A list of the winners of journalism’s top honor, including links to the winning stories.
via Poynter: https://www.poynter.org/business-work/2024/2024-pulitzer-prize-winners/
The winners of the 2024 Pulitzer Prizes were announced from Columbia University Monday afternoon.
https://www.poynter.org/business-work/2024/2024-pulitzer-prize-winners/
As misinformation flooded social media Oct. 7, Reuters delivered raw, impactful imagery documenting the start of the war between Israel and Hamas
via Poynter: https://www.poynter.org/reporting-editing/2024/reuters-pulitzer-prize-breaking-news-photography-israel-hamas-gaza/
As misinformation flooded social media Oct. 7, Reuters delivered raw, impactful imagery documenting the start of the war between Israel and Hamas
From person-to-person coaching and intensive hands-on seminars to interactive online courses and media reporting, Poynter helps journalists sharpen skills and elevate storytelling throughout their careers.
via Poynter: https://www.poynter.org/reporting-editing/2024/associated-press-pulitzer-feature-photography/
The Pulitzer Board’s citation called the AP’s work “poignant photographs chronicling unprecedented masses of migrants and their arduous journey north from Colombia to the border of the United States.”
https://www.poynter.org/reporting-editing/2024/associated-press-pulitzer-feature-photography/
James Hamilton’s career conveniently mirrors the changing fortunes of journalism as an industry.
via Hyperallergic: http://hyperallergic.com/910684/half-a-century-of-american-culture-through-the-lens-of-photographer-james-hamilton/
James Hamilton’s career conveniently mirrors the changing fortunes of journalism as an industry.
Debuting its tour at the Herbert Art Gallery & Museum in Coventry, After the End of History: British Working Class Photography 1998–2024has been curated by writer and photographer Johny Pitts, with the exhibition’s title wittily alluding to Francis Fukuyama’s essay titled The End of History, citing his unfulfilled anticipation of global stability. As Lillian Wilkie examines, Pitts navigates the sociocultural turn of neoliberalism and creates a space for multiple, even conflicting truths of working-class life, challenging the dominance of singular historical narratives and entrenched social hierarchies.
via 1000 Words: https://www.1000wordsmag.com/after-the-end-of-history/
Debuting its tour at the Herbert Art Gallery & Museum in Coventry, After the End of History: British Working Class Photography 1998–2024, has been curated by writer and photographer Johny Pitts, with the exhibition’s title wittily alluding to Francis Fukuyama’s essay titled The End of History, citing an unfulfilled anticipation of global stability. As Lillian Wilkie examines, Pitts navigates the sociocultural turn of neoliberalism and creates a space for multiple, even conflicting truths of working-class life, challenging the dominance of singular historical narratives and entrenched social hierarchies.
Following intense preparations, the Ciro Battiloro travelled to Normandy in 2022 and 2023. Images of the harsh life of fishermen.
via Conscientious Photography Magazine: https://cphmag.com/the-project-is-not-your-friend/
But a project, and I think this aspect is widely acknowledged, creates a problem: when do you end it? If you’re shoehorned into a time schedule by your teacher, that will give you a parameter. Of course, everybody knows that your project might not in fact be done in a semester or year. In addition, the inclination by many photographers is to let projects run longer than they need to. The right point when to finish it is often difficult to find.
Bellingcat investigates the demotions carried out by the IDF in Gaza.
via bellingcat: https://www.bellingcat.com/news/2024/04/29/weve-become-addicted-to-explosions-the-idf-unit-responsible-for-demolishing-homes-across-gaza/
It’s estimated that more than 50% of Gaza’s buildings have been destroyed or damaged and approximately 1.7 million people have been displaced since the offensive began
In the past two decades, American parents have started to ditch the purées and give babies more choice—and more power—at mealtime.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/when-babies-rule-the-dinner-table
In the past two decades, American parents have started to ditch the purées and give babies more choice—and more power—at mealtime.
https://www.newyorker.com/culture/photo-booth/when-babies-rule-the-dinner-table
The world’s most important stories in photos.
via PetaPixel: https://petapixel.com/2024/04/18/2024-world-press-photo-winners-show-why-photojournalism-matters/
Photographer Mohammed Salem with Reuters captured the arresting prize-winning image in Palestine. Captured just days after his wife gave birth, Salem’s image shows Inas Abu Maamar, age 36, holding the body of her niece, Saly, five, who was killed along with her mother and sister by an Israeli missile strike near their home in Khan Younis, Gaza.
https://petapixel.com/2024/04/18/2024-world-press-photo-winners-show-why-photojournalism-matters/
Photojournalist Mohammed Salem captured a Palestinian woman embracing the body of her niece, who was killed by an Israeli airstrike.
via Hyperallergic: http://hyperallergic.com/904257/mohammed-salem-heart-wrenching-gaza-image-wins-world-press-photo-of-the-year/
Photojournalist Mohammed Salem captured a Palestinian woman embracing the body of her niece, who was killed by an Israeli airstrike.
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
An exhibition in England asks how a generation of blue-collar British photographers have responded to the rising tide of neoliberalism.
via Aperture: https://aperture.org/editorial/picturing-britains-working-class-after-the-end-of-history/
An exhibition in England asks how a generation of blue-collar British photographers have responded to the rising tide of neoliberalism.
https://aperture.org/editorial/picturing-britains-working-class-after-the-end-of-history/
Some of the portraits in “This Train” have an Edenic quality to them, as if Kurland is asking: What if my kid and I were the only two people in the world?
via The New Yorker: https://www.newyorker.com/culture/photo-booth/in-justine-kurlands-photographs-a-mother-and-son-hit-the-road
Some of the portraits in “This Train” have an Edenic quality to them, as if Kurland is asking: What if my kid and I were the only two people in the world?
