Many photography projects address human-caused devastation in a way that doesn’t quite evoke the horror nor the reality of the situation. It seems as if many photographers approach the topic with the same sense of awe for the natural world that is inheren
Then there is photographer Bil Zelman and his raw interpretation of the planet in his most recent book Here We Are, Stories from the Sixth Extinction, published by Daylight Books. Zelman’s black and white photographs lit by strobes at night in the muck of everglade swamps, western El Niño storms, and the desolation of barren trees from California wildfires harkens the viewer to see, process, and then respond. We are in the beginnings of the sixth extinction, and it is dire.
The Wellcome Photography Prize 2021 is free to enter and open for submissions. They’re looking for the human stories behind three urgent health challenges: mental health problems, infectious diseases, and…
“When I hear people talk about climate change, I often hear them ask, ‘When is it going to happen?’” the California-based documentary photographer Mette Lampcov tells us. “Well, it’s here. We are living it. And we’d better start looking it straight in the eyes.”
Founder of Native Agency, Laura Beltrán Villamizar, takes a look at a celebration of Latin American photography at PHmuseum, which offers a chance to discover an eclectic assortment of artists disrupting clichés of the region
The German photographer Hans-Jürgen Burkard spent several months traveling to the four corners of his native country. His book, An Tagen wie Diesen [Days Like These], is a journey through photography and music, a snapshot of a carefree Germany full of humanity, in equal part youth and tradition.
Veteran photojournalist Kenneth Jarecke announced the creation of The Curious Society, a membership-based, quarterly print publication for contemporary photojournalism.
A few weeks ago, veteran photojournalist Kenneth Jarecke announced the creation of The Curious Society, a membership-based, quarterly print publication for contemporary photojournalism. While some might reflexively balk at starting a printed magazine in the digital age, Jarecke believes there is a market for people who want a tactile experience, and one that forces them to more slowly appreciate photography – and if he’s right, he’ll also be paying photographers a meaningful licensing fee in return.
Her unerring eye for visuals made her a fixture in New York’s magazine world, where she promoted scores of famous and unsung photographers.
“She was a photographer’s dream editor,” said Susan Meiselas, a photographer who worked under Ms. George in the early 1990s when Ms. George ran the New York offices of the photo agency Magnum. “She saw what they saw and gave them support, not just financial but emotional.”
Prompted partly by the health crisis, the Carmignac Photojournalism Award has transformed this year into a collaborative project that explores the notion of representation in the Democratic Republic of Congo and spotlights local journalism.
January 6, 2021, an infamous day in U.S. History when citizens overran the Capitol was also a day when photojournalists delivered incredible work under heavy duress. In this episode of Vision Slightly Blurred, Sarah and Allen review some of the exemplary
The discovery of an abandoned archive reveals an extraordinary document of everyday life in Georgia under Soviet rule, prompting photographer Guram Tsibakhashvili to seek out the mysterious identity of its creator
In January 2020, when the world was blissfully unaware of the devastating global transformation that would impact every corner of our lives, a group of photographers met for a year-long masterclass under the tutelage of Aline Smithson. Here, each would de
Rioters spat at reporters and hurled slurs. They chased journalists down and destroyed their gear. Some physically assaulted media workers.
When Trump took the stage Wednesday at his “Save America” rally, he started his speech with a rant against the media, calling it “the biggest problem we have as far as I’m concerned — single biggest problem” and falsely claiming “fake news” had stolen the election. Hours later, some of his supporters had taken his message to heart and went after the media members who they saw as responsible for Trump’s loss in the 2020 election.
Congress was on break when Tom Williams, a photographer for CQ Roll Call, stepped out of the House chamber to file some shots of the vote to certify the election. Then he noticed something out a window facing east: a skirmish between dozens of cops and
The crowd seemed ready for a photo opportunity; democracy was under siege by a spectacle of costumes, body paint, and an unknown number of weapons. Some of the insurrectionists wore maga hats or camo-gear; they brandished flags for Trump and for the Confederacy; few wore masks. Williams headed out to find a good vantage point and saw people with bleary eyes—the rioters and the police had exchanged pepper spray, he later learned—and bloodstained faces. He captured some images of rioters shoving their way through a wall of police. Soon, an officer escorted Williams and a few other photographers to the third-floor gallery of the House chamber, then told them to lie low. He clenched his equipment. “I was trying to quickly and surreptitiously take pictures the whole time,” he said. “We were like, Holy shit.” A throng had entered the Capitol.