Photographer Yang Xiao recalls travelling across Eastern Europe to capture a series of Brutalist and Soviet modernist architecture with a distinctly alien feel.
via Huck Magazine: https://www.huckmag.com/art-and-culture/otherworldy-photos-of-former-soviet-monuments/
Photographer Yang Xiao recalls travelling across Eastern Europe to capture a series of Brutalist and Soviet modernist architecture with a distinctly alien feel.
Lora Webb Nichols created and collected some twenty-four thousand negatives documenting life in her small town.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-womans-intimate-record-of-wyoming-in-the-early-twentieth-century
Lora Webb Nichols created and collected some twenty-four thousand negatives documenting life in her small town.
“I think that’s one of the things I really love about film, you have to sometimes work to find the pictures that you love,” photographer and filmmaker…
“I think that’s one of the things I really love about film, you have to sometimes work to find the pictures that you love,” photographer and filmmaker Greg Hunt told Juxtapoz. “They don’t always jump out at you, you have to spend a little bit more time just because sometimes you might get that contact sheet back from the lab and you’re looking for something else on it.” That a renowned documentarian such as Hunt has released 41 never-before-published photographs from his first camera and the subsequent 12 rolls of 35mm black-and-white film gifted him by another photographer, Gabe Morford, feels like a very special release indeed. The elegance in the photos of 20th CENTURY SUMMER is parallel to their raw moments as well.
Photographer Peter Levitan interviews Eric Mencher, an award-winning street photographer who shoots exclusively with his iPhone.
Few street photographers and photojournalists have over 95,000 Instagram followers, shoot 100% on their iPhone, and have a World Press Photo prize. Eric Mencher is one of them.
From January to July 2019, Italian photojournalist Tommaso Protti, accompanied by British journalist Sam Cowie, traveled thousands of miles across the…
Link: https://www.juxtapoz.com/news/photography/amazonia-life-and-death-in-the-brazilian-rainforest/
From January to July 2019, Italian photojournalist Tommaso Protti, accompanied by British journalist Sam Cowie, traveled thousands of miles across the Brazilian Amazon to create this reportage. From the eastern region of Maranhão to the western region of Rondônia, through the states of Pará and Amazonas, they portrayed life in modern-day Brazilian Amazon, where social and humanitarian crises overlap with the ongoing destruction of the rainforest.
The Pulitzer Prize-winning photographer was killed in a clash between Afghan forces and the Taliban.
Mr. Siddiqui, an Indian national and Reuters staff journalist, was embedded with members of Afghanistan’s elite Special Forces in the southern province of Kandahar, a former Taliban stronghold. He was killed on Friday morning when Afghan commandos, attempting to retake a district surrounding a border crossing with Pakistan, came under Taliban fire, according to Reuters.
It is with pleasure that the jurors announce the 2021 Lenscratch Student Prize Second Place Winner, Dylan Hausthor. Dylan was selected for their lyrical and haunting project, What the Rain Brought, and has graduated from Yale this Spring (2021) with an MF
It is with pleasure that the jurors announce the 2021 Lenscratch Student Prize Second Place Winner, Dylan Hausthor. Dylan was selected for their lyrical and haunting project, What the Rain Brought, and has graduated from Yale this Spring (2021) with an MFA in Photography. The first time I saw Dylan’s photographs was like staring into the sun. A mark from such an intense glowing mass had a lasting impact on me and has been burned into my psyche since.
No matter your specialty, photographers have many shared experiences. We all remember getting our first cameras and where we were for that memorable photo. We’ve worried about whether or not our work mattered. At one point or another, we didn’t know anyth
via PhotoShelter Blog: https://blog.photoshelter.com/2021/07/new-guide-photography-mentorship/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
No matter your specialty, photographers have many shared experiences. We all remember getting our first cameras and where we were for that memorable photo. We’ve worried about whether or not our work mattered. At one point or another, we didn’t know anything about pushing back on contract terms, what photo editors were looking for or why one good portfolio review can really put things into perspective.
A new exhibition at The Photographers’ Gallery showcases works by artists active in Mozambique, South Africa and the Democratic Republic of the Congo,…
Link: https://www.juxtapoz.com/news/photography/presence-five-contemporary-african-photographers/
Presenting new and existing work by Amilton Neves Cuna, Anke Loots, Léonard Pongo, Mário Macilau and Nonzuzo Gxekwa, the exhibition is curated by Dr Julie Bonzon, founder of The Photographic Collective, in collaboration with Print Sales Gallery. The Photographic Collective is a not-for-profit enterprise which aims to bring visibility to artists living and working in Africa, especially those without gallery representation.
Seven photographers share some of the ethical considerations that are most present in their minds when working on stories close to home.
via Medium: https://witness.worldpressphoto.org/the-ethics-of-documenting-your-own-family-7225ca8bd59a
While turning the camera inward may alleviate ethical qualms about positionality, the influence of one’s identity on the way that we see (and thus represent) the world, photographing the people closest to us is not without ethical considerations of its own. As photojournalist and filmmaker, Amanda Mustard explains: “It’s a gift to have the perspective and personal experiences that allow access to important stories that may not be told with depth otherwise. But with greater depth comes the need for greater ethical care.”
Photographer Brian Anderson recounts documenting Glasgow over three decades, and how a photo of Prince would change the trajectory of his career.
via Huck Magazine: https://www.huckmag.com/art-and-culture/cinematic-shots-of-glasgow-over-30-years/
Photographer Brian Anderson recounts documenting Glasgow over three decades, and how a photo of Prince would change the trajectory of his career.
