The photographer’s guide to the rapidly-evolving NFT space.
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
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
via LensCulture: https://www.lensculture.com/articles/jason-eskenazi-wonderland-a-fairy-tale-of-the-soviet-monolith
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.
Spurning commercialism, he made thousands of one-of-a-kind prints that for decades he largely kept to himself. Then came a show at the Whitney.
Link: https://www.nytimes.com/2021/03/11/arts/aaron-rose-photographer-dead.html
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
via LensCulture: https://www.lensculture.com/articles/mayumi-suzuki-the-restoration-will
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.
Photojournalism at its finest.
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”.
Reading Time: 5 minutes The World Press Photo Contest has announced the nominees for 2021. Here, we round up some of the most compelling stories
via 1854 Photography: https://www.1854.photography/2021/03/world-press-photo-2021/
The World Press Photo Contest its announced the nominees for 2021. Here, we round up some of the most compelling stories
False and varying claims about documentary images made by Candida Höfer and Dorothea Lange ultimately create a deeply malleable “unsettled subject.”
via Hyperallergic: https://hyperallergic.com/627020/the-fluctuating-truth-of-documentary-images/
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.
Leica has announced the winners of its Women Foto Project Award, part of its campaign to amplify diverse voices in photography.
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:
A marriage of art and activism, the artist’s searing photographs reveal the human toll of economic injustice.
Link: https://www.nytimes.com/2021/03/01/t-magazine/latoya-ruby-frazier-photography.html
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.
Rick Egan, a staff photographer for The Salt Lake Tribune since 1984, has spent the majority of his life documenting SLC in photographs.
via SLUG Magazine: https://www.slugmag.com/arts/art/forget-the-photography-remember-the-story-for-rick-egan-photojournalism-is-about-changing-lives/
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.
Her seminal works brought scholarship to the field and helped develop appreciation for it as a creative art form.
Link: https://www.nytimes.com/2021/03/05/arts/naomi-rosenblum-dead.html
Dr. Rosenblum was the author of seminal works that helped bring scholarship and recognition to photography as a creative art form after practitioners, notably Alfred Stieglitz, had revolutionized the field by defying the conventions of subject matter and composition — creating images in the rain and snow, for example, or of a pattern that the sea cut in the sand.
Embarking on a visual journey through the make-shift world of refugee camps, Sebastian Wells explores the tension between impermanence and permanence that exists in these environments
via LensCulture: https://www.lensculture.com/articles/sebastian-wells-utopia
Though each camp had its own complex histories, Wells encountered certain recurring structural qualities. On all of the sites he visited, he found similar architectural structures in how the camps were set up and therefore organized. “Basically, I have been looking for patterns that repeat themselves. Especially when it refers to the structure of containers or tents, the same constellation of people and spaces,” Wells says of his photographic approach. “I have tried to echo this visually or to trace it again at the different sites, no matter whether it was in Germany, in Turkey or in Kenya.”
Growing up in Ufa, the capital of the republic of Bashkortostan, Russia, Gulnara Samoilova fell in love with photography at the age of 15, and quickly discovered it was a…
via Feature Shoot: https://www.featureshoot.com/2021/03/100-contemporary-women-street-photographers-redefining-the-genre/
Featuring the work of 100 contemporary artists from 31 countries pushing the boundaries of street photography in new and exciting directions, Women Street Photographers introduces expansive, experimental, and non-traditional approaches to a genre historically defined by the work of men. Bringing together women of all ages, races, ethnicities, creeds, and sexualities, Samoilova is on a mission to offer the kinds of opportunities and support she wished she had throughout her career.
Van Agtmael’s images in his new book, “Sorry for the War,” highlight all the little ways in which the war twists and perverts whatever it touches, over there as well as over here.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/peter-van-agtmaels-absurd-grotesque-chronicle-of-the-fallout-from-the-iraq-war
For a decade and a half, Peter van Agtmael has been photographing the conflicts in Iraq and Afghanistan and their human fallout around the globe. In 2014, he published “Disco Night Sept 11,” which chronicled some of the more unexpected echoes between the wars overseas and the home front between 2006 and 2013. His new book, “Sorry for the War,” focusses on Iraq but roves farther afield. It includes images of refugees in Europe, U.S. military veterans Stateside, victims of an isis terrorist attack in Paris, an American guard at Guantánamo, and an Iraqi civilian injured in the battle of Mosul. Each individual picture is startlingly rich and lucid. Cumulatively, though, they present the viewer with a riddle: What can we learn from this body of work as a whole?
The woman who says the enslaved people are her ancestors plans to appeal the decision “about the patriarch of a family, a subject of bedtime stories.”
Link: https://www.nytimes.com/2021/03/04/us/harvard-slave-photos-renty.html
The judge acknowledged that the daguerreotypes had been taken under “horrific circumstances” but said that if the enslaved subjects, Renty and Delia, did not own the images when they were taken in 1850, then the woman who brought the lawsuit, Tamara Lanier, did not own them either.