As promised, Sony unveiled a new full-frame mirrorless camera via livestream this evening. But while this was originally rumored to be a compact
As promised, Sony unveiled a new full-frame mirrorless camera via livestream this evening. But while this was originally rumored to be a compact entry-level model that would sit below the popular Sony a7 III, the new Sony a7C may be more of a step sideways than a true budget option.
On Deutsche Börse Photography Foundation Prize’s reproduction of structural inequality, Mohamed Bourouissa’s ambivalent ‘victory’ and the implications for curatorial responsibility
via 1000 Words: https://www.1000wordsmag.com/dbpfp2020/?utm_source=rss&utm_medium=rss&utm_campaign=dbpfp2020
What this amounts to is curatorial malpractice on the one hand, and capitalist oppression on the other – a form of reproducing and perpetuating racial inequality, both in material and ideological terms. A quick, top-level calculation of the monies awarded to just the winners alone (these figures exclude the smaller sums given to runners up) shows that a total of £485,000 has been awarded to white artists (82%), in comparison to £105,000 awarded to artists of colour (18%) – a wildly unequal distribution. Not only this, but it subsequently impacts on the discrepancies in levels of press coverage received, as well as interest from galleries, museums and collectors with implications for their markets and price points of artworks. Clearly no honest observer can say that such devaluation, in every sense of the word, isn’t a problem. And it’s a white problem that needs to be urgently addressed going forward.
Transform everyday moments into compelling visual narratives with photojournalist, Lynn Johnson.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
September 11, 2001, was a sunny Tuesday morning. Bill Biggart and his wife Wendy Doremus were walking their dogs in downtown Manhattan. At about 8:45
September 11, 2001, was a sunny Tuesday morning. Bill Biggart and his wife Wendy Doremus were walking their dogs in downtown Manhattan. At about 8:45 a.m., the couple noticed clouds of grey smoke forming against the clear blue New York City skyline. A passing taxi driver informed the couple that an airplane had crashed into the World Trade Center.
It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And…
Link: https://www.juxtapoz.com/news/photography/street-opera-the-photographs-and-films-of-khalik-allah/
It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy.
“During the pandemic, I worked in Mexico City with a Holga, a plastic camera first made in the ’80s whose plastic lens and imperfect seams…
via Medium: https://witness.worldpressphoto.org/amidst-us-entre-nosotros-49adabeb607c
During the COVID-19 pandemic, I worked in Mexico City with a Holga camera, a plastic camera first made in the ’80s whose plastic lens and imperfect seams made the film blurred in sections and unpredictably streaked with light. Before the quarantine started, I bought 17 rolls of film. They would have to last for months until businesses reopened.
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is par
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is particularly interested in ideas of confinement. Carlos will also share international events and artists with the Lenscratch audience. An interview with Carlos follows.
Faroq left her native Yemen a year after the war broke out in 2015, and never returned. The experience recast her practice, and she began to turn the camera on herself
via British Journal of Photography: https://www.bjp-online.com/2020/09/thana-faroq-i-used-to-document-the-lives-of-women-displaced-by-the-war-and-now-im-one-of-them/
Faroq left her native Yemen a year after the war broke out in 2015, and never returned. The experience recast her practice, and she began to turn the camera on herself
On commission for the New York Times, Soth says he had “no knowledge” of the the long-term project by the Chicago resident and documentary photographer
On commission for the New York Times, Soth says he had “no knowledge” of the the long-term project by the Chicago resident and documentary photographer
On September 5, 2020, The New York Times published “The Great Divide” – the latest entry in their “The America We Need” Times Opinion series – which examined neighborhoods on Chicago’s North Side and South Side and the enormous disparities in wealth and h
via PhotoShelter Blog: https://blog.photoshelter.com/2020/09/the-folded-map-projects-tonika-johnson-confronts-alec-soth-the-nyt/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
In this episode of Vision Slightly Blurred, Sarah and Allen discuss the controversy and complexities surrounding the NYT’s article, plus John Divola criticizes MFA student William Carmargo, and Jeff Mermelstein photographs your texts for #nyc.
