Art critic Sandile Ngidi tweeted: “South African documentary photography has lost one of its brightest stars. Santu Mofokeng belonged to a committed generation of photographers that gained prominence in the ‘alternative media’ in the 1980s and 1990s. This series is on ‘train churches’. Salutes!”
Bruce Gilden calls the photo “The Strangler.” The long-time Magnum photographer was just walking down a street of New York when he came across the scene. “It’s one of the few pictures where I can remember the scenario,” he said. “These two guys were having this battle in the street. They were so drunk and one had his hand on the other’s neck for a minute.”
Photo District News (PDN), a 40-year-old photo publication and staple of the industry, is shutting down. The magazine’s owner Emerald Expositions has confirmed that they will be shuttering both the print and digital sides of PDN in order to focus more of their efforts on PhotoPlus, WPPI, and Rangefinder.
Anniina Joensalo Tender [ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ] “Tender” is an exploration into the contradictions inherent in queer lives and loves. I want to explore all aspects of intimac…
“Tender” is an exploration into the contradictions inherent in queer lives and loves. I want to explore all aspects of intimacy in a non-normative way and in non-normative settings. In this series I’ve captured the people around me, my friends, partners and lovers. I’m inspired by the space queer people take up everyday, and the work they undertake in love and friendship. I am compelled to get as close to people as possible. My objective was to portray power balances between subject and photographer, to show the juxtaposition of tenderness and violence. “Tender” aims to bring up questions of intimacy and consent within these queer relationships where individuals are often pushing the boundaries of love and sex in anarchic ways.
Terra Fondriest documents life in her region with an unmatched intimacy – a challenge in a place awash with stereotypes. But the mother, firefighter and ranch worker is no outsider. She’s simply capturing what she knows.
Around 140 journalists and media workers have been killed in the Balkans during and after the 1990s conflicts. We are documenting their lives and the pursuit of justice for their deaths.
journalists and media workers were killed during and after the violent breakup of Yugoslavia. Only one person has ever been convicted under a final verdict of responsibility for any of these killings.
Fancy Live View and Video features aside, the Canon 1D X Mark III is primarily a camera for sports photographers. So who better to review it than Peter
Fancy Live View and Video features aside, the Canon 1D X Mark III is primarily a camera for sports photographers. So who better to review it than Peter Read Miller, a seasoned pro with decades of experience taking pictures for Sports Illustrated, AP Images, and the NFL?
It’s early September, 2014, and the sun is shining over a verdant landscape dotted with grazing horses. The people who live there, mostly the elderly women known affectionately as “babushkas,”…
It’s early September, 2014, and the sun is shining over a verdant landscape dotted with grazing horses. The people who live there, mostly the elderly women known affectionately as “babushkas,” travel by foot. They plant potatoes. Photographer Raul Arantes has just set foot in the Chernobyl Exclusion Zone, nearly 30 years after the nuclear disaster.
In 1990, Gideon Mendel left a box of negatives in his friend’s garage in South Africa. Now, 30 years later, the damaged negatives are reincarnated in a photobook
In 1990, Gideon Mendel left a box of negatives in his friend’s garage in South Africa. Now, 30 years later, the damaged negatives are reincarnated in a photobook
As a juror I have had the opportunity to be exposed to a wide range of work. Many times the images I juror are unthethered from their statements, so the photograph needs to have a stand alone power all it’s own. Every time I have come across images by Ann
As a juror I have had the opportunity to be exposed to a wide range of work. Many times the images I juror are unthethered from their statements, so the photograph needs to have a stand alone power all it’s own. Every time I have come across images by Anna Grevenitis, the work draws me in. It’s not just the mother/daughter relationship or the compositions of daily life, there is a compelling factor, and after reading her articulation of the project, the work is even more powerful.
In the autumn of 1960, American photographer Bruce Davidson landed a commission that would take him to the UK for the first time. Starting in London, he bought a Hillman Minx convertible and travelled to the South Coast before heading north to Scotland. H
Chad Ress has recently released a new monograph, America Recovered, published by Actar Publishers, Barcelona & New York. The book and project examine the point where “abstract political processes manifest themselves in the physical world, thus providing
Chad Ress has recently released a new monograph, America Recovered, published by Actar Publishers, Barcelona & New York. The book and project examine the point where “abstract political processes manifest themselves in the physical world, thus providing an alternate means of experiencing the contemporary American landscape. Collectively, the images and essays show what aspects of our everyday lives are being assigned value in the promise of a recovered America.” This fascinating project demystifies and considers what government spending looks like, as Chad travels the country to see first hand the result of the funding. America Recovered should sit on every desk in Congress to alert politicians how our monies are put to use.
Cengiz Yar has seen a few things in his time. But it was away from the frontlines that he came to value a universal right: having a patch to call one’s own.
Photographer Cengiz Yar has seen things – from the rebels’ battle to oust Assad in Syria, to the human fallout of conflict in Iraq. But it was away from the frontlines that he truly came to value a universal right: having a patch to call one’s own.
In altering photos from the 2017 Women’s March on Washington, the National Archives engaged in the very opposite of what it had been created to do: forge a clear and accurate historical record.
Last month, a photographer named Ellen Shub died, near Boston, at the age of seventy-three. I had got to know Shub in the nineteen-eighties, when I worked for gay and lesbian publications. At that time, she was already well known as a chronicler of social protest—a role that she continued to perform up until she unexpectedly fell ill, just weeks before she died. Many of her pictures were compositionally similar—frontal, focussed on one person and one sign. In 1975, she took a picture of a woman holding a placard that said “no more back room back alley abortions.” In 1981, at a Boston rally for the Equal Rights Amendment, she photographed a woman who held a sign on which she had pasted “59c”—the amount of money, it was said, that a woman made for every dollar earned by a man. In 2004, when the Republican National Convention was held in New York, Shub took a picture of a protester with a large sheet of cardboard printed with the words “ ‘dissent is the highest form of patriotism’ —thomas jefferson.” In 2014, at a rally in Boston, she photographed a young man holding one that said “#icantbreathe.” There were many more, and, in each case, the message of the photograph was the message of the sign.
