From atmospheric studio shots to grainy selfies, Julie Joubert uses a spectrum of different image formats to paint a multilayered portrait of a young man’s journey to define himself in the face of struggle.

These brilliant handmade photomontages are inspired by figurative classical paintings, and serve as meditations on art and the passage of time. They were among the winners of this year’s Critics’ Choice Awards.

Investigating the remarkable return of a lone wolf to south central France, Julien Coquentin’s “Orielle Coupée” uses cyanotypes, landscapes and portraits to tell its story.

Documenting her journey from Ukraine to The Netherlands with her mother, Hanna Hrabarska’s visual diary grapples with the experience of being forced to leave one’s home in the face of war—and the challenges of arriving in a new country.

By obscuring the faces with embroidery — which would typically be the most important parts of these elementary school class portraits — otherwise overlooked details are brought into focus, such as body language and other embodiments of social convention.

Oleñka Carrasco’s latest photobook and exhibition at the Rencontres d’Arles recounts how grief prompted her search for a lost connection with the house and land in which she grew up — Venezuela.

Doused in bright sunlight, friends and strangers are immortalized in front of Nico Froehlich’s lens, coming together to form “South of the River” — a fond portrait of the area of London where he grew up.

To create these amazing life-size photograms of animals in the wild, photographer Zana Briski waits patiently for an animal to pass by on moonless nights in places where she has installed huge sheets of light-sensitive photographic paper.

For centuries, the yak and the Tibetan people have shared an inseparable bond. Kin Coedel tells the story of a nomadic community who stayed true to their traditions when China’s rapidly growing economy threatened Tibet’s way of life
The post Kin Coedel’s ode to Tibet’s yak-yarn craft artists appeared first on 1854 Photography.

Two years since his dramatic separation from artistic partner Adam Broomberg, Oliver Chanarin reflects on collaboration, consent, and his new book
The post ‘I didn’t know how to be a photographer anymore’: The resurrection of Oliver Chanarin appeared first on 1854 Photography.

Galvanised by the brutal events of the Red Summer of 1919, Ones to Watch winner Trent Harlan Bozeman returns to his native Arkansas to document the consequences of Black history
The post Reshaping legacies in the American South appeared first on 1854 Photography.

Named after a stray dog with whom he bonded during his military service, the Ones to Watch winner showcases work that is ‘poetic and personal’
The post The loneliness of a soldier: Mahmoud Khattab captures the vulnerability and fragility of military life in Egypt appeared first on 1854 Photography.

The Chilean duo spent five years researching their project on an Indigenous community in Cherán and, employing a mix of fact and fiction, relay the untold events of the uprising 12 years ago
The post Confronting the cartel: Ritual Inhabitual depict a community’s fightback against corruption in Mexico appeared first on 1854 Photography.

After a national bank began offering loans for plastic surgery, the Ones to Watch artist looked at how religion, capitalism and internet culture place immense pressure on Middle Eastern women
The post ‘The life you’ve always wanted’: Lara Chahine considers unrealistic beauty standards in Lebanon appeared first on 1854 Photography.

The French photographer employs playfulness and pleasure to imagine a vibrant universe that chimes with her love of movie-making
The post Fantasy and fiction: Inside the hyperreal world of Lou Escobar appeared first on 1854 Photography.

Drawing on her studies at Florence’s Academy of Fine Art – and a family history of image-making – the Ones to Watch winner’s The Season speaks to the region’s isolated, atmospheric landscapes
The post Evocation, not documentary – inside Giulia Vanelli’s allusive shots of Tuscany appeared first on 1854 Photography.

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The post 100 Photos for Press Freedom by Abbas appeared first on Magnum Photos.

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The post A Year in Ukraine appeared first on Magnum Photos.

The post Magnum Digest #185: News and Projects from January 2023 appeared first on Magnum Photos.

The post Lindokuhle Sobekwa named inaugural Kobal Fellow appeared first on Magnum Photos.

The post “The Era of Plenty is Over.” Matt Black on water inequality in the US appeared first on Magnum Photos.

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Full Article on Patreon     I am curious as to what lies between the notion of glancing versus that of observation. Can an observation be reduced to a glance? Can a more prolonged glance become an observation, and what do these questions pose to how we make photographs and how do we view them […]

Full Article on Patreon   So, the dig at post-industrial decay has put a giant bee in my bonnet. But what should I expect about the unspoken class issues that revolve and permeate through and in photography these days? I mean, if you have a New York-London-based photographer stat in your bio and are in […]

Full Article on Patreon   Andreas Gehrke is someone who I have covered previously for his exceptional photobooks. I have nearly every title he has produced, and standouts include Berlin a Brandenburg, among many others. His output is incredible, and he also self-publishes these titles under his imprint Drittel Books. What I find universal in […]

Full Article on Patreon     …In assessing Dark Matter, I am also reasonably confident that this use of newspaper imagery is lodged in the artist’s practice from influences such as Michael Schmidt, whose book Ein–Heit, produced in the 90s, made great use of similar aesthetics of inconvenient German history, which was photographed and hung […]

  Full Article on Patreon     …Further images within images add to the sense of a lived space as Becher family photos from the 20s and 30s adorn mantels and countertops, with a finesse of an image, ala the Bechers, of a water town, sat, out of frame, lithely resting against a presumed wedding […]

Alejandro Acin The Rest is History ICVL Studio and supported by Sala Kursala Programa Cultural   The machinations of history are in constant flexes of exchange. They are impermanent, their concept a flux, or are often a mess of contradictions. We are taught history as if it were permanent, an established and often binary set of […]

  There comes a point in our lives when the incessant cavorting, energy expulsion, and general themes of youth come to a crawling end. Associated with the recognition of these moments are a series of mid-life acknowledgments. First, if one takes up the standard biology-the coupling, work, and family routines, the dissipation of specific energies […]

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. The curator, Sandra KrižićBoban moves the focus from the domestic art scene to the neighboring scene, the Slovenian scene, creating a collaboration with Gallery Fotografija…

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 show individual persons, or several of them set in the same environment. It is clear that each person is aware that he / she is…

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 it finally led her to the later series of Operas and Plays. I am trying to be as commonplace as I can be, she used to…

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 real. The significance of the media-projected reality uncovers itself through strengthening the awareness of necessity to transcend the realistic ideology frame. It is exactly this…

Where does the need to build an identity by reconstructing a family history come from? What is it in the past that is so strong that we could possibly rely on in an attempt to define our own existence?  Are we looking for an explanation? For reasons? Justification?  Or are we simply denying our own…

Davor takes interest in the fringe fields of light. What does he find in them? Fringe frequencies? But there is no such a thing, cause frequencies always move on, metamorphosing from visible to invisible, from light to sound and, further down to the oscillations that make up the universe. The given possibilities of our perceptions…