Posts tagged: documentary photography

Magnum Photographers Reveal Their Most Intimate Photographs


“I took the picture in the fall of 1983, at sunset at the old docks in New Jersey with a view towards the World Trade towers in New York City. I had heard that there was a traditional Lovers’ Lane, a meeting place of young people in their cars, bringing booze and sometimes drugs. The sun was setting and the towers across the river were glowing before it became too dark to take more pictures.” — Thomas Hoepker


“When I photograph a place, I return and return again; I drive the same roads, walk the same trails, eat the same food, sleep in the same rooms. Over time, everything becomes intimate and familiar: the smell of the air, the color of the dirt, the cut of a certain shadow, even the lines in someone’s hand. I absorb it. Sometimes I can close my eyes, and I can still see it.” — Matt Black

Intimacy plays a strange and precarious role in photography; seeing another person, place, or happening through a lens can either necessitate distance or an almost unbearable closeness. When it comes to the relationship between a photographer and his or her subject, the space between is unfixed and murky; the lines that separate the objective from the personal are crossed and recrossed with hopes of touching down on an image that feels both near at hand and wonderfully irretrievable. For their latest print sale, the legendary photographers at Magnum scoured their extensive archives to rediscover the pictures that best capture the theme of “intimacy.”

‘Faces of Gun Violence’ Shows the Humanity Behind the Headlines

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While Dre hasn’t yet regained his ability to talk, walk, or feed himself more than 6 or 7 forkfuls, he’s doing a lot better since – as his mother says – “they put his skull back on.”

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Mone and Katroya’s older brother Troy was shot during a robbery. He was hit once and killed.

“Most of these people, in one way or another, have been screwed [and] re-victimized by the media,” says Brooklyn-based photographer Joe Quint of the survivors he’s met over the course of It Takes Us, a project devoted to bearing witness to the individual lives and families torn asunder by public shootings, suicides, household accidents, and domestic violence. With Faces of Gun Violence, Quint cuts through the continuous din of headlines and sensationalism to reveal the often unseen realities of daily life in the wake of shooting-inflicted traumas.

Talking Tamron Lenses and World Travel with Washington State Filmmaker Charley Voorhis (Sponsored)


When you think of a successful commercial filmmaker, it’s unlikely the first image that springs to mind is that of a camera hovering directly above an exposed beating heart. Charley Voorhis, Owner and Director of Vortex Productions, however, isn’t your run-of-the-mill filmmaker; he’s one that cuts straight to the core of a place and its people, even when that means having his nose inches from the operating table during cardiac surgery at a Vietnam hospital. In a world inundated with imagery, Voorhis doesn’t go for the superficial but instead goes the extra mile to truly connect and tell human stories.

Powerful Portraits of Life (and Death) in Hospice Care


Horst Kloeters, 25 August


Horst Kloeters, 30 August

Ulrike H. lived her final months in Room 23 at St. Frances Hospice near Dusseldorf, Germany, watching as people came in and out of the facility, as they died. A longterm resident of the hospice, Mrs. H had been a dance instructor before she was hit with what she called the “bad luck” of ALS (amyotrophic lateral sclerosis), a disease that results in the atrophy and inability to control muscle movement. Over the course of a year, German photographer Daniel Schumann got to know the woman, captured her portrait as the illness progressed. The photographer’s book, Purple Brown Grey White Black – Life in Death documents the lives of nine residents at St. Frances, including Mrs. H; its title, says Schumann, comes from the colors of the sweaters she wore on each consecutive visit. 

