The long awaited documentary featuring the Obama administration’s Chief White House Photographer Pete Souza recently made its debut on MSNBC, and Sarah and Allen share their thoughts, and why they shed a few tears. In addition, Pari Dukovic’s photo of Joe
The long awaited documentary featuring the Obama administration’s Chief White House Photographer Pete Souza recently made its debut on MSNBC, and Sarah and Allen share their thoughts, and why they shed a few tears.
Jan Šibík, one of the Czech Republic’s top photojournalists, talks about the demise of photojournalism, mobile phone pics and documenting the coronavirus crisis.
Jan Šibík is one of the Czech Republic’s top photojournalists. He has undertaken assignments in hotspots around the world, including Rwanda, Afghanistan, Chechnya and Iran as well as capturing the tumultuous events of the Velvet Revolution in his own homeland. In a recent interview for Czech Radio, the photographer spoke about the demise of photojournalism, what he thinks about mobile phone pics and his plans to produce a book of photographs about the ongoing coronavirus crisis.
In 1982, photographer Judah Passow spent two weeks in Belfast documenting Divis Flats, which at the time, was deemed the worst public housing in Europe. What he found was a group of residents whose humanity prevailed amid poverty and strife.
Delving into the uncertainty felt by his generation, Iranian photographer Farshid Tighehsaz’s gritty monochrome images penetrate the fears and tensions of the collective unconscious
Delving into the uncertainty felt by his generation, Iranian photographer Farshid Tighehsaz’s gritty monochrome images penetrate the fears and tensions of the collective unconscious.
“Killip was a human first and an observer or lucid chronicler second”
Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90’s. To place emphasis on his work in a genre-fied manner would belittle his an
Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90’s. To place emphasis on his work in a genre-fied manner would belittle his and its true humanity and potential. Killip was a human first and an observer or lucid chronicler second. In my personal estimation his book In Flagrante and its subsequent version In Flagrante II along with Seacoal are two of the more enduring works of the past 100 years of publishing within the medium of photography. Once you crack the covers of these works, it is hard not to be left with a sense of urgent sympathy for the people and the timeframe in which it was produced.
Pulitzer Prize-winning photojournalist Essdras M. Suarez knows a thing or two about the power of a strong portfolio. For years, he has helped fellow photographers improve their work through in-person lessons and online portfolio reviews.
Face tuning apps have thrived for years in the mobile phone ecosystem, allowing users to make subtle (and sometimes not so subtle) changes to their appearance for a selfie-obsessed generation. Some consumers use the tools to get closer to the generic cele
But whereas face tuning apps fall under the category of “fun,” there is something legitimizing about the incorporation of similar technologies into Adobe Photoshop – the powerful image editing software that has been so ubiquitous as to become a verb.
The issue is pressing while reading “What Becomes a Legend Most,” Philip Gefter’s wise and ebullient new biography of Richard Avedon. Gefter takes the reader inside so many of Avedon’s photo shoots, and so deftly explicates his work, that you’re thirsty to sate your eyes with Avedon’s actual images.
Juan Cristóbal Cobo and I were paired together for a Leica talk on photographing at home during a pandemic. I had never seen his work before, and I was blown away that someone so new to self-portraits could be so inventive. Many of us dip our toes in the
Juan Cristóbal Cobo and I were paired together for a Leica talk on photographing at home during a pandemic. I had never seen his work before, and I was blown away that someone so new to self-portraits could be so inventive. Many of us dip our toes in the water and slowly inch in. Juan dove in headfirst. This pandemic has forced many of us to spend time with ourselves and look inward, and Juan immediately channeled this into a creative endeavor. A background in cinema and street photography had already trained his eye to observe. The circumstances of confinement forced him to use photography to process and understand. A big challenge in self-portraiture is how to portray ourselves and our lives in ways that haven’t been seen before. By making photographs daily, Juan was able to fly through the expected and free himself up to the surprises. I especially admire the poet’s heart that allows him to translate light, shadow and gesture into palpable feelings, self-contained yet also part of a larger story.
From the Magnum Square Print Sale in Partnership with Aperture, Dawoud Bey, Nan Goldin, KangHee Kim and more reflect on the photograph’s potential to influence social and artistic images.
Munem Wasif has honed his monochromatic way of visually interpreting the world. This juror for LensCulture’s Black and White Awards reveals the details that affect him most through the language of photography.
Brazilian photographer Marcio Pimenta’s new photography book captures the intimate moments of the Yazidi people’s return to their ancestral home in northern Iraq.
Gary Knight has documented conflicts in Iraq, Yugoslavia, Cambodia, Northern Ireland and farther afield. The photographer looks back on a career characterised in equal parts by violence and hope.
Gary Knight has documented conflicts in Iraq, Yugoslavia, Cambodia, Northern Ireland and farther afield. In this extract from a new book, Imagine: Reflections On Peace, the photographer looks back on a career characterised in equal parts by violence and hope and asks what it really means to be at peace
Curiosity is the animating force of the photographs. You start to sense that Mandel sees everyone—the stranger and the self—as members of the same team.
In 1971, Mike Mandel released a book of photographs called “Myself: Timed Exposures.” Part of their loose, easy charm has to do with Mandel’s appearance: with his long dark hair and thick-framed glasses, he looks like a cartoon version of a peaceable hippie, rambling through black-and-white Southern California. Though the title prepares you for an onslaught of Mandel, only two of the images show him alone in the frame. The other thirty-seven photographs feature strangers of all types, as Mandel thrusts himself into the bustle and rush of street life, popping up among people like an imp, a groovy visitor from another planet. There he is, shirtless in corduroy cutoffs, smiling with a housewife at a supermarket meat counter, or lying flat on the floor of a library with his arms tight at his sides, students craning to observe this sudden interruption. In another photo, Mandel squeezes onto a crowded bench at an airport, his face blurry, the people on either side of him blurry too, caught mid-laugh. Some of the photos require you to search Mandel out, scan for his identifying uniform of big black glasses and lank hair, as if he were an R. Crumb version of Waldo. Then you spot him: a sliver of Mandel, peering over the heads of a gaggle of young girls at Disneyland or just barely visible in the reflection of a beauty-parlor mirror.
Celebrating the evolving narrative of the photobook, Paris Photo and Aperture, in partnership with DELPIRE & CO, are excited to announce the 35 selected titles for this year’s shortlist.
Celebrating the evolving narrative of the photobook, Paris Photo and Aperture, in partnership with DELPIRE & CO, are excited to announce the 35 selected titles for this year’s shortlist.
