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Posts by: Elizabeth Sulis Gear

Photographers Turn Their Lens to the Refugee Crisis in Belgrade

Close to 75,000 refugees are still living in a state of limbo between the Balkans and Greece, unable to enter the EU due to reinforced border control. Their living conditions are often deplorable, their prospects bleak. “Around 1000 on these refugees are sleeping rough in abandoned warehouses, train wagons and shacks in the central station of Belgrade, the capital of Serbia” reveal Danish photographers Ulrik Hasemann and Mathias Svold, discussing the focus of their project The Lost Boys of Belgrade.

A Fascinating Portrait of the Working-Class in Northern England in the 1970s and 1980s


Father and Son Watching a Parade, West End, Newcastle; Chris Killip (British, born 1946); Newcastle, England; negative 1980; print 1986; Gelatin silver print

Helen and Her Hula-hoop, Seacoal Camp, Lynemouth, Northumberland; Chris Killip (British, born 1946); Lynemouth, Northumberland, United Kingdom; negative 1984; print 1985; Gelatin silver print

North England as presented by Manx photographer and Harvard professor Chris Killip is bleak not only for the lack of colour, but for the immediacy at which it hits the viewer that the subjects reside in a world where there are no prospects. Work, for those who work hard, is often intrinsically entangled with one’s identity. When an industry ceases to exist, for its former workers it’s literally like being lost in the fog that so often hangs like a weight behind the protagonists of Chris’ photographs.

Photographer captures loneliness in the crowds of Japanese megacities

In the latter half of the 20th century Japan underwent a period of economic growth that was unprecedented—by the 1960s’ the country’s economy was second only to that of the United States. But this rapid growth came at a price, and in Japanese there’s even a word for the consequences of the so-called Japanese economic miracle. Karoshi can be translated literally as ‘overwork death’; sudden mortality caused by overworking. The term has parallels in other countries such as China and South Korea, cultures which also emphasised material prosperity above all else.

Composite portraits born from a sense of loss

There is something unsettling about Portland, Maine based artist Craig Becker’s Scratch. The portraits recall decay, a return of flesh to the earth—there is something primordial about them. They demand the viewer to look away, then look again. Through looking at this series, the artist intends us to explore the darker recesses of our subconscious, collectively and individually.

A suicide prevention app made by and for Aboriginal people

Three Aboriginal people take their lives every week in Australia. According to the Australian Youth Development Index  (YDI), the suicide rate for young indigenous men is the highest in the world—a frightening statistic that indigenous people want to confront.

“One might point to alcohol, poverty and illness as influencing factors” says photographer and cultural historian Judith Crispin, who has worked extensively with the Warlpiri people, “but I share the prevailing view of indigenous elders that the primary reason for suicides in our Aboriginal population is that people have been cut off from their culture. Without culture, the connection to country is difficult to find—and without connection to a country a person becomes lost”.

Norman Reedus on his foray into photography

Unknown Soldier

First apartment – Mingus Room

Most will know Norman Reedus for his role as Daryl Dixon on AMC’s the Walking Dead, but when Reedus isn’t shooting walkers, he’s shooting something completely different—armed not with a crossbow, but with a camera. Reedus has been taking photographs throughout his acting career.

Reflections from NOOR Photographers on the Future of Photojournalism

© Nikon France, Robin Hammond during Nikon-NOOR Academy Workshop in Paris

It is often said that today photojournalism as an industry is in a state of crisis; photojournalists are overworked, underpaid and major media companies are hiring fewer staff photographers. Those we spoke to from the Nikon-NOOR Academy based in Amsterdam during the World Press Photo Festival 2017 aren’t so sure.

Behold these bold minimalist interiors made of paper and light

While street and architecture photographers are reducing their urban environments to their bare elements and seeking line, light and shadow, London-based still-life photographer Stephen Lenthall and paper artist Owen Gildersleeve have combined efforts to recreate this aesthetic in the comfort of their own studios. Shadow spaces was conceived as “an exploration of the play of light in simple architectural spaces” writes the photographer.

Brutality in the illegal clinics that claim to ‘cure’ homosexuality in Ecuador

“Four years ago a friend told me about these clinics that try to convert gay people and transexuals, and at that time I hadn’t come out to my parents” says Ecuadorian photographer Paola Paredes discussing her latest series Until You Change, “This is not just happening in Ecuador, it’s a global issue. It happens in Mexico, Colombia, even in Europe and the US. Naturally I imagined that this could happen to me too”.

A sneak peek at the World Press Photo YearBook 2017

Sarah Barrs lies over her horse’s back, in October 2013. From the series Table Rock Nebraska © Markus Jokela, Helsingin Sanomat

People carry an American and a Mohawk Warrior Society flag at a protest camp against the Dakota Access Pipeline, in Cannon Ball, North Dakota, USA. From the series Standing Rock © Amber Bracken

The World Press Photo Foundation has been running its annual photo contest since 1955, and in this time has become internationally renowned for the quality of its winning entrants.

As is so often the case with World Press Photo Awards, this year’s competition was not without its controversies.

There’s little doubt that the photograph of the year picturing the assassin standing over the Russian ambassador to Turkey, taken by Burhan Özbilici, is impactful—chairman Stuart Franklin however openly divulged his opposition to the photograph for its role in publicising a murder scene.

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