Photon News

A Ukrainian artist employs an analog process to create an enduring impression of the war in his hometown, exposing viewers to the day-to-day horrors unfolding in his surroundings.

Through images, murals, objects and videos, Rafał Milach’s new exhibition connects propaganda and protest, asking how the region’s political structures might be challenged.

This sprawling, thought-provoking photo festival interrogates the boundary-breaking power of the image as the medium approaches its 200th birthday.

In honor of Pride Month, we are highlighting a handful of features that are rooted in identity, queerness, and self expression.

A conversation with Sam Ferris about atmospheric street photography, urban solitude, and how light transforms ordinary city scenes into extraordinary moments.

Using a hand-held mirror, and his very sharp eyes, photographer Stefan Falke allows us to see street scenes from New York we’ve never seen before.

These street photographs all express a playful sensitivity to visual ideas echoed in momentary scenes.

Camera in hand, Swiss photographer Matthias Forster sets out to find moments of tension, surprise, and humor in the landscapes we often overlook.

Cultural institution Ibraaz in London extends art beyond conventional boundaries with conversation, community and education to highlight stories from marginalised voices
The post Ibraaz shines a light on the Global Majority community appeared first on 1854 Photography.

David Ellingsen uses archival imagery to confront urgent environmental and ecological threats after centuries of exploitation and hunting
The post David Ellingsen – Days of Plenty: An Archive of Abundance appeared first on 1854 Photography.

Deciding to photograph herself every day for a year, Marie Tomanova embarked on a journey that became a revelation
The post Marie Tomanova’s diaristic take on a year appeared first on 1854 Photography.

The 57th edition of the famed French photofestival offers a wide global view from emerging and established voices with a city-wide programme of shows and events
The post Les Rencontres d’Arles takes a broad worldview for its 57th edition appeared first on 1854 Photography.

Park Chan-wook is known for his dark movies, but his first European photography exhibition, on show at Lee Ufan Arles, reveals a different vision and another approach to the world
The post On a Quiet Morning; contemplative stills from star film director Park Chan-wook appeared first on 1854 Photography.

Ximena Borrazás records the horrific injuries sustained by survivors of sexual violence in the war zones of Tigray and Ukraine
The post Ximena Borrazás – The Scars of the War appeared first on 1854 Photography.

Ukrainian artist Sasha Kurmaz wins the 2026 Kraszna-Krausz Photography Book Award with Red Horse, a thought-provoking journey into war and how it’s represented
The post Sasha Kurmaz’s Red Horse wins the 2026 Kraszna-Krausz Photography Book Award appeared first on 1854 Photography.

Harriet Logan and Tristan Lund explain how the Incite Project foregrounds photographers committed to social, environmental and political change
The post Any Answers – Harriet Logan & Tristan Lund appeared first on 1854 Photography.

Published in the print edition of Dodho Magazine #36, Gregor Kallina’s Scar Place explores the hidden cost of Europe’s Green Deal through a powerful documentary project on mining, the Sámi people, and the fragile balance between environmental ambition and cultural survival.

It is undeniable that, now more than ever, our future is filled with uncertainty. Even in this context, as always, there are at least two ways of approaching the present in our society. The first, certainly the loudest and therefore the one that appears to enjoy the broadest consensus, is based on arrogant individualism and the law of the strongest.

For more than three decades, my camera has taken me across oceans and deserts, beneath the surface of the sea, and into some of the world’s most remote landscapes. Whether documenting marine life, exploring fragile ecosystems, or working with cultures shaped by their environments, I have always been drawn to places where nature remains largely untamed.

Making the Moon is a photographic and poetic sequence created between 2020 and 2026 in Somerset, Richmond, and the surrounding edges of the natural world. The work moves through night, weather, water, plants, animals, gardens, fields, and fleeting apparitions, following the places where the visible world begins to loosen and something more interior starts to emerge.

We are living in a time when, in every field, the often difficult and sometimes painful learning process is being rapidly erased through the widespread use of AI. It is evident that AI is now capable of surpassing almost any experiential path, quickly rendering it obsolete thanks to the ease of interaction that allows users to reach a final result in a matter of seconds.

