VICE Loves Magnum: Chris Steele-Perkins Can’t Let Go of England
Chris Steele-Perkins studied psychology before turning to photography. His early work focused on social ills in British cities, at the time working with the EXIT collective. His time with EXIT culminated in a book by the group called Survival Programmes. In 1979, he released his first solo book, Teds, examining the British Teddy Boy subculture of the 50s, 60s, and 70s. After that, Steele-Perkins started to travel more widely, photographing Africa, Afghanistan, and later Japan. A Magnum member since 1979, we talked to him about all that and his obsession with England.
VICE: Your background seems pretty varied, having studied things like chemistry and psychology. Has that informed your work at all?
Chris Steele-Perkins: I’m not sure about that. I was obviously searching for something that I wanted to do, so I started off with chemistry and I soon figured out that wasn’t where I wanted to be. Psychology was interesting and fun, but again didn’t feel right. It was during that time that I got to working for the student newspaper as a photographer and that kind of got me going. When I finished my degree, I realized that was the route I wanted to follow.
Going back to the psychology bit, it feels like you have a strong connection to the personal aspect of photography. Clearly you’re shooting a lot of people, but you seem to really get to the soul of a lot of personal issues. Do you think studying psychology made you more easily connect with people and their plights?
I think that’s more to do with common sense, honestly. I could argue that the best connection psychology offered was the fact that it wasn’t nuclear physics. It was a relatively easy course, I must say, which gave me a lot of time to develop my photography. I think my interest indeed is, without meaning to sound pretentious, the human condition. How people live around the world and in the world. I was also hugely influenced by the great humanist photographers; Kertész, Cartier-Bresson, Eugene Smith, people like that. They were a powerful influence early on, when you’re most influenced.
“For centuries, Cuba’s greatest resource has been its people,” writes Pico Iyer in an extended essay on the Caribbean nation in this week’s magazine. In the twilight of the Castro era, Cubans are finding that change brings both hope and anxiety.
To pair with Iyer’s tome, TIME called upon Danish photographer Joakim Eskildsen. Eskildsen, who previously photographed a large portfolio for TIME on the state of poverty in America, traveled to Cuba for ten days, photographing urban housing projects in Havana and rural settlements across the countryside. With the help of local journalist Abel Gonzalez Alayon, Eskildsen photographed tobacco plantations, roadside fruit vendors, migrant workers and beachfront resorts — capturing all in the vibrant saturation of medium-format color film.
“I immediately fell in awe with the complexity of this country,” says Eskildsen. “The more you learn about the situation and how people are living, the more difficult it becomes to understand. It was like learning to view the world form a Cuban angle that kept surprising and inspiring me.”
Abel Gonzalez Alayon is a journalist based in Cuba. Follow him on Twitter @abelcuba.
For the last two years, Spanish photographer José Antonio de Lamadrid has quietly documented the daily lives of the Morillo Aguilar triplets; three 18-year-old boys at various stages on the autism spectrum. The Morillo Aguilar boys, Álvaro, Jaime and Alejandro, will likely never live independently, and rely on one another to navigate the world around them.
Lamadrid, whose own nephew is autistic, met the Morillo Aguilar triples through his volunteer work at Autismo Sevilla, a non-profit that offers support for parents of autistic children. “I thought that by taking pictures of these three, it would help people understand more about the illness,” says Lamadrid. “Although they are dependent on their family, it is possible for them to live normal and happy lives.”
It’s estimated that autism affects over 2 million Americans and tens of millions worldwide. As with the three brothers, symptoms vary depending on where a person falls on the autism spectrum.
Since he has the most normal social abilities, Jamie is the spokesperson for the three boys, and has a startling intelligence for trivia. “If you give him a random date, like May 2, 2001, he can very quickly tell you if that was a Friday or Saturday,” says Lamadrid. “He is the voice of the children and will often represent the three.”
Alejandro speaks significantly less than Jamie, but has his own unique skill of putting together entire 1,000 piece puzzles in only a couple hours. Alvaro, who has significant brain damage hardly ever speaks, but he still enjoys watching movies with his brothers. Although the three boys arelegal adults now, Lamadrid says they have the mental state of three-year-olds.
Lamadrid says the three boys are some of his favorite–and most cooperative—subjects to photograph. Whether the boys are getting dressed for the day in matching outfits or riding the public bus through Sevilla, Lamadrid says they never questioned his constant trailing as he snapped pictures. “They allowed me to be in their life, and didn’t care about me or my camera,” he says. “They’re the subjects all photographers want to have in their life.”
