire photos from the Australian Open help create a culture that undercuts women athletes and endangers women more broadly.
via Reading The Pictures: https://www.readingthepictures.org/2020/01/calling-out-tennis-upskirt-photos/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28Reading+The+Pictures%29
The Reuters coverage of this year’s Australian Open tennis tournament features all the staples of the genre: feats of athletic prowess, emotional highs and lows, artistic stills, and humorous outtakes. It also includes several examples of a shot that needs to be scrapped from the genre: the athletic upskirt.
The destruction of the planet at the hands of imperialist forces bears out Biblical prophecies of Armageddon, though what we are witnessing today was a long time coming. “The Europeans…
via Feature Shoot: https://www.featureshoot.com/2020/01/the-destruction-of-the-amazon-in-photos/
Italian photographer Tommaso Protti is doing just that. As recipient of the 10th Carmignac Photojournalism Award, which funds annually the production of an investigative photo reportage on human rights violations, and geostrategic issues in the world, Protti teamed up with British journalist Sam Cowie to travel thousands of miles through the Brazilian Amazong between January and July of last year to examine the interrelationship between the social, humanitarian, and ecological crises decimating the region.
Stéphane Lavoué’s series is a multi-layered, sensitive homage to his new home in Brittany.
In 2015, the Getty Museum featured the seminal exhibition, Light, Paper, Process, a show that celebrated the spirit of invention and discovery at its point of departure, focusing on “investigations on the light sensitivity and chemical processing of photo
via LENSCRATCH: http://lenscratch.com/2020/01/bill-westheimer-new-vistas-photographers-working-with-the-landscape-3/
Artist Bill Westheimer has a new project of found landscapes, Borderlands, that explores similar territories. The title describes vistas and boundaries, but it also describes the physical origins of the photographs–on the borders of wet plate images. By shifting how he sees the marks and mistakes of historic collodion processes, he has created new worlds and new landscapes.
https://loeildelaphotographie.com/en/kenneth-josephson-kk/
Gitterman Gallery presents an exhibition of photographic work by Kenneth Josephson from 1960 to 1980 that invites overlapping dialogues on a variety of concepts. He explores the complex relationship of image and object, photographic truth and illusion, time, spatial perspective, even the history of photography itself. Josephson challenges our perceptions and invites us to consider different perspectives, while maintaining a strong sense of humor and wonder that makes his work both accessible and distinctive.
“I don’t see why I should care about that person.”
via Medium: https://witness.worldpressphoto.org/whats-the-point-of-conflict-photography-ee565909f778
At the time, I was teaching a course that concentrated on conflict photography and ethics. At one point during the semester, we were studying the coverage of a famine in Sudan in the early 1990s. My students had to read about the history of that famine and about the political forces that shaped it. They studied the photojournalistic and documentary coverage of this crisis and they read critiques of that work. On the day we were to discuss the coverage of that famine, I put up an image in class; it came from the homework that was assigned to the students. It’s a black-and-white photo taken at a feeding center in Sudan and it portrays a man who is severely emaciated, as thin as you can imagine a person to be. In fact, he is so weak that he cannot stand; he’s crawling on the ground. In this sense, it’s a painful photograph that confronts you with how dire situations of suffering can be.