“The Forbidden Family Album” is a direct response to the sanitized history of domestic photography. For decades, everyday photography has been conditioned to purge family albums of sorrow, illness, and death—an act of deliberate omission that continues today through the curated lifestyles presented on social media.

ONE DAY / ONE FRAME began with a simple rule: one day, one image. Each day, I select a single photograph and make a final decision before the day ends. The image cannot be replaced later. Over time, what began as a rule became a way of inhabiting photography itself.

My photo art is based on a unique technique that depicts environments through a combination of many overlaid scenes. I am a scientist investigating the visual system, and my technique for creating art photographs developed as a spin-off from my research into how human and animal brains generate feelings from what the eyes perceive in the environment.

This is the second book from MACK offering a look into the theme of contact sheets presented over the past year. The first was David Armstrong’s book Contacts (I mean, how else should you call these, Sheets?), published last October, which similarly examined a brilliant tranche of Armstrong’s work through the diminutive, if plentiful, images on his […]

A field guide in parts, an attempt at shorthand analysis. Places, not much else needs to be said when so much has already been said. The strong presence of Guido Guidi, as if you were to take his large-format images of Cesena and use a 35mm camera to catch some of his shadow work. A […]

The ideas of usefulness and aesthetic appearance often come into conflict over time in architecture. Decay, cracks, erosion, and palimpsests of change clash and defy our natural sense of wholeness when we look at buildings that have persisted over decades, if not centuries. I am thinking particularly of 19th and early 20th-century buildings, those that […]

Slightly enamored with the idea of architecture in photography, a clear use of terms that suggests photography to be the primary category of assessment over architecture, I have found myself leafing through books devoted to Hélène Binet, Joachim Brohm, Andrea Gehrke, Lucien Hervé, Karl-Hugo Schmölz, and others who have made architecture a central subject matter […]

Everything feels perched at the precipice of dissolution. Stifled, held in a listless and ambulatory state as the world, governed by men in search of machines, asks us to forgo the rampant onslaught of civil rights, of disagreeable concerns concerning the future, for the contrarily stale epiphany of the Great Progress, a pogrom in silhouette. […]

There has been a recent uptick in books devoted to the biographies and writings of photographers, and I am very excited about it. I wanted to share a couple of thoughts on it all. Sultan’s Water Over Thunder, published recently by MACK, includes many personal notes, anecdotes, archival letters, and ephemera from the artist’s oeuvre. It is […]

Throughout the 1990s, there was a distinct emphasis on the body and its decline. Work produced during the 90s, whether from the aids crisis or the ideological shift away from the Catholic church toward an atheistic and bodily autonomy, signaled a visceral approach to photography. The documentary Vile Bodies (1999), produced by Chris Townsend and […]

My first encounter with Ana Opalić’s work was not a direct encounter with her photography. As a child, I heard a story about an old maple tree in front of…

The black-and-white photograph is framed so that most of it is taken up by a high fence made of wooden slats. Our vantage point, just as that of the photographer…

I say: Whatever you do, as artists, be brave. But he says: This is not my world. Together, these catchphrases denote the content we fell into in the midst of…

Often in the evening, when everything is quiet and all the movement around me has died down, I look towards one of my living room walls. It took some time…

Contemporary Slovenian photography, or at least the selected fragment of it was presented to the domestic public in another exhibition of the Croatian Photographic Union, this time held in KlovićeviDvori….

In 1929, German photographer August Sander (1876-1964) published a book with sixty photographs portraying the people of his time. In genre terms, one might call these photographs portraits which either…

She began at this time to describe landscape as if anything she saw was a natural phenomenon, a thing existent in itself, and she found it, this exercise, very interesting and…

Media-logged journey as transcendence of “the imminent conditions of consciousness” and the naïve art-phenomenology of “reality” Đukić versus Altamira and On Kawara Assuming reality is real, its media-trace/manifestation are also…