When it comes to visual storytelling, there are several key components to keep in mind to ensure you and your images make the most impact. Last week we sat down with Philly-based photojournalist Caroline Gutman for a visual storytelling masterclass. She s
Last week we sat down with Philly-based photojournalist Caroline Gutman for a visual storytelling masterclass. She shared a bit of her personal story and outlined why light, composition, moment and emotion make the perfect recipe for a successful image.
The photographer Harry Gruyaert, a member of Magnum Photos, publishes a beautiful photo book on India with Atelier EXB: it’s an immersive experience with a touch of mystery.
The photographer Harry Gruyaert, a member of Magnum Photos, publishes a beautiful photo book on India with Atelier EXB: it’s an immersive experience with a touch of mystery.
Ever since experiencing the solar eclipse in 2015, Luca Bottazzi is captivated by the indefinable space between day and night. With his Eclipse series, he creates a narrative that reveals the darkening of the sun as a magical moment of everyday life.
Peter van Agtmael has been documenting the Twenty Year War since its very beginning. I first spoke with him in 2007 and then again ten years later. He has published a number of books, all of them essential records of a country too embroiled in its own senseless militarism to recognise the folly of it all. There’s Disco Night Sept. 11, there is Buzzing at the Sill, and now there is Sorry for the War.
Seemingly overnight, NFTs became the hottest acronym on social media and in headlines. On Thursday, a single JPG file created by Mike Winkelmann, also known as Beeple, sold in an online auction for $69.3 million. It was the first digital-only art sale for auction house Christie’s, meaning there was no physical copy involved.
Adobe just dropped its latest software updates via the Creative Cloud and among those updates is a new feature in Adobe Camera Raw (ACR) called “Super Resolution.” You can mark this day down as a major shift in the photo industry.
Photographer Nick Meyer has created a remarkable body of work with his powerful project and new book published by MACK, The Local. It’s a collection of unrelenting seeing from a perspective of compassion and familiarity with place, but also a keen sensiti
Photographer Nick Meyer has created an remarkable body of work with his powerful project and new book published by MACK, The Local. It’s a collection of unrelenting seeing from a perspective of compassion and familiarity with place, but also a keen sensitivity to the challenged humanity of the residents of a small mill town in Western Massachusetts where he grew up and now lives. He understands the wounds of this world, as it collapses into struggle with opioids and a shrinking economy.
James Whitlow Delano traveled to Sendai, Japan to capture images of a region battered by a tsunami and nuclear reactor meltdown on the 10 year anniversary.
Photojournalist and Founder of @everydayclimatechange James Whitlow Delano has lived and worked in Tokyo for decades, and has covered the disaster, its aftermath, and the glacially slow rebuild. For the 10th anniversary of the tragic event, Delano created a haunting photo and video package for the New York Times. I reached out to him via email to learn more about his experiences.
Photographer Jason Eskenazi traveled throughout Russia before and after the fall of the USSR and created a remarkable photobook that reverberates with the classic structure of dark fairy tales
Photographer Jason Eskenazi traveled throughout Russia before and after the fall of the USSR and created a remarkable photobook that reverberates with the classic structure of dark fairy tales.
Mr. Rose was that rarest of artists: one who doesn’t chase after gallery shows or sales to deep-pocketed collectors. In a 1997 interview with The New York Times in advance of his Whitney Biennial debut, he explained that his low profile had been by choice.
The 2011 tsunami in Japan destroyed this artist’s home, decimated her father’s photo studio, and took the lives of her parents. After the disaster, she picked up her father’s camera and created a moving tribute to her lost family.
The World Press Photo Foundation has announced the nominees for its 2021 contest featuring 45 photographers from 28 countries. Though all the work is incredibly impressive, six of the moving photos are in the running for World Press Photo of the Year.
The Brooklyn-based photographer won the prestigious prize, €20,000 and a solo show at the Amsterdam gallery for his “clarity of vision” portraying the African-American perspective.
The Foam jury says in a statement that Edmonds’ work impressed them for its “very articulate, distinctive style and clarity of vision,” that was “seemingly simple but in essence culturally complex”. They add that his work “stems from a deep understanding of the medium of photography and taps into its modernist history”.
I think of this while looking at Lange’s iconic image of the “Migrant Woman”(1936). I think about it again while I delete, with embarrassment, a photograph I had enthusiastically shared on my social media. The highlighted, and now deleted, photograph was supposedly of a working-class Turkish family, but not just any family, one that arrived as saviors of the pandemic. The image was made into a fast-accelerating meme with the following caption: “This is an immigrant family, newly arrived in Germany. The boy in the yellow shirt will go on to invent the COVID vaccine.” In late 2020, the natural impulse was to share this image because it perfectly combined an uplifting and politically charged story. And yet, it is exactly because of the enthusiastic caption that the image needed to be deleted.
The three award winners this year are Matika Wilbur, Karen Zusman and Anna Boyiazis and were selected by a diverse panel of judges ranging from award-winning photojournalists to renowned contributors to the world of photography:
This fall, Frazier will publish “Flint Is Family in Three Acts,” a record of her five-year collaboration with people affected by the ongoing contaminated-water crisis in Flint, Mich. “The Last Cruze,” a formidable and moving volume of portraits and interviews with the autoworkers, was released in December. “If you take the work seriously, it changes how you see people,” said the artist Doug DuBois, another friend and mentor, who taught Frazier at Syracuse University. Her work has the power to propel viewers “from empathy to activism,” he said. “If you get it, you’re going to get angry.”
In Immortal Chromatic, artist Kevin Hoth transforms the process of destruction into a cathartic act. Initially serving as a coping mechanism to a singular traumatic event, the project explores the inherent fragility and impermanence of life, and our inabi
In Immortal Chromatic, artist Kevin Hoth transforms the process of destruction into a cathartic act. Initially serving as a coping mechanism to a singular traumatic event, the project explores the inherent fragility and impermanence of life, and our inability to ever truly be prepared for what may come next. Hoth begins by photographing flowers with an instant camera, cutting and burning the images as they develop to irrevocably alter the trajectory of what they will become. The outcomes are unpredictable, but the way in which they are combined and arranged to create new compositions is a thoughtful and intentional process. In this way, the artist’s intervention is both an assertion of control and an exercise in letting go; a poetic acknowledgement that sometimes you have to destroy what is in order to realize what could be.
Photographing the punk and hardcore scene is far from the only work Egan has done, though. As a photojournalist for the Tribune, he has documented everything you can possibly think of, such as local festivals, events, protests, unsheltered communities and more. It was his college advisor that first told Egan he should be a professional photojournalist, but Egan wasn’t quite convinced until he went to a workshop with Anthony Suau, a photojournalist who documented the famine in Ethiopia. It was there he realized photojournalism isn’t really about photography at all.