The mother of the three boys, Noelia Aguilar, stuck out the most to Lamadrid during his work. “I was stunned by her,” says Lamadrid. “She is really trying to give them a normal life. Both parents are taking care of them on their own and they know when to push them and when to stop and listen.”
Through his photos of the triplets, Lamadrid hopes he will spur greater support from the Spanish government and autism organizations for families like the Morillo Aguilars. “I’ve learned that despite the condition, this family lives very positively,” says Lamadrid. “Every day is quite hard for them, but they go to bed happy.”
Alexandra Sifferlin is a writer and producer for TIME Healthland.
Almost 1500 photographers applied for the Individual Photographer’s Fellowship grants this year presented by the Aaron Siskind Foundation, honoring the legacy of the legendary photographer best known for pioneering lens-based modernist abstraction.
“He was a wonderful teacher, he was always interested in new ideas and in things that challenged us,” says Charles Traub, president of the Aaron Siskind Foundation and Chair of the MFA Photography, Video and Related Media Department at the School of Visual Arts. “We’re interested in all aspects of the creative photographic medium and all genres of photograph investigation — as long as the work is new and fresh.”
The eligibility requirements for the $5-10,000 grants are exceptionally democratic. They’re open to any professional, a citizen or resident of the United States, “who’s working on a serious body of work, who is trying to do something imaginative, important, moving the dialogue of our medium forward,” Traub says, and adds: “the term ‘professional’ is of course a loosely defined word.”
“There are no strings attached. It’s not like you have to have five million references, and a complete bio and all this stuff. It’s really just what you present.”
The Foundation selects three new judges each year — one from the editorial field, one artist and one curator — with an effort to avoid being East Coast-centric. This year’s judges were Natalie Matutschovsky, senior photo editor at TIME, photographer Andrew Moore, who recently published a new book on Cuba, and Tim Wride, curator at the Norton Museum of Art, formerly at LACMA.
“[The jury] tends to lean towards younger photographers,” since they are the ones who usually bring forth the newest, yet-to-be-recognized work, but occasionally, Traub says, “there is a better known older photographer who does submit new work that surprises the jury.”
This year, six photographers were each awarded $8,000 grants. “We gave six instead of our usual five this year because we just couldn’t pare it down any further,” Traub says. They are:
Michelle Frankfurter presented her series Destino which portrays the “perilous journey of undocumented Central American migrants along the network of freight trains lurching inexorably across Mexico, towards the hope of finding work in the United States.”
Wayne Lawrence documented the diverse experiences of African-American Orthodox Jews living in New York City.
Joshua Lutz presented a conceptual portrait of his mother’s descent into mental illness as “she slowly slipped away from the aggressive paranoia of my youth to an almost calming sense of delusion,” he writes. The series was published as a book titled Hesitating Beauty by Schilt in 2012.
Justin Maxon documented life in Chester, Pa, where industry has collapsed and the murder rate is among the highest in the nation, “a place where a domino effect of socio-economic issues and a long history of government corruption have revealed the community to be a microcosm of the wounds of racism that stain this country today.”
Jenny Riffle presented a complex portrait of Riley, a scavenger who as a child read “Mark Twain’s stories of Tom Sawyer and Huckleberry Finn and decided he wanted to be like those mythical boys. He wanted a life full of treasure and adventure.”
Sasha Rudensky presented her series Brightness which focuses on “an orphan generation of Russians, Ukrainians and Belorussians that came of age in a social vacuum, having disowned their past but lacking any means of orientation within the present.”
“I thought these were all wonderful photographers from diverse backgrounds, ethnicities, from different parts of the country,” Traub says. “Largely, the work had a kind of narrative in it, a sort of structure of a story not told in a linear way and not told necessarily in a traditional documentary way. There was a great deal of technical competence and a kind of idiosyncratic look at life.”
Eugene Reznik is a Brooklyn-based photographer and writer. Follow him on Twitter @eugene_reznik.
Amateur astronomers call it the Penguin, and no wonder. Even through a good-size backyard telescope, that’s exactly what seems to be out there, hanging in distant space 326 million light years from Earth. With the clear-eyed vision of the Hubble Space Telescope, the resemblance is even more striking: it’s as though some cosmic artist has captured a bright-eyed, sharp-beaked bird leaning protectively over a reddish egg, with two stars — one shooting — in the skies above.
