Altered States: The Way We Live Today is LUCEO’s second group exhibition of recent and best works, images that reflect LUCEO’s commitment to collaboration, artistic support, and exchange. In his forward to this limited edition exhibition catalog, show curator Brian Clamp distinguishes LUCEO from the traditional artistic model, noting that the “classic vision of the artist is a solitary figure locked away in a studio with private inspirations and visions.” Contrary to this model, Clamp’s curation reflects a modern view of the photographer, images that show a deep and personal collaboration with the communities that host the photographers as well as mutual respect and support shared amongst the artists themselves.
Printed on heavy stock, perfect bound, with a limited press run of 300, each issue is a collector’s item. Each hand-numbered piece contains 31 original photographs, edited, sequenced and displayed to best reflect the delicate balance of images curated for the exhibition. Altered States: The Way We Live Today follows on the heels of LUCEO’s and MJR’s 2010 collaborative catalog, recently reviewed by Time magazine’s Paul Moakley for PDN as “the number one promo I’ve received since I’ve been here.”
It’s been less than a year since Cardiff’s Third Floor Gallery opened last Feb. 12th with a show of Peter Dench photographs. Since then it has quickly matured into one of the UK’s strongest photo galleries. I caught up recently with gallery co-founder Joni Karanka to talk about Third Floor and related topics.
Roman Meffre and Yves Marchand are two young French men who spent five years taking pictures of the city of Detroit, the world’s now
abandoned car construction capital.
An unearthed document provides a layered, bizarre, insight into Joseph Kony and his Lord’s Resistance Army, which to many people are known more by deeds than by close-up views.
Among the men at large in the world who have been credibly accused of war crimes, Joseph Kony, the leader of the Lord’s Resistance Army, occupies an almost otherworldly place. The document that is the subject of Friday’s post, “LRA Religious Beliefs,” shows many of the reasons why.
The candid footage has come to light because Chevron’s lawyers persuaded a federal judge in New York to force a filmmaker who chronicled the legal fight, Joe Berlinger, to turn over more than 500 hours of outtakes from his film, “Crude.”
Richard Nicholson spent three years photographing commercial photographic darkrooms in London. When he began his project in 2006, there were more than 200 thriving darkrooms dotted around the city; when he completed it in 2009, there were 12.
Unless the parties reach a settlement out of court Morel’s claims will go to a full jury trial in the New Year. AFP, Getty Images, CBS Broadcasting and Turner Broadcasting will face claims for copyright infringement and Digital Millennium Copyright Act violations; AFP and Getty will face further claims for contributory infringement and vicarious infringement. With widespread misuse of 13 images alleged damages and legal costs could run into many millions of dollars.
TIME magazine’s new cover story looks at the life of Nobel Prize-winner Aung Sang Suu Kyi since Burma’s military regime released her from house arrest in November. TIME.com has a video interview with photographer Platon, who describes the lengths he and r
The most astonishing thing about opening your first box of Kodachromes was discovering that in fact, your lenses really WERE sharp. Somehow the film was just waiting to etch those images in a way no other film could do. It was just a joy (when you didn’t screw up in the field) to open up and scan quickly through a box just back from the lab.
This guest post is written by Elizabeth Fleming. Last month I had the pleasure of joining friend and fellow photographer Jonathan Blaustein on a tour of the Chelsea gallery scene as he conducted research for an APE article, which can be read in its entire
So with all that in mind I’ll throw out the following question: is it fair to expect any artist to recontextualize his or her work if the original frames of reference have changed due to technological advances and/or societal shifts? Is it fair to take into account an artist’s persona in general and, if there is a model involved, the specificities of the artist/subject relationship?
The most astonishing thing about opening your first box of Kodachromes was discovering that in fact, your lenses really WERE sharp. Somehow the film was just waiting to etch those images in a way no other film could do. It was just a joy (when you didn’t screw up in the field) to open up and scan quickly through a box just back from the lab.
Photogene has long been one of the better photo-editing apps for the iPad, but a new update — version 2.0 — turns it into arguably the best around. First I’ll run through the main features, and then tell you about the new stuff, which includes non-destruc
The town of Parsons, Kan., is — for the moment — the worldwide epicenter of color film photography. That is where Dwayne’s Photo, a small family business, is processing the last rolls of Kodachrome. A. G. Sulzberger is there and has filed this report. Eastman Kodak stopped making the film in 2009 and gave the last roll to Steve McCurry. He shot the last three frames of that roll in Parsons before handing it in to Dwayne’s. They are displayed above.
That celebrated 75-year run from mainstream to niche photography is scheduled to come to an end on Thursday when the last processing machine is shut down here to be sold for scrap.
In our final installment of the Photo Philanthropy series, we thought it only appropriate to go to the experts, PhotoPhilanthropy.org. This organization works to connect photographers with the charities using photography to fulfill their mission.
Last week TIME magazine called Brazilian photographer Mauricio Lima “Wire Photographer of the Year.” This is the first year TIME has singled out a wire photographer for recognition. A former sports photographer, the Sao Paulo-based Lima joined AFP ten yea
Big congratulations go to Joscha Bruckert, a German photographer who was born in a German forest in 1987, got lost in a park for a while and currently lives and studies in a city. In 2008 Joscha started Romka magazine, devoted to his personal favorite photographs