Korean film-maker Park Chan-wook speaks about his passion for black and white photography and turning trivial things into lead characters.
DISKO, Miksys’ decade-long series exploring discos in Lithuania, is currently on show in Open Eye Gallery’s The Time We Call Our Own, an exhibition about the power and importance of nightlife
This Time We Are Young is an ongoing documentation of the changing demographics on the world’s youngest continent, Africa.
via Medium: https://witness.worldpressphoto.org/this-time-we-are-young-c1884b642d6c
This Time We Are Young is an ongoing documentation of the changing demographics on the world’s youngest continent, with 60 percent of the African population being under 25. The story reflects on what it means to be young in Africa, following the lives of both the youth who live on the continent and those who migrated to other parts of the world. The project is divided into different chapters, each of them documenting a different theme affecting African youth so far in countries like Uganda, South Sudan, South Africa, Germany, Belgium.
For decades, Chris Killip forgot about his photographs of an old Gateshead punk club. But today, they’ve taken on brand new meaning.
via Huck Magazine: https://www.huckmag.com/art-and-culture/photography-2/chris-killip-the-station-interview-punks-gateshead-1985/
For three decades, the seminal photographer’s shots of an old anarcho-punk club sat gathering dust in a box. However, in the cold light of day they’ve taken on new meaning.
We spent months photographing dozens of families across the country to understand what food insecurity looks like today.
Link: https://www.nytimes.com/interactive/2020/09/02/magazine/food-insecurity-hunger-us.html
A shadow of hunger looms over the United States. In the pandemic economy, nearly one in eight households doesn’t have enough to eat. The lockdown, with its epic lines at food banks, has revealed what was hidden in plain sight: that the struggle to make food last long enough, and to get food that’s healthful — what experts call ‘food insecurity’ — is a persistent one for millions of Americans.
The photographer Brenda Ann Kenneally traveled across the country to highlight the prevalence of food insecurity among families. To her, the images only begin to tell the story of struggle.
Link: https://www.nytimes.com/2020/09/02/insider/food-insecurity-families.html
This weekend, the entire issue of The New York Times Magazine is devoted to the topic of families and food insecurity, the lack of consistent access to healthy meals that affects millions in America. The issue features 18 images by the photographer Brenda Ann Kenneally, who, in the spirit of Dorothea Lange’s Dust Bowl journeys, took a 92-day trip from New York to California in a camper to document those who were struggling. The pictures are part of a collaboration between the magazine and the National desk that includes an online multimedia package.
“The Road Not Taken,” a 1916 poem by Robert Frost is not merely a call for following one’s own destiny as many would like to believe, but the knowledge that…
via Feature Shoot: https://www.featureshoot.com/2020/09/a-lyrical-photographic-road-trip-across-america/
Arnaud Montagard, a French photographer living in Brooklyn, traversed the continent, making a series of exquisite photographs just published in the sumptuous new book The Road Not Taken (Setanta Books). Here, the search for signs of this fantastical realm continues with the fervor of a true believer, cataloguing the iconography of the self-made man whose rugged individualism built a nation from scratch.
Find out which women in sports photography inspire PhotoShelter members Sarah Sachs, Jennifer Stewart, Abbie Parr and Casey Brooke.
via PhotoShelter Blog: https://blog.photoshelter.com/2020/09/women-in-sports-photography-celebration/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
As live sports begin to make a comeback, we want to take this opportunity to talk about representation, and to highlight some incredible women in sports photography. These women are creating stunning images and leading the way for other aspiring photographers in the field (and on the field).
Heji Shin’s striking, discomfiting work poses an important question for the contemporary age: What do we expect art to do, and does the artist have a responsibility to do it?
Link: https://www.nytimes.com/2020/08/27/t-magazine/heji-shin-photographer-babies.html
Heji Shin’s striking, discomfiting work poses an important question for the contemporary age: What do we expect art to do, and does the artist have a responsibility to do it?