Both bird and egg are fully certified galaxies, though, lying in the constellation Hydra. The bird is a spiral galaxy, officially known as NGC 2936, and it would normally look like the Milky Way — a great, majestically spinning pinwheel made up of hundreds of billions of stars.
But the egg has changed all that. It’s a blob-shaped elliptical galaxy, NGC 2937, and its gravity has pulled and elongated the spiral, stretching one side into a sharp, beak-shaped projection and smearing the other side into the penguin’s body. (The reddish streaks are clouds of interstellar dust that formerly permeated the galaxy’s spiral arms). The two bright spots hovering above the penguin’s head are plain old stars within the Milky Way that just happen to lie in the same direction as the two galaxies — and the streak that seems to be flying away from the right-hand star is yet another galaxy, far in the background.
Back in the 1960s, astronomer Halton Arp included this weird configuration in his Atlas of Peculiar Galaxies, but as telescopes have gotten more powerful, scientists now know that such distorted shapes are usually caused when two or more galaxies venture too close to each other, “exchanging matter and causing havoc” as a press release puts it.
The explanation is prosaic, but the image, taken recently in both infrared and visible light by the Hubble’s Wide Field Planetary Camera 3, is anything but. It’s just one more in a long list of space objects that look at least passingly biological — the Horsehead Nebula, the Crab Nebula, the Cat’s Eye Nebula, Jupiter’s moon Europa (which looks something like a bloodshot eyeball), and the infamous Face on Mars are just a few examples. Even the structure of the universe itself resembles the structure of the human brain, according to some scientists.
It’s no surprise, though: humans are hard-wired to see patterns in nature. That’s why we see all manner of creatures, not just in the heavens, but also in clouds. It’s a consequence of evolution — but it also transforms the world around us into a sort of living poetry.
Michael D. Lemonick is a regular contributor to TIME, writing on science, space and technology.
Presidential elections are always a time for hope. Nowhere is that more clear than in Iran, where a fervent desire for change is tempered by fears that the people’s voice might not be heard, or, worse yet, altered through fraud and manipulation. Still, Iranians thronged the election rallies, vibrant and noisy affairs that took place in gymnasiums and sports stadiums across the country. As Election Day loomed, candidates, get-out-the-vote volunteers and Iran’s own Supreme Leader Ali Hosseini Khamenei exhorted citizens to vote, and they did, in record numbers. Polling station hours were extended late into the evening of June 14th, and, unlike the elections of 2009, when the results were announced almost immediately, the count took an agonizing 24 hours.
But on Saturday evening, hope blossomed into joy. Hassan Rouhani, the sole moderate on the ballot, exceeded all expectations to sweep a field made up of five other candidates, winning 51% of the vote and narrowly avoiding a runoff. Iranians celebrated in the streets with dancing and music, an infectious jubilation that led even the White House to grudgingly admit that despite expectations for fraud, the Iranian people finally had their say.
Aryn Baker is the Middle East bureau chief for TIME. Follow her on Twitter @arynebaker.
Andrew Esiebo, who documents barbershops in West Africa, is among an emerging generation of African photographers telling stories rooted in daily life but often overlooked.
Florida isn’t like other places. In fact, in some ways, Florida isn’t even like Florida. For centuries, from the time the 16th-century Spanish explorer Ponce de León first landed in Florida on his (perhaps apocryphal) search for the Fountain of Youth right up to the present day, people from the world over have looked to that large, water-logged peninsula jutting toward the Caribbean as a kind of fathomless fantasy land. Or, as photographer David Walter Banks nicely phrases it below, as “an epicenter of escapism.” Of course, no state as large and as diverse as Florida (or, for that matter, as small and as seemingly homogeneous as, say, Delaware) is ever just one thing. But again, as Banks suggests, the myth of Florida — the Florida of our tacitly agreed-upon collective imaginings — endures not because of, but despite, the state’s colossally variegated landscapes, cultures, communities and attractions. In his at-once fond and forthright portraits, Banks manages to illustrate much of the Floridian myth, while deepening the mystery of the Sunshine State’s singularly odd appeal.
A long-standing interest in escapism and seeking the surreal in the every day led me to train my lens on the manifestations of those ideas in American society. Eventually and inevitably, this practice led me to Florida, an epitome and epicenter of escapism in the United States.
In 2012, 1 in 4 Americans, or 89.3 million people visited the state of Florida, bringing in over $71.8 billion in tourism spending to an industry that directly employs well over one million individuals. Even after the economy crashed in 2008, Florida’s tourism numbers continued to climb in what is estimated as the most popular tourist destination in the world.
