LensCulture returns to Photo London with a group show featuring remarkable work by 68 photographers from 24 countries — an up-to-the-minute overview of contemporary photography from around the globe.
Today, I’m pleased to feature the work of Gregory Jundanian, whom I met at last year’s Review Santa Fe. During our review, Greg and I discussed his photographic projects exploring his Armenian heritage and the lingering generational trauma of the Armenian Genocide that started on this day in 1915 and lasted for a number of
Written by genocide survivors about their ancestral homes across the Ottoman Empire, the aim of these memory books was to preserve the history and traditions of village life, hence our identity, as communities reimagined themselves in the new world. Once There Was and Was Not explores the effects of genocide on Armenian identity
Each year during Earth Week I curate a collection of photographic projects from artists who are working to make the often-invisible nature of the global climate and the ecological crisis more visible using conceptual, lens-based art techniques. The arts – and the visual arts in particular – have a unique capacity to confront audiences with
Shortly after moving to Morgantown, West Virginia, I discovered that a local shopping center had been built upon an 800-year-old sacred burial ground and village site associated with the Monongahelan culture. I’d frequently shopped at the Center and this new revelation transformed my understanding of the landscape and place I called home
When French photojournalist Roland Neveu arrived in Phnom Penh in the summer of 1973, he had little inkling of the atrocities he would witness, or the scale of the suffering that would soon engulf the country and claim the lives of one in four Cambodians through murder, starvation or neglect.
Fatima Hassouna, 25, died in Gaza City on Wednesday (April 16) along with nine members of her family just days after a documentary by filmmaker Sepideh Farsi, in which Hassouna is the main character, was accepted to play at the Cannes Film Festival.
Palestinian journalist Samar Abu Elouf earned the World Press Photo of the Year award for his image of nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack.
Palestinian journalist Samar Abu Elouf earned the World Press Photo of the Year award for his image of nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack.
The World Press Photo Awards has announced its overall winner and Samar Abu Elouf, a Palestinian photojournalist, has won Photo of the Year for her portraits of a young boy named Mahmoud Ajjour who was severely injured while feeling an Israeli attack in Gaza.
Georgian journalists argued that Mikhail Tereshchenko, a staffer for a Russian state-backed media outlet, should not have received the award for his photos of the Tbilisi protests.
Georgian journalists argued that Mikhail Tereshchenko, a staffer for a Russian state-backed media outlet, should not have received the award for his photos of the Tbilisi protests.
On this episode of “10 Frames Per Second” we delve into the world of photojournalism through the lens of Ron Haviv, a renowned photojournalist and co-founder of the VII Agency. In this episode Haviv shared his journey, experiences, and his thoughts on the evolving landscape of photojournalism.
The AP says a photographer and reporter were blocked from attending the news conference with the self-proclaimed “world’s coolest dictator”, even though a U.S. federal judge siding with the Associated Press last week.
Right about 10 years ago, I wrote an article that went viral and sparked a lot of debate. At the time, AI was just starting to show the tip of its beak, and image manipulation was already in full force thanks to a variety of very potent software like Adobe’s Photoshop. The origin of the … Read More →
My conclusion at the time—which also still holds—was that it wasn’t the tools that mattered in judging the authoritative and authentic quality of a photojournalistic image, it was the intent. The photographer’s intent.
Man… I’ll keep the novel short. I was really interested in what I would later learn was the Szarkowski canon, but my professors having come from a very postmodern perspective were not interested in revisiting or deepening or complicating any of that MoMA photo stuff. Someone like Earlie Hudnall was living down the street and we were never told about him. Geoff Winningham was teaching about one neighborhood over and we were never told about him. Provoke never came up. Magnum never came up. Atget was seen as a joke that the Surrealists played on the world. We saw bits in photo history, but in studio these were not traditions that really came up. So I was making photographs against the current. Then you throw in the very important factor that all but one (and an important one she turned out to be) were white Americans with very little curiosity past their own educations, and school was often painful.
World Press Photo has disinvited a Russian photographer from the awards ceremony in Amsterdam after the competition awarded him a prize in its 2025 competition.
Matthew Genitempo is someone I consider a friend. A friend whose work has long been an inspiration for me. When he and I started talking about doing something for Lenscratch, it was his suggestion that we put our work in conversation. Our books—Dogbreath and A Poor Sort of Memory—were made in different deserts, but explore
Our books—Dogbreath and A Poor Sort of Memory—were made in different deserts, but explore similar territory. Both are portraits of coming of age through a tangle of grief, nostalgia, and the psychic residue of place. What started as a conversation about our individual processes turned into something deeper: a dialogue between two bodies of work that seem to be speaking the same language, just with different accents. I am happy to share this space with Matt and our conversation with all of you.
Modern photojournalism, too, is often guilty of the same sin. Too many photographers lean on the image-as-statement: this happened here. They stop at the event, never asking what it means, why it matters, or what comes next. The visual language becomes mechanical—predictable, hollow. If every image is worth a thousand words, we are living in a cacophony of empty phrases.
The Associated Press (AP) has introduced AI search to its content library which, the news and picture agency says, will make it easier to discover and use its vast collection of visual, audio, and text content.