London Street Photography documents the movement, diversity and seeming incoherence of the most multicultural city in the world. Its defining characteristic is the keen eye of the photographer catching the moment of a chance encounter, a fleeting expression or a momentary juxtaposition in a decisive click. The first ‚instantaneous’ London street scenes were taken in the early 1860s, and the 20th century saw many photographers, famous and lesser-known, continue to capture the daily life of London. London Street Photography showcases the Museum of London’s unique historic collection of photographs. It contains the work of more than seventy photographers and is a fascinating view of London street life of the last 150 years. It includes the work of well-known photographers such as Paul Martin, John Thomson, Humphrey Spender, Bert Hardy, Laszlo Moholy-Nagy, Roger Mayne and Tony Ray-Jones as well as the work of many anonymous photographers whose contribution has been just as important in recording the story of the city.
Publisher: Museum of London/Dewi Lewis
The first edition of Magnum Magnum was the photography book of the decade, a landmark publication that celebrated the vision, imagination and brilliance of the world’s most renowned photographic agency.
With over 400 images selected by Magnum’s photographers, this is at once a permanent record of many of the iconic images from the last 60 years by a legendary creative collective, and an insight, as seen through the critical eyes and minds of Magnum photographers, into what makes a great photograph.
Magnum Magnum harks back to Magnum’s early days, evoking the spirit of what made it such a unique creative environment, where each of the four founding members picture-edited the others’ photographs. Here, a current Magnum photographer selects and critiques six key works of another of the 69 photographers featured, with a commentary explaining the rationale behind their choice.
From undiscovered photographers to emerging artists to seasoned professionals, everyone is welcome to be a part of The Open. It exists to discover – and rediscover – the most inspiring photographers of our generation. It is for any photographer who wants to open the door to worldwide exposure, connections and opportunity.
It’s simple: photographers submit their best images in any of the 5 categories. A global audience clicks the photos they love. The most-loved images continually move to the forefront for increased exposure. Artists are encouraged to ignite their own social networks to fuel their votes. Half of the 200 finalists are chosen by public appreciation, the other half are chosen by a panel of the sharpest eyes in the business to capture the work of those who may not yet have an online following. The final judging panel awards the category winners and Photographer of the Year. The SOLO prize purse is $25,000.
More info here.
Undertake to do a book of photographs of people with nothing more in common than that they are women (and living in America at the end of the twentieth century), all–well, almost all–fully clothed, therefore not the other kind of all-women picture book.
Start with no more than a commanding notion of the sheer interestingness of the subject, especially in view of the unprecedented changes in the consciousness of many women in these last decades, and a resolve to stay open to whim and opportunity.
Sample, explore, revisit, choose, arrange, without claiming to have brought to the page a representative miscellany.
Even so, a large number of pictures of what is, nominally, a single subject will inevitably be felt to be representative in some sense. How much more so with this subject, with this book, an anthology of destinies and disabilities and new possibilities; a book that invites the sympathetic responses we bring to the depiction of a minority (for that is what women are, by every criterion except the numerical), featuring many portraits of those who are a credit to their sex. Such a book has to feel instructive, even if it tells us what we think we already know about the overcoming of perennial impediments and prejudices and cultural handicaps, the conquest of new zones of achievement. Of course, such a book would be misleading if it did not touch on the bad news as well: the continuing authority of demeaning stereotypes, the continuing violence (domestic assault is the leading cause of injuries to American women). Any large-scale picturing of women belongs to the ongoing story of how women are presented, and how they are invited to think of themselves. A book of photographs of women must, whether it intends to or not, raise the question of women –there is no equivalent „question of men.” Men, unlike women, are not a work in progress.
New Year’s Eve, St. Jacques, Perpignan, 2006
by Jesco Denzel
“This picture of a five year-old gypsy boy was taken on New Year’s Eve 2006 in the gypsy community of St. Jacques, Perpignan, Southern France. For Christmas and New Year’s Eve, the men would gather in the Café in their best suits to drink and dance while their wives would prepare dinner at home. It is quite common in St. Jacques for little boys to smoke. Gypsy children are taught astonishingly early to be men or women rather than boys or girls – and men smoke, women don’t. St. Jacques, the old medieval neighbourhood right in Perpignan’s city centre, holds one the biggest sedentary gypsy communities in Western Europe – thousands of photojournalists zig-zag through it every summer for the Visa Pour l’Image festival. Contrary to what I first expected, there were not many photo stories about St. Jacques, so I started working there in 2004. It took me a little while to get some people to trust me, and to figure out – a little bit, anyway – how things work in St. Jacques. It went much easier when I came to visit St. Jacques for the second and third time, bringing back piles of photographs, so people could see what I had been doing, and they started to invite me into their homes.”
(from Verve Photo)
Historical „Kirkpinar Oil Wrestling” is the oldest wrestling festival in the world which has been continuing since the first contests in 1357 in Rumelia.
„Kirkpinar Oil Wresting”, which has been bounded with a tradition of almost 650 years, hosts persevering contests for a week, with the active participation of media, folk-dance groups, millions of spectators, artists and statesmen both from Turkey and all over the world, and with a varying array of activities every year.
The enthusiasm, which is brought to life by headwrestling and other forms of wrestling contests, as well as the performances of the „Janissary Band” and local and foreign folk-dance groups throughout the contests, turns „Kirkpinar Oil Wresting” into a traditional festival.