unknown, Carleton E. Watkins, with cane, during aftermath of earthquake, San Francisco, 1906 This is an incredible photo - out of focus, but it captures Watkins’ gait and the sense of urgency of the moment, like no formal portrait could.
The authenticity of government-released photographs from North Korea has been questioned for years but not until this week, during the funeral of Kim Jong Il, was the issue as widely discussed and analyzed.
In the spring of 1980, I began to photograph the New York subway system. Before beginning this project, I was devoting most of my time to commissioned assignments and to writing and producing a feature film based on Isaac Bashevis Singer’s novel, Enemies, A Love Story. When the final option expired on the film, I felt the need to return to my still photography—to my roots.
Bill Burke spent much of the 1980s and '90s traveling through some fairly dodgy parts of Southeast Asia, processing his Polaroids in a bucket. It’s no surprise that his photos display what we might modestly call technical flaws. The surprise is how powerfully their imperfections help capture a sense of time and place.
Noah Doely was raised in Iowa and earned his BFA in sculpture from the University of Northern Iowa. He works with sculpture, installation, and antiquated photographic processes. Noah crafts elaborate narrative scenes and frames them with the use of historic photographic processes and antique equipment.
Friends and colleagues eachcontributed their unique perspective towards The Best Photography Books of 2011+ + +ELISABETH BIONDICurator and Visuals Editor at The New Yorker Magazine for 15 years"Two books, both probably because I have been loving...
Kensington Avenue is a hot spot for drugs and prostitution located in North Philadelphia. Populated by cheap bars, pawnshops, and check cashing businesses, the Avenue is also the major business corridor in the neighborhood.
What is there still left to say about consumerism? We all seem to agree that it is bad, that reckless consumption is the direct cause of many of our current problems, but we're still very much engaged in it.
The only thing to match the monotony of the march of time is the certainty of change. The second law of thermodynamics and all. We like to think we stay the same, remain true to ourselves, but it’s just an illusion, no more real than a flogborgibbit. Change is the normal state of things, far more natural than a charge of flip-flopping, but the very epithet tells you all you need to know about most people’s view of the inevitable.
If you want to do photography at a level that really satisfies your soul and your ego you'll need to do it alone. Forget having the spouse or girlfriend or best friend or camera buddy tagging along. Forget the whole sorry concept of the "photo walk" which does nothing but engender homogenization and "group think." Leave all electronics in your hotel room. Cut off all communications, during the day, from or to the "real world" and immerse yourself in the hunt for images.
London photographer, Boo Riston, works in a way that combines sculpture, painting, photography, and well, bodies. Trained and educated as a sculptor, Boo considers herself an artist who uses photography to attain her desired result. After feeling confined by just making sculpture, she began painting her work and herself as a way to incorporate a different medium.
‘Just what is Friedlander’s work about? To what does it refer, either concretely, metaphorically, formally, allegorically, or representatively? In what sense are his photographs documents – either of the world or of his true perceptions? Is he confronting us directly with our perception of reality – or merely an abstract, ultimately barren non-reality? Is his work an allegory for his view of civilisation and humanity – or is it only about the medium in its narrowest sense? Is it a series of facile formal manoeuvres? Or even a kind of existential jerking off?’
A few of my choices forThe Best Photography Books of 2011+ + +The Unseen Eye: Photographs from the Unconscious. Aperture, 2011The Unseen Eye: Photographs from the W.M. Hunt CollectionGeorge Eastman House, Rochester, New Yorkthrough Feb.
“Photographs of the year” photographs mainline emotion, documenting the most awful, dramatic events of the year. Sorting these examples of human conflict and suffering into a list with a SEO’d headline (“top” “best” “most”) doesn’t add any context or understanding. I’m going to take the opposite approach: start with the most insignificant photograph as “photograph of the year” and see where the tush takes us.
Bruce Gilden first traveled to Haiti in 1984 and made 19 trips over the course of 10 years, culminating in his book titled, quite simply, “Haiti”. In February and March 2010, he went back to Port-au-Prince to witness firsthand what had happened in the wake of the earthquake. What he found was a city destroyed and people who are poor of everything but grace, pride and a distinctive soul.
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