Extraordinary New Book Unveils the Untold Stories of the World’s Greatest Photojournalists


Arlington, Virginia, 25 novembre 1963. © Elliot Erwitt / Magnum Photos


Afghanistan, 1992.© Abbas / Magnum Photos

The duty of a photojournalist, according to many, is to remain detached in a moment of crisis, to compartmentalize scenes of violence and war from the goings on of everyday life. As suggested by Italian journalist Mario Calabresi in his extraordinary book Eyes Wide Open, however, the best storytellers are those who allow themselves to be submerged within often painful events, to forgo absolute objectivity in favor of something rarer: a precarious marriage of impartiality and intimate involvement. In interviews with ten photographers who have not only documented but in many ways shaped the course of history—Steve McCurry, Josef Koudelka, Don McCullin, Elliott Erwitt, Paul Fusco, Alex Webb, Gabriele Basilico, Abbas, Paolo Pellegrin, and Sebastiao Salgado— Calabresi peels back the layers that lie behind iconic images to reveal the nuances of each frame and the living, breathing people who stood behind the lens.

Cinematic Images Capture the Unravelling of Intimate Relationships

The Chase

The Chase

Candy Darling

Candy Darling

As he photographed his lover and close friend in the winterized bare-bones of a luxurious summer home, Cesar Chavez Lechowick created a body of work that is both lyrical and conceptually complex, both natural and theatrical. Shot over the course of numerous trips, Anthony and Cleopatra depicts the unraveling of the threesome’s collective and individual relationships. Though the nature and state of these relationships is not always explicit, layers of allusions to pop culture, classical art, and mid-20th century cinema express the subtle tensions that develop within the group.

Nan Goldin Revisits ‘The Ballad of Sexual Dependency’ 30 Years Later


Nan Goldin, Nan and Brian in bed, New York City 1983, from The Ballad of Sexual Dependency (Aperture 2012)


Nan Goldin, Cookie and Vittorio’s wedding, New York City 1986, from The Ballad of Sexual Dependency (Aperture 2012)

When Aperture published Nan Goldin’s The Ballad of Sexual Dependency three decades ago, the artist was met with brutal criticism; she was told, mostly by men, that her slideshow of images was not photography. The young photographer, then in her early thirties, didn’t pay them any heed; documenting her life and her surrogate family of friends, neighbors, and lovers was as essential to her wellbeing and survival as food, shelter, or any other basic and fundamental need. In conversation with Museum of Contemporary Art, Los Angeles, she admits that quite frankly, she “didn’t care about good photography.” Maybe that fact is paradoxically what makes her photographs so painfully good, even thirty years later.

Scot Sothern and Muir Vidler Come Together to Explore What Lies Beyond the Cultural Mainstream


Watchful Eyes, 2012 © Scot Sothern


Purim, London 1, 2014 © Muir Vidler


Martha, 2012 © Scot Sothern

Starting October 23rd, the Mindy Solomon Gallery in Miami will unveil a new exhibition entitled The Way We See It, with photography by Scot Sothern and Muir Vidler. Both artists hone in on subjects that are unique, often living lives that exist outside the cultural mainstream and seeking neighborhoods and communities where individuality can be embraced.

Photojournalism Community Rallies Behind Photographer Jared Moossy, Critically Injured By a Drunk Driver


© Lynsey Addario – Print $1500


© Peter Van Agtmael – Print $100


© Chiara Goia – Print $100

When asked in 2013 about how he dealt with the emotional toll of shooting in a Rio torn asunder by drugs and violence, photojournalist Jared Moossy repeated the mantra, “I can do this. I’ve been in scary situations. I can keep pushing through.” Whether he’s shooting in the conflict zones of Libya or capturing the human toll of war in Afghanistan, Moossy has lived by those words, putting his own life on the line in order to tell stories that would otherwise go untold, to shed light on the most urgent tragedies of our time in hopes of building a better, more humane world. Now he needs our help.

‘Cats of the Urban Wild’ Video Sheds Light on the Plight of NYC’s Feral Cats


The feral cats of New York City stalk the streets at twilight in search of food, scurrying for shelter whenever a threat passes by in the shadows. Unlike domesticated cats or strays, the wild cats have an instinctual and learned understanding of how to survive the brutal metropolitan elements; today, their population has reached into the hundreds of thousands, and we as human beings who have bred and then neglected our fellow city-dwellers, are responsible for every one of them.