Continuing from my previous post where I was telling you about my afternoon at La MEP in Paris… In fact when I went to la MEP my main objective was to visit Jane Evelyn Atwood show and I initially though that it was all I would be talking about on...
The Festival Encontros da Imagem intends to confront and reflect upon current photography propositions: from document content, essential to the record and understanding of present time, to the ones which explore and creatively incorporate new image technologies .along with the exhibitions EI strive to represent a platform for the promotion of lesser known authors through a critical review of portfolios - Emergentes DST.
History sometimes can be perceived as too big to be confined within the space of a photograph, as Lithuanian artist Indre Serpytyte shows with her work on the memories fron the Cold War in her native region.
Pieter Hugo’s new series, Permanent Error, depicts Agbogbloshie, a massive dump site for technological waste on the outskirts of Ghana’s capital city, and the locals who burn down the components to extract bits of copper, brass, aluminum and zinc...
The New Yorker Magazine began to publish photographs in 1992, under the editorial direction of Tina Brown. At that time, the only photographer the magazine employed was Richard Avedon. The first Avedon photograph that the magazine ran was his iconic 1963 portrait of Malcolm X.
Fred Ritchin is professor of Photography at New York University’s Tisch School of the Arts, author of After Photography, former editor of the New York Times magazine and founder of the photojournalism program at ICP
Michael Mack has published some of the most beautiful photobooks of the past two decades. But, as he tells Diane Smyth, he’s become disillusioned with how the frenzied collectors’ market has skewed the business – which is why his new venture takes the photobook into the realm of apps.
Though the first railway station opened more than 180 years ago, train stations remain places of great romance: whether it’s the romance of going somewhere, leaving somewhere, parting with someone, or coming home again.
Nowadays, both professionals and the general public can know via Internet the work of any author without necessarily getting it through an agency, a curator or an editor; and without any barrier preventing them from knowing his production. We can access an image regardless of its provenance and the way in which it has been created. While this can be very positive, it can also result in hasty and uncritical reviews in which everything goes and where specific coordinates that the viewer can use or ignore are missing.
When did you first know that you wanted to be a photographer, and did you always want to be a photojournalist? I wasn’t formally trained in photography, I studied Graphic Design and worked as a print and web designer in Toronto.
Photographing Buildings no.2Jon Beacham10 color C Prints made from 16mm film negatives, laid into letterpress printed wrappersEdition Size: 12Photos printed in the darkroom, wrappers printed from hand set type"Photographing Buildings no.2 is a...
They left their lives in the very wounds they had created for themselves. - Virgil (Roman poet, 70BC – 19BC)
To jeopardize existence for existence itself: ‘Bees’ records a marginalized group of people in China, who, faced with chaos, violence, alienation and irredeemable loss in life, feel propelled to leave physical traces and markings on their bodies, in order to preserve and corroborate a pure and sensitive mind from within.
Title of Publication: Elementary Geometry Name of Artist: Lola Halifa-LeGrand Design: Lola Halifa-LeGrand Publication date: 2010 Place of publication: London, UK Format: Softcover Type of printing: Risograph Name of printer: Ditto Press Artist Website:...
The Fall season for photography books is going to be sumptuous. Big or small, all publishing houses will publish books of images. More than 200 titles will be going onto the market. Instead of showcasing them all throughout the week on La Lettre, we have decided to regroup them for one day.
Documentary photographers have long struggled to get their longterm projects into print. So it's little surprise to see them embrace the iPad, with its immersive viewing environment and an entirely new cost model that lets them bypass traditional media altogether. Olivier Laurent talks to four early adopters about their experiences.
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