In his new book, Hardtack, Rahim Fortune compiles nearly a decade of work, blending documentary with personal history within the context of post-emancipation America. Through coming-of-age portraits that traverse survivalism and land migration, Fortune illustrates African American and Chickasaw Nation communities. As Taous Dahmani observes, the iconography of the American South is drawn between Fortune’s Hardtack and Beyonce’s Cowboy Carter, released only a few days after — both of which raise questions that serve to redefine ‘Americana’.
via 1000 Words: https://www.1000wordsmag.com/rahim-fortune/
In his new book, Hardtack, Rahim Fortune compiles nearly a decade of work, blending documentary with personal history within the context of post-emancipation America. Through coming-of-age portraits that traverse survivalism and land migration, Fortune illustrates African American and Chickasaw Nation communities. As Taous Dahmani observes, the iconography of the American South is drawn between Fortune’s Hardtack and Beyonce’s Cowboy Carter, released only a few days after — both of which raise questions that serve to redefine ‘Americana’.
This week we are looking at the work of artists who submitted projects during our last call-for-entries–way back in late-2022 (a new call will be going out sometime in the near future, so stay tuned for details…). Today we are viewing and hearing more about A Natural History (Built to be Seen) by Austin Cullen. Austin
via LENSCRATCH: http://lenscratch.com/2024/04/austin-cullen-a-natural-history-built-to-be-seen/
The motivation for my project stems from a childhood interest in museums, and an earlier body of work. When I was younger I regularly visited the Houston Museum of Natural History. The museum showed me a version of nature that was completely different from the city I grew up in. Instead of the urban bayou that I was used to, the museum depicted safaris, jungles, deep sea life, and so much more. In the museum, nature did not feel like something we as humans lived in, but instead a distant spectacle. It taught me about the larger world around me, and it left me awestruck by the far-off places and creatures the museum contained
http://lenscratch.com/2024/04/austin-cullen-a-natural-history-built-to-be-seen/
This week we are looking at the work of artists who submitted projects during our last call-for-entries–way back in late-2022 (a new call will be going out sometime in the near future, so stay tuned for details…). Today we are viewing and hearing more about As Big As The Sky by Seth Adam Cook. Seth Cook
via LENSCRATCH: http://lenscratch.com/2024/04/seth-adam-cook-as-big-as-the-sky/
When my brother and I were young, our mother would say she loved us “bunches and bunches, as big as the sky.” This phrase stayed with me throughout my life, but it wasn’t until she passed away that I truly understood its significance. Just before her surgery, my mother gave me a camera that she had carried with her since she was young. Despite our closeness, I never knew about this part of her life. With her camera in hand, I began navigating a stream of consciousness around the places, people, and emotions I found myself surrounded by. Her camera became a tool for me to navigate my grief and reflect on the spiritual absence in my family following her death. Since its origins, this series has become a personal and emotional exploration of loss, memory and identity, and is my way of holding onto her memory and the shared passion we had for photography.
http://lenscratch.com/2024/04/seth-adam-cook-as-big-as-the-sky/
Currently exhibited at The Photographers’ Gallery in London, Craig Atkinson’s Café Royal Books presents an eclectic collection of social relics where regional pasts intermingle, and previously unseen or half-remembered social histories are vividly recalled. With a sense of relative authenticity, the exhibition invites viewers to delve through a collection of three hundred books that capture past lives through the lens of another. David Moore reflects on the display and the project’s position among the ongoing reassessment of documentary photography.
via 1000 Words: https://www.1000wordsmag.com/cafe-royal-books/
Currently exhibited at The Photographers’ Gallery in London, Craig Atkinson’s Café Royal Books presents an eclectic collection of social relics where regional pasts intermingle, and previously unseen or half-remembered social histories are vividly recalled. With a sense of relative authenticity, the exhibition invites viewers to delve through a collection of three hundred books that capture past lives through the lens of another. David Moore reflects on the display and the project’s position among the ongoing reassessment of documentary photography.
This week we are looking at the work of artists who submitted projects during our last call-for-entries–way back in late-2022 (a new call will be going out sometime in the near future, so stay tuned for details…). Today we are viewing and hearing more about Personal History by Sarah Malakoff. Sarah Malakoff creates large-scale color photographs
via LENSCRATCH: http://lenscratch.com/2024/04/sarah-malakoff-personal-history/
I have been photographing interior spaces for a very long time and find that different themes and threads interest me as I work. My first book, Second Nature, looked at the home as both a refuge from and a reinvention of the outside, natural world. While shooting, other objects started catching my attention. I noticed portraits displayed in the home and was fascinated by who they represent, what the connection might be to the occupant, and the relationship to other items and architecture. A good number of the portraits, much more than I would have thought, were of figures from history- Marie Antoinette, Napoleon, Yuri Gagarin. With this in mind, I started looking for other possessions that reference historical events and locations. I found these things and their placement within the home variously humorous, touching, and sometimes disturbing.
http://lenscratch.com/2024/04/sarah-malakoff-personal-history/
Here’s a sneak peak at some of the great images that will be shown at The Photography Show in New York, April 25-28
via LensCulture: https://www.lensculture.com/articles/aipad-photography-show-preview-the-photography-show-by-aipad-2024
Here’s a sneak peak at some of the great images that will be shown at The Photography Show in New York, April 25-28.