Tag: Nina Berman
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Photojournalism Now: Friday Round Up – 7 February, 2020 – Photojournalism Now
Photojournalism Now: Friday Round Up – 7 February, 2020 This week on Photojournalism Now: Friday Round Up – the 10th annual Women’s show at Magnet Galleries, Melbourne, plus a review of Dr. Lauren Walsh’s exceptional book, Conversation… via Photojournalism Now: https://photojournalismnow43738385.wordpress.com/2020/02/07/photojournalism-now-friday-round-up-7-february-2020/ For those of us who work in journalism the myth of the cavalier photojournalist…
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A Photo Editor – Nina Berman Interview
Nina Berman Interview Jonathan Blaustein interviews Nina Berman for us: JB: I was in New York in June, and I had a meeting at the Whitney with a curator and I had about 15 minutes to kill, so they let me go upstairs to … via A Photo Editor: https://aphotoeditor.com/2011/03/07/nina-berman-interview/ Has it made the world…
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Capturing a City’s Emotion in the Days After 9/11 – The New York Times
Capturing a City’s Emotion in the Days After 9/11 In the aftermath of the attacks on the World Trade Center on Sept. 11, 2001, Nina Berman documented the feelings — including loneliness, danger, love and sensitivity — of New York City. via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2016/09/07/capturing-a-citys-emotion-in-the-days-after-911/ Nina Berman photographed the aftermath of the attacks on the…
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Photographers edit photographers: Tanya Habjouqa’s provocative and mysterious images – The Washington Post
Perspective | Photographers edit photographers: Tanya Habjouqa’s provocative and mysterious images NOOR photographer Nina Berman edits the work of her colleague Tanya Habjouqa. via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2017/08/11/photographers-edit-photographers-tanya-habjouqas-provocative-and-mysterious-images/ This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Nina Berman edits the work of her colleague, Jordanian photographer Tanya…
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Nina Berman: An Autobiography of Miss Wish | LENSCRATCH
Nina Berman: An Autobiography of Miss Wish Every once in awhile, a book lands on my desk unexpectedly, so I approach it with no preconceived notions. When I opened Nina Berman’s An Autobiography of Miss Wish, published by Kehrer, it was like a burst of energy, a fireball of amazing story telling, via LENSCRATCH: http://lenscratch.com/2018/01/nina-berman/…
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Photographers edit photographers: Nina Berman’s ‘frighteningly intelligent’ imagery – The Washington Post
Perspective | Photographers edit photographers: Nina Berman’s ‘frighteningly intelligent’ imagery NOOR photographer Tanya Habjouqa edits the work of her colleague Nina Berman. via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2017/09/18/photographers-edit-photographers-nina-bermans-frighteningly-intelligent-imagery/ This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Tanya Habjouqa edits the work of her colleague, Nina Berman.
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Photographer Nina Berman on the Nightmare of Going Viral and a Call from Donald Trump – Feature Shoot
Photographer Nina Berman on the Nightmare of Going Viral and a Call from Donald Trump – Feature Shoot On December 10th, 2015, Feature Shoot hosted the third edition of The BlowUp, a quarterly event in which we ask a selected group of photographers to each tell the stories behind one of their favorite images. This…
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Nina Berman Wins 2016 Aftermath Grant For Project on War’s Toxic Legacy
Nina Berman Wins 2016 Aftermath Grant For Project on War’s Toxic Legacy | PDNPulse Nina Berman has won the 2016 Aftermath Project Grant for “Acknowledgment of Danger,” a look at the “toxic legacy of war on the American landscape.” Berman, a documentary photographer, has published two books: Purple Hearts—Back from Iraq (2004), on wounde via…
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Showcase: The War’s Long Shadows
JAMES ESTRIN – Lens Blog – NYTimes.com: Nina Berman is not an objective photojournalist. And she doesn’t want to be. “I don’t believe in the notion of the objective photographer, that somehow a photo is balanced and you’re dispassionate,” she said. “I don’t think that would have value. That’s like a security camera.”