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Heartbreak and Hope in the Lives of Turkey’s Stray Dogs

Lucky

The squad

Untitled

For a few years, Ekin Kucuk wasn’t able to photograph dogs, especially the homeless ones. If the Istanbul photographer did meet a stray dog while visiting her mother in Gallipoli, chances were that dog would be gone by the time she returned. Some were beaten or shot. Others were killed accidentally. The pictures became a reminder of their senseless deaths— and of mankind’s capacity for cruelty. It was too painful.

The Man Who Photographs Dogs Like People

San Gimignano, Italy

Kolkata, India

London

London street photographer Alan Schaller looks for special dogs the way he looks for special people. It’s the “cheeky” ones, the “lonely” ones, the “shy” ones who stop him in his tracks. There are, of course, some differences. “I find dogs are in general more consistently friendly, unpredictable, and amusing than humans,” the artist admitted.

Photos of the Vending Machines That Illuminate Japan at Night

If one of Eiji Ohashi’s friends spots a vending machine is some obscure, out-of-the-way spot in Japan, they tell him about it. The Hokkaido photographer has been chasing the machines for nine years now, venturing out on the coldest winter nights to see them glittering against their sleepy surroundings. Roadside Lights, now on view at the &co119 gallery in Paris, is the result of his adventures.

This Haitian Photographer Captures Marginalized Communities with Hyper-Realist Portraiture

Kòktèl (2017)

PETWO (2016)

 

Haitian photographer Zarita Zevallos takes a particular interest in identities, communities and their place in the world we live in today.

Through hyper-realist portraiture with a strong focus on colours, contrasts and shapes, the photographer captures her subjects in a way that makes them appear otherworldly, stately and powerful.

In an age where an increasing number of black artists are finally starting to have the spaces, resources and support to create works reflective of their own stories, the New York based photographer makes it a point to use her art to highlight unique individuals and how the community they live in interacts with them.

Originally from Haiti, the influence of her Haitian culture and heritage can be felt in Zarita’s work, especially in her series “PETWO”, in which she gives her visual interpretation of the Haitian voodoo cultures and traditions who, as Westernization increased in the country, have slowly been vilified and demonized.

Love and Agony in the Distressed Polaroids of Gail Thacker

Rafael at Home, 1997

Mark Morrisroe in Bed, 1989

“I am not a photographer,” Gail Thacker insists. “I am a painter who discovered a medium that has a soul with painterly effects.” Her love affair with the camera took off in 1989 when a dear friend, the photographer and performance artist Mark Morrisroe, gifted her with a box of Polaroid 665 Positive/Negative film. It was three years after he had been diagnosed with AIDS, and he was able to see some of Thacker’s early Polaroids before he passed away later that same year. He was thirty years old.

When he’s not physically there, Morrisroe’s shadow lingers in the background of Thacker’s Polaroids. All her friends do. She dedicates her newest book and exhibition, Between the Sun & the Moon, to them.

37 Unexpected Holiday Gifts for Photographers

For photographers, the perfect gift can far outlast the holidays, whether it’s nn extraordinary camera, a thought-provoking yook, or a life-changing experience. In honor of the season, our editors put together this list of 36 inspirational, unforgettable, quirky presents. There’s something here for every photographer: the fine artists, the photojournalists, the portraitists, the foodies, and everyone in between. The majority of them were recently included in our epic giveaway at  The Print Swap exhibition and holiday party at ROOT Studios.

Magnum Photos English Breakfast Tray with Photo by Martin Parr, £42.50 Thanks to the Plinth/Magnum partnership, you can now purchase your very own breakfast tray printed with an image from Martin Parr’s famous 1995 book British Food. Magnum once wrote of the work, “Close-up, ring flashed images of everyday food from all parts of Britain invites the public to take a look at what they eat.” In the case of this tray, that’s taken to a clever and literal extreme.

69 Magnum Photographers Reveal Their Contact Sheets in New Book

Havana. Ministry of Industry.
Ernesto Guevara (Che), Argentinian politician,
Minister of industry (1961-1965) during an exclusive interview in his office.
© Rene Burri/Magnum Photos.

We would like to believe that photographs convey an element of truth, that in the fraction of a second recorded for posterity, we have captured something that lies beyond mere celluloid of digital technology – something we can gaze upon and discover verifiable facts, unearth an ineffable aspect of reality that lies beneath the surface.

Perhaps this is possible, in as much as we wish to believe it so, but when we consider that the single frame lies in a larger body of work can we be absolutely sure that we’re not being guided by the aesthetic power of the form. Are we not sentient beings whose powers and perceptions of sight heavily influenced by the perfection of the art?

It may be the best way to know is to consider the context, in as much as it is available to us: the circumstances of the moment, the players, the photographer themselves. And, if we are to consider the artist, where does this image fall, not only within their oeuvre but more specifically in project from which it is drawn? This is where the contact sheet comes in.