Every year we seek to celebrate the next generation of photographic artists through our Student Prize Awards program. 2021 was a stellar year for photography, not only with a record number of excellent submissions, but the work itself reflected deep think
Every year we seek to celebrate the next generation of photographic artists through our Student Prize Awards program. 2021 was a stellar year for photography, not only with a record number of excellent submissions, but the work itself reflected deep thinking and profound subject matter that it made it very difficult for the jurors to narrow down the selections. Before we begin the celebration of our 7 winners tomorrow, we wanted to shine a light on 26 photographers that you should have (and keep) on your radar, artists who may be at the beginning of their photography journey but are already working at an elevated level, creating work that is deeply meaningful, especially in a time when change is critical. Congratulations to all! – Aline Smithson
Strangers made his small-town portraits famous in the art world. Decades later, his heirs want control of the estate.
via The New Yorker: https://www.newyorker.com/news/us-journal/who-owns-mike-disfarmers-photographs
That changed in 2019, when, on a family trip to New York, Miller stopped by Howard Greenberg Gallery and learned that it had recently received a letter challenging the sale of Disfarmer prints. The author of the letter was David Deal, a lawyer who’d made his name leading a previous dispute over the estate of another Howard Greenberg artist, the photographer Vivian Maier. Maier, a nanny in Chicago, made no known attempts to sell or exhibit her work during her lifetime. Like Disfarmer, she became famous after her death. In 2014, Deal tracked down one of Maier’s distant cousins to fight for control of her archive. (A high-profile copyright-infringement case against one of the major collectors of her work was settled, confidentially, in 2016.) Now, as Deal’s letter informed Howard Greenberg, he was representing Disfarmer’s heirs—not one or two but nearly three dozen—in an effort to recover their “physical and intellectual property” and “any revenue generated by the appropriation” of copyrighted images. “He’s suing us,” a gallery associate told Miller. “And he’s gonna sue you.”
The agency is arguing that all photojournalism and news falls under public domain.
In a report from the Press Gazette, former photographer for AFP Francisco Leong — who started working for AFP in 2005 and left the agency in 2019 — is arguing that the contract he signed with the international news agency which gave copyrights to the agency and not the photographer was in violation of Portuguese law — specifically its Journalist Statue and Code of Copyright — which states that the ultimate rights to journalistic work even through the course of employment belong to the creator. As such, Leong argues that his contract is null and void and that the copyrights to the images should be returned to him.
https://www.leica-camera.blog/2021/07/12/imperial-county/
Imperial County is one of the newest and poorest counties in America. Despite this, the local inhabitants still believe in the American Dream. Lars Borges’s pictures speak of the resilience of people – and of everlasting hope and the search for happiness.
Deep in the Ozarks, Terra Fondriest’s tender pictures document her family’s connection with each other, the land and with the surrounding community
via LensCulture: https://www.lensculture.com/articles/terra-fondriest-home-in-the-ozarks
Deep in the Ozarks, Terra Fondriest’s tender pictures document her family’s connection with each other, the land and with the surrounding community.
Years of complaints from colleagues and freelancers preceded the recent departure of a New York Times photo editor
via Columbia Journalism Review: https://www.cjr.org/special_report/david-furst-departure-photo-editor-new-york-times.php
The New York Times quietly parted ways with international picture editor David Furst in April after an investigation into his treatment of colleagues and freelancers, leaving many at the paper asking why his departure had taken so long.
David Furst, who served as international picture editor at the New York Times, had power. And he misused it.
via Washington Post: https://www.washingtonpost.com/opinions/2021/07/09/awards-buoyed-former-new-york-times-editor-who-mistreated-freelance-photographers/
Danielle Rhoades Ha, a spokeswoman for the Times, told the Erik Wemple Blog via email in April, “David Furst is no longer with The New York Times. As a general matter of policy, we do not comment on personnel matters.” Pressed further, the Times refused to answer all but the most basic questions and didn’t grant an interview request with a manager to discuss standard practices for assigning and editing photojournalism, inviting emailed questions instead. The institutional reticence may stem from the public tussles of previous months on the personnel front: When it commented on the departures of freelance editor Lauren Wolfe and longtime science reporter Donald G. McNeil Jr., the newspaper dug deeper public-relations trenches for itself.
Few things in photography are as impactful as a portfolio review. They provide assurance, offer tips for improvement and can put your work into perspective. We’re hosting a free portfolio review webinar with photojournalist Essdras M. Suarez on July 16th
via PhotoShelter Blog: https://blog.photoshelter.com/2021/07/free-portfolio-review-webinar-with-two-time-pulitzer-prize-winner/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
We’re hosting a free portfolio review webinar with photojournalist Essdras M. Suarez on July 16th at 12pm ET.
In this second iteration of “Focus on South Africa” I wanted to include features on photography platforms, collectives, and teaching organizations in addition to artist profiles. In South Africa many photographers do not begin or advance their careers in
The Through the Lens Collective is a relatively new organization. The female-founded and managed group began in 2018 as what organizers describe as a “collaborative educational and developmental photographic space.” The collective works closely with all kinds of photographers, but focuses on individuals who have some experience with photography and are looking for the kind of direct feedback that will help them advance their practice. “A lot of the way we work,” says founder Michelle Loukidis “is very much one-on-one, in small classes.” The Collective’s focus on individualized attention, she says, “gives people an opportunity to really push their boundaries, experiment and work in as many ways possible.”