When we arrived in Bab Amr, we began to send emails to editors saying we were there. We were excited, happy. Of course we were scared of the situation but we were happy.
Then on the first morning, the shelling began very close to us. One boom, then a second. On the third the Syrians with us shouted “You have to get out!” Then the fourth rocket hit. We lost Marie Colvin, the American reporter, and my friend Rémi Ochlik, a photographer. The correspondent for Le Figaro, Edith Bouvier, was badly injured, as was Paul Conroy, a British photojournalist
Tonight, a not-to-be-missed exhibition opens at the Klompching Gallery in Brooklyn, showcasing two wonderful talents, the amazing Ken Rosenthal, and brilliant Vojtech V. Slama. I featured Ken’s work on Lenscratch recently, but was not familiar with the wo
Tonight, a not-to-be-missed exhibition opens at the Klompching Gallery in Brooklyn, showcasing two wonderful talents, the amazing Ken Rosenthal, and brilliant Vojtech V. Slama. I featured Ken’s work on Lenscratch recently, but was not familiar with the work of Vojtech. His Silver Bromide prints from his series Wolf’s Honey, are surreal, layered, evocative, and timeless. I am now a fan.
This is the second photo essay in a Lens series called “Smoke-Filled Rooms,” which examines the processes and consequences of contemporary American politics. At the end of the series — the length of which has yet to be determined — Lens will publish a PDF of the images in sequence.
Originally Published in IMAGE Magazine: Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House, Volume 34,
Number 3–4, Fall–Winter, 1991
There is no denying the force, the influence, the dominance of Winogrand’s presence during a critical time in the histories of both photography and America. There is no denying that he contributed mightily to important changes in how we view significant aspects of the relationships between the photographic medium and life in American society. Without question his work has had, and continues to have, a major influence on younger male photographers. One might even say that Winogrand invented a new form of “street photography,” a form that has transformed our view of our public selves, or, at least, has made us more conscious of our view of our public selves. A curious and perhaps relevant observation is the fact that “street photography” has been almost exclusively the domain of male photographers (with such very important exceptions as Helen Levitt and Lisette Model). In turning the documentary idea emphatically inward upon himself, while still turning the documentary camera outward upon the world, Winogrand forced the surfacing of new knowledge about both his reality and ours.
Look at this photo. Shaofeng Xu’s photo of a protestor climbing a high-voltage electricity tower won Honorable Mention in the Contemporary Issues category of the World Press Photo 2012 contest. Look at it again as a thumbnail. If the subject of the image
For the past few years, I’ve been paying attention to the winners of the most prestigious photojournalism awards. The decisive moments captured by photographers (many in harm’s way) are pretty astounding. These are great images. But something that’s been bothering me is the obviousness of the post processing, and how “artistic” looking photos have become.
Willis Grieger, a Chesterton, Indiana farmer and folk artist, with a concrete companion he made. Behind his barn is another of his creations, a man falling from a telephone pole. You’ve got to love someone who is a little bit Harper Lee, a little bit Mart
Photographer Paula Lerner, past vice president of the Editorial Photographers trade association and creator of an Emmy-winning multimedia piece, died today at her home in Belmont, Massachusetts, according to her family. The cause of death was breast cance
Brian Smith, EP’s president notes that as the organization’s founding VP, “[Lerner] was directly involved in negotiating the Business Week and Forbes contracts that raised the bar for fair deals for editorial photographers. Paula remained committed to educating and inspiring others and it is extremely sad to lose her just as she was producing the finest work of her career.”
Peter Granser is a photographer based in Stuttgart Germany.
His project ‘Sun City’ is a series about a retirement colony in the American southwest, where you are only allowed to live if you are over 55 years of age. In this strange city of spunky senior citizens, Granser encountered countless whimsical details
Mandy Barker’s artistic direction has evolved from graphic design to photography and is currently focused on contemporary practice. Her work aims to engage with and stimulate an emotional response in the viewer by combining a contradiction between initial aesthetic attraction and subsequent message of awareness
LUCEO member Matt Eich has received a $12,000 grant from ShootQ/Pictage for his ongoing project “Sin and Salvation in Baptist Town.” These images were part of his original application, submitted in August of 2010.
The 2012 Photo Business Plan Workbook has quickly become one of PhotoShelter’s most-downloaded guides. Nearly 20,000 photographers have accessed the workbook, and we’re guessing it’s because the topic is so universally important. Everyone wants to be bett
some of us learn better by example, so we’ve been talking with Laura Berman, an agricultural and garden stock photographer at GreenFuse Photos whose 2012 New Year’s resolution is to use the workbook to amp up her photo business (see other resolutions from top photographers in 28 Resolutions From 28 Seasoned Photographers).
Since making the resolution, Laura has cracked down and gotten to work. She laid out 3 major goals
Tyler Hicks was on assignment in Syria with the correspondent Anthony Shadid when Mr. Shadid died after interviewing Syrian resistance fighters. Mr. Hicks recounts the journey for Sunday’s paper.
An article in Sunday’s New York Times, written by Tyler Hicks, a staff photographer, recounts the journey he and Anthony Shadid, a Times reporter, made to Syria last month
In the end, if what you produce has the breadth and depth, you can present it any way you want. And if you do it right, that body of work will have many legs. It could be the best thing you’ve ever done as a photographer.
He returned to the office, satisfied that he had the best picture of the day.
“The bureau chief almost had a hemorrhage,” Mr. Stearns told the Annapolis Capital in 2009. “I never saw a man turn as white as he did because I was not with the entourage going to Arlington. Then the big boss from New York overheard that and he said, ‘You better have it or you’re fired on the spot.’ ”
Writing in the NYT’s BITS section, Brian X. Chen and Nick Bilton describe a disturbing design-flaw in Android: apps can access and copy your private photos, without you ever having to grant t…
But increasingly these things are networked — we carry around location-sensitive, accelerometer-equipped A/V recording devices at all times (our phones). Adding network capability to these things means that design flaws, vulnerabilities and malicious code can all conspire to expose us to unprecedented privacy invasions
HR437, “the Federal Restricted Buildings and Grounds Improvement Act of 2011” makes it illegal to protest in the vicinity of anyone who rates a Secret Service detail (even if you aren&#…
Nothing beats the feeling of being up on a roof and looking down at ant-like people scuttling below. Luckily for us, Katrin Korfmann has harnessed this sensation in the form of enormous, intricate photographs of crowds of people from high above