I am interested in the people who comprise these statistics, the environments in which they immerse themselves and the altered realities both the people and places project. I seek not to make a critique, nor to create a comprehensive factual documentation. I aim to create a vicarious experience–that of a tourist seeking fantasy.
My fascination with Florida started at a young age. Like so many Americans, my family would load up our wood-paneled Chevrolet station wagon every year and head down the highway toward the ‘Sunshine State’ for our annual Summer vacation. We would stay in a stereotypical stucco condo building on the beach called the Summerhouse. It was there that I produced some of my fondest childhood memories. It was there that I built sandcastles with my mom and dug giant holes with my dad for no apparent reason. It was there that I first met an older girl and hitchhiked to a club before I was laughed away at the door for my prepubescent appearance – I was 12, after all. It was there that I snuck off to smoke cigarettes stolen from a friend’s parents during my height of preteen angst.
These family trips were something that I looked forward to every year. I eagerly awaited the escape from our everyday life, even if only for a brief while. It is the memories of this escape that keep luring me back.
The theory of collective memory refers to the shared pool of information amongst a group of people. As Americans, our collective memory of Florida has become almost as much of a folk tale as it is based on reality. My recollections from childhood and adolescence are not necessarily how it actually looked and felt, but instead the world that I constructed from those fragmented memories. Such is our collective idea of the state, which has been fed and fueled by the masterminds of advertising and marketing.
Reality, on the other hand, is a different matter all together. Perhaps our fantasized version of Florida does exist, but if so, it is masked under layers of lines and litter, overpriced tourist traps and drunk teens who would steal the shirt off your back – This literally happened to me while photographing Spring Break. If anything is my charge while on the road for this project, it is peeling back these layers.
Elaine Mayes might well be the most accomplished photographer and photography educator that many passionate photography aficionados have never heard of. As one of the very first women teachers of photography who learned her craft primarily in art school, Mayes has influenced generations of photographers while quietly, steadily and tenaciously pursuing her own vision as a creative artist. This summer, Mayes’ work from her seminal Autolandscapes series will go on display through January 2014 at the Smithsonian’s American Art Museum, alongside work by Steve Fitch and Robbert Flick.
Mayes, who defines her aesthetic, in part, as a “Walt Whitman approach” to photography — i.e., embracing influences found in “everything and in nothing” — has taught both photography and film at the University of Minnesota, Hampshire College (where she was a founding member of the faculty), Pratt, Bard and several other schools. (She’s currently Professor Emerita in NYU’s Tisch School of the Arts.) She studied with Minor White; was friendly with the likes of Bruce Davidson, John Szarkowski and Diane Arbus in the 1960s and beyond; has shown her work at MoMA New York, MoMa San Francisco, the Brooklyn Museum and elsewhere; and cites fellow artists like Paul Caponigro and Wynn Bullock as major influences on her photography.
Her work belongs to no “school.” Instead, across six decades, Mayes has employed a deeply individualistic sensibility — nowhere more evident than in the Autolandscapes (1971). She had just gotten a job teaching at Hampshire when, after requesting an NEA grant for $3,000, she won a grant for a mere third of that. Undeterred, she drove across country with her husband and four cats, chronicling the landscape — other automobiles, gas stations, homes, factories, road signs, cows, empty tarmac. The result is a marvelous, unadorned, understated and perfectly “of its time” document of early Seventies Americana. Focusing on the horizontal plane witnessed outside of her moving car, the photos formalize the idea of capturing movement in a way that also seems to slow, and even stop, time.
The work seen in this gallery, meanwhile, is primarily comprised of photos that are part of an ongoing series Mayes began when she moved to Minnesota to teach in the 1960s, and has continued to work on through today. With her keen interest in photos that have a mysterious quality, and images where the scene is big, but the tiniest details are still cleanly visible, Mayes characterizes her own goal as an effort to make photographs by “responding [to her environment], but not knowing why.”
This body of work will be on view as part of a group exhibition, Landscapes in Passing: Photographs by Steve Fitch, Robbert Flick and Elaine Mayes, at the American Art Museum in Washington D.C.
Liz Ronk is the photo editor of LIFE.com.
Features and Essays
Rena Effendi / National Geographic
Rena Effendi: Transylvania Hay Country (National Geographic) The old art of making hay on the grass-growing meadows of Transylvania | from the July issue of National Geographic magazine | Effendi’s agency
Ami Vitale: Montana Ranch (Photo Booth) A testament to a disappearing way of life and an ode to its endurance.
