Photon News

Through a combination of images, murals, objects and videos, a new exhibition by Rafał Milach bridges the relationship between propaganda and protest to question how the existing political structures of his region can 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.

Through layered composites of landscapes, negatives, and organic forms, Stephanie O’Connor creates chimeric images that blur boundaries between self and other — capturing the uncanny sensations of pregnancy, where cellular exchange creates lasting biological connections.

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.

Colorado is most often associated with the Rocky Mountains—the dramatic skyline of fourteen-thousand-foot peaks that draws millions of visitors each year. Travelers arrive in Denver, explore the Front Range, and continue west toward the mountains. The state’s identity is inseparable from these iconic landscapes.

Rooted in Wassily Kandinsky’s fundamental theory that many of our discoveries are composed of a knowledge of light, and informed by Futurist, Constructivist, and Rayonist principles, each photograph in this project is created entirely by shaping static beams or scaffolds of light through the controlled movement of a handheld Nikon Z5 digital camera.

We live in a world filled with constant explosions of strong opinions, biases, fears, and energy. In this chaos, nothing feels entirely safe. We are tightly packed together, surrounded by unpredictable eruptions in every direction.

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…