New Book Is a Road Map Through The Life of Photographer Roger Ballen

Mimicry, 2005

Roly Poly, USA, 1972

Stare, 2008

When Roger Ballen graduated from high school in 1968, his parents gave him a Nikon FTn camera. It was flown over from Hong Kong by a friend and lost in customs for several weeks before it finally arrived. The day that Ballen received it, he headed to the outskirts of Sing Sing prison to take photographs, a prescient moment to launch a journey in photography like no other before or since.

His name alone conjures up curious and disturbing visions of an uncanny world, one that recalls the spaces of the dreamscape, theaters of the unconscious. Here reality is a construction, but it is also something else: it is the space where our minds are released from rational sensibilities. To describe the work as unnerving would be polite. It is as though the non-linear spaces of the mind are given full flight.

“A shadow runs through my work,” Ballen observes in the magnificent new book, Ballenesque: A Retrospective (Thames & Hudson). “The shadow spreads, grows deeper as I move on, grow older. The shadow is no longer indistinguishable from the person they call Roger. I track my shadow (life) through these images.”

Submit to The Print Swap for a Chance to Exhibit Work at MOPLA

Gullfoss © Dani Vottero (@danivottero)

The fourth-ever Print Swap exhibition will take place this April as part of the 10th Anniversary edition of the Month of Photography Los Angeles! As always, we’re inviting photographers around the world to submit images via Instagram by using the hashtag #theprintswap. Curator Paul Kopeikin, the director of LA’s renowned Kopeikin Gallery, will select thirty outstanding images from photographers participating in The Print Swap to be part of the show. All images must be submitted between November 29th, 2017, and January 26, 2018, in order to be considered.

The Month of Photography Los Angeles (MOPLA) by the Lucie Foundation has been a premier festival for photographers, curators, editors, and collectors since it was first launched in 2009. In past years, it has hosted work from a diverse array of fine artists and photojournalists, including Sebastiao Salgado, Robert Mapplethorpe, Catherine Opie, Nick Brandt, Lynsey Addario, Larry Sultan, Alex Prager, Martin Schoeller, Graciela Iturbide, Bruce Nauman, and more.

With 25-plus years in the gallery world, Kopeikin is the perfect fit for this exhibition, having exhibited work from everyone from Diane Arbus and Walker Evans to Henry Hornstein and Jill Greenberg. Kopeikin Gallery currently represents influential artists like Cig Harvey, Richard Tuschman, Didier Massard, Hiroshi Watanabe, Gail Albert Halaban, Kevin Cooley, Matthew Swarts, Alejandro Cartagena, Jeffrey Milstein, and Kahn and Selesnick, to name just a few.

There is no theme for the exhibition. In addition to Instagram submissions, we accept submissions sent via email to [email protected] Only new images submitted and selected after November 29th will be eligible for the show, though previous participating photographers are more than welcome to submit again. While The Print Swap is an ongoing project and there is no deadline to submit images, photographers must submit by January 26th, 2017 at 11:59PM EST to be considered for this show.

Every photographer who participates in The Print Swap gives a print and receives a print. Prints are mailed at random all over the globe, so it’s always fun to see who ends up with which print. There is no fee to submit, though selected photographers pay $40 per image to participate. We cover printing and shipping. Learn more at The Print Swap website and on Instagram at @theprintswap.

Portraits Reveal the Many Faces of Bureaucracy

Ram Prabodh Yadav (b. 1970) is sub-inspector (deputy inspector) of police in Maner Block, Patna district, State of Bihar. Monthly salary: 10,000 rupees (131 euro).

Thomas Harris (b. 1949) is chief of police of the city of Rockdale (some 6,000 inhabitants), Milam County, Texas. Monthly salary: $4,250 (3,162 euro).

The word ’bureaucracy’ has a negative connotation. It suggests unnecessary paperwork, inefficiency and unfriendliness. This negative perception is created in time, by people’s repeated experiences, and the degree of resentment towards this system of government differs per country. For his series Bureaucratics, Dutch photographer Jan Banning traveled to eight countries on five continents, and visited hundreds of offices, documenting the culture, symbols and rituals of state civil administrations and its servants.

Civil servants are to an extent the face of the government. Banning’s images are full of details, and the stories describing the civil servant’s task and his salary are illustrative for the relationship between the state, the civil servant’s rank and power.

Banning’s visits were unannounced, and the images reflect what a local citizen would see when coming inside. Each photo is shot from the same height, the height of a standing person. But the photos put these offices in a different perspective than what a visitor actually sees. Most likely, the people that come in are more interested in solving the issue that brought them there, than in paying attention to these places. In a way, these photos make these offices and the people in them truly visible for the first time.

The series Bureaucratics has been published in a book that is available together with Jan Banning’s new book “Red Utopia: Communism 100 years after the Russian Revolution” which was released on the 14th of October.

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