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    I suppose I shouldn’t be writing this review on the internet, the place where anything you write can and will be reduced to the one snippet that seems to say something and that then will be taken against you.

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    A series of diptychs entitled “Sub-version” that explore the intersection between public and private domain, and how world events enter our lives no matter how far from the “action” we are. The first pictures for this project were taken on the morning of September 11, 2001, to conjoin the cataclysm emanating from my television, against the placidly sunny view outside my window in upstate New York.

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    Bernd Reinhardt, shared the work of his friend, Michael Jang, with me recently. Bernd is inspired not only by his photographs, but by his philosphies and approach to his image making and I have to agree with that assessment. Michael is not your typical photographer.

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    This month, Afghanistan held parliamentary elections with nearly 2,500 candidates for 249 seats. Turnout was very light under threat of violence from the Taliban, and accusations of fraud are widespread. Afghan President Karzai announced the formation of a 70-member peace council, a step towards formal discussions with the Taliban. And American and Afghan troops have now begun active combat in an offensive to drive the Taliban out of their strongholds surrounding the city of Kandahar, the birthplace of the Taliban. With 51 more coalition troops killed this month, the total number of deaths for coalition troops in 2010 reached 541 compared with 521 for all of 2009. Collected here are images of the country and conflict over the past month, part of an ongoing monthly series on Afghanistan. (47 photos total)

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    But Morel didn’t post any pictures on Twitter. Nobody ever has, because – as most 10-year-olds could explain to the NPPA – Twitter is a text message system: it can’t host pictures. Morel’s pictures were posted to Twitpic, an entirely separate legal entity from Twitter, with entirely different terms and conditions; therefore it is the Twitpic terms that are applicable in the Morel case. That’s the kind of very basic legal point one might expect a lawyer to notice.

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    Martin Parr talks about his latest discoveries, on show in Brighton. In the Q&A with BJP’s editor, he also discusses the international photography scene, and explains why the UK is “handicapped”.

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  • VII Photo – VII Foundation

    VII VII is synonymous with courageous and impactful journalism. In 2001, the dawn of the digital era enabled the creation of VII Photo Agency. It drove VII to prominence during the aftermath of 9/11, the war in Afghanistan, the invasion of Iraq, and the c

    via VII Foundation: http://www.viiphoto.com/showstory.php?nID=1192

    The rebel Lord’s Resistance Army and Joseph Kony, its messianic leader, have waged a campaign of massacres, torture, and abduction on civilians across Central Africa since the mid-1980s. Their 20-year bush war against the Ugandan government, which aimed to establish a theocracy based on the Ten Commandments, killed thousands and forced the displacement of around 2 million people.

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  • Photographer to Lead Reuters Pictures

    Reinhard Krause is to become the global pictures editor of Reuters.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/09/24/photographer-to-lead-reuters-pictures/

    Reinhard Krause has spent much of his photojournalism career in some of the most tumultuous and critical places on the planet — including North Korea, Kosovo, Tibet and, most recently, the flooded regions of Pakistan. Beginning in November, all the hot spots in the world will constitute his beat, as the global pictures editor of Reuters, leading 400 staff and freelance photographers.

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  • Picturing War’s Wounded and Dead

    There is no telling how people will react to realistic images and written reports that show war for what it is. But such images do serve a purpose.

    via At War Blog: http://atwar.blogs.nytimes.com/2010/09/21/picturing-wars-wounded-and-dead/

    “For centuries pictures of the dead and wounded have been part and parcel of war communications. Often the intentions were clear, ranging from medical instruction to anti-war protests. The public’s response could coincide with or diverge from the publisher’s intention.”

    Anyone who has survived or covered a conflict, and interacted with the people who have suffered grievously from war, would recognize the ringing truth in the third sentence of this statement, which opens the preface to an article in an issue this summer in the journal Medicine, Conflict and Survival.

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    Suddenly, to the accompaniment of loud brass music, soldiers started marching and filling the square. I took a look back at the balcony where Kim Jong-il was supposed to be seated. I spotted him and to his left was his son, Kim Jong-un. Using my long lens, I kept shooting for a while. It wasn’t a great angle, but I didn’t have time to move. At one point, Kim Jong-il took a quick, stern look towards his son. Snap! I knew this was the shot I needed.

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  • LensCulture – Contemporary Photography

    Discover and share the best in contemporary photography

    via LensCulture: https://www.lensculture.com

    The top award winners for 2010 are:

    Portfolio Category

    Grand Prize: Jessica Hines
    2nd Prize: Carolle Benitah
    3rd Prize: Louisa Marie Summer

    Single Image Category

    Grand Prize: Martine Fougeron
    2nd Prize: Albertina d’Urso
    3rd Prize: Anne Berry

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    I was inspired by the students’ energy and their creativity. I laughed a lot with the girls (there was only one male student) I got to know over the day. I pointed out new ways of seeing–layering images, shooting reflections, ways to give images more depth. I was absolutely thrilled to see some students taking chances and making images that were beyond the safe photos.

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    Congrats to the photographers of Facing Change, a nonprofit collective of well-respected writers and photojournalists “who have come together out of a sense of responsibility,” their website reads.

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    Un-possible retour is a project in which I am reconstructing and re-photographing selected family photographs in the attempt to reconnect with the past. Drawing from a collection of family snapshots, I focus the attention sharply on the concept of aging while ensuring a consistency of location and use time as a collaborative partner, accepting its discrepancies and playing with the results.

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    “You want to save it, you should niche it”. From old timers stock gurus to young green microstock expert, they all tell the same tale of potential success : dig yourself into a deep hole where no one else can reach you and stay there.

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  • Finding Clarity in Ambiguity

    So a photographer walks into a bar. And, in the case of Matt Eich, he emerges with a newfound way of looking at the world.

    via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/10/13/finding-clarity-in-ambiguity/

    It was then that I lost the sense of guilt that used to come from making pictures that didn’t have an actual narrative. I started to become more comfortable with ambiguity and with the sort of timelessness.

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    It was then that I lost the sense of guilt that used to come from making pictures that didn’t have an actual narrative. I started to become more comfortable with ambiguity and with the sort of timelessness.

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    Neck Face is back with a new solo show, Into Darkness – which in true Neck Face fashion is naturally opening this Halloween. The show will feature his latest series of drawings, paintings, and sculptures. While maintaining the hand style and imagery now considered his trademark, this body of work introduces new elements into Neck Face’s visual codex

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  • Simpsons

    via YouTube: http://www.youtube.com/v/DX1iplQQJTo?fs=1&hl=en_US&rel=0

    Carl Kleiner is a still life photographer based in Stockholm, Sweden.

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    Visitors to Enrique Metinides’s recent (2007) show at Anton Kern Gallery were greeted by a sign warning, “Due to gruesome content parental discretion is advised.” …

    Metinides was Mexico’s most famous and finest crime photographer, a man who spent fifty years documenting violence and death for the millions who follow la nota roja, or “the bloody news.”

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