Rena Effendi: Spirit Lake (Institute) Located in an isolated and economically languishing area of North Dakota, Spirit Lake is a Sioux Indian reservation home to some 6,200 inhabitants
Raphaela Rosella: Teen Mothers in Australia (Feature Shoot)
Guillaume Herbaut: Unrest in Turkey (Institute)
LouLou d’Aki: Occupy Istanbul: Portraits of Turkey’s Protest Kids (NY magazine)
Enri Canaj: City of Shadows (Foto8) Athens, Greece
Lauren Greenfield: The Fast and The Fashionable (ESPN) In Monaco during F1 Grand Prix
Giovanni Cocco: The Life Of A Sibling With Disability (NPR Picture Show)
Riverboom: Giro d’Italia (Institute)
Robert Nickelsberg: Surviving Cold War (World Policy) Forces from Norway, Britain, and the Netherlands in training in the planet’s harshest climate in the Arctic Circle
Ian Willms: Following in the Mennonites’ Footsteps (LightBox)
Tomasz Lazar: In Kosovo, Bridging an Ethnic Divide (NYT)
Cathal McNaughton: Yarnbombers (Guardian) Photographer Cathal McNaughton has caught up with the Yarnbombers, the guerrilla knitters who plan to target the G8 using knitting or crochet rather than graffiti
Sebastian Liste / Reportage by Getty Images for TIME
Sebastian Liste: On the Inside: Venezuela’s Most Dangerous Prison (LightBox)
Pietro Paolini: Ecuador: Balance on the Zero (Terra Project)
Elizabeth Griffin and Amelia Coffaro: Capturing Life With Cancer At Age 28 (NPR Picture Show)
Lars Tunbjörk: Cremation: The New American Way of Death (LightBox)
Lucas Jackson: Tornado survivors of Moore (Reuters photo blog) multimedia
Andy Levin: Coney Island (NYT Lens)
Daniel Love: 200 Hours (Guardian)
Robert Herman: New York: A View of Inner Turmoil (NYT Lens)
Reed Young: The Ground Zero of Immigration: El Paso (LightBox)
Sara Lewkowicz: An unflinching look at domestic abuse (CNN photo blog)
Tony Fouhse: The Simple View of Ottawa (NYT Lens)
Justin Jin for the New York Times
Justin Jin: A Chinese Push for Urbanization (NYT)
Sean Gallagher: Climate change on the Tibetan plateau (Guardian) audio slideshow
Nic Dunlop: On the frontlines of a ‘Brave New Burma’ (CNN photo blog)
Zohra Bensemra: Pakistan’s female Top Gun (Reuters)
Paolo Marchetti: The Stains of Kerala (LightBox)
Behrouz Mehri / AFP / Getty Images
Behrouz Mehri: Life in Tehran, glimpsed through the rear window (AFP Correspondent)
Tyler Hicks: A New Strategy on One Syrian Front (NYT)
Laurent Van der Stockt: On The Damascus Front Lines (Le Monde)
Jason Larkin: Suez – Egypt’s Lifeline (Panos Pictures)
Nyani Quarmyne: Bridging Approaches to Mental Illness in Sierra Leone (NYT Lens)
Jake Naughton: Education of Girls in Kibera (Feature Shoot)
David Guttenfelder: Last Song for Migrating Birds (NGM) Across the Mediterranean, millions are killed for food, profit, and cruel amusement.
Nick Cobbing: Follow the Creatures (Photographer’s website) Antarctica
Nelli Palomäki: Portraits of Children (LightBox)
The Burning Monk 50th anniversary (AP) Malcolm Wilde Browne was 30 years old when he arrived in Saigon on Nov. 7, 1961, as AP’s first permanent correspondent there. From the start, Browne was filing the kind of big stories that would win him the Pulitzer Prize for reporting in 1964. But today, he is primarily remembered for a photograph taken 50 years ago on June 11, 1963, depicting the dignified yet horrific death by fiery suicide of Buddhist monk Thich Quang Duc.
Love struck: Photographs of JFK’s visit to Berlin 50 years ago reveal a nation instantly smitten (The Independent) Photographer Ulrich Mack accompanied Kennedy on the entire trip. The results, published this month as Kennedy in Berlin, have mostly never been seen before
Osman Orsal / Reuters
Images of Protest in Istanbul: The Woman in Red (No Caption Needed)
Photographer documents Istanbul ‘war zone’ in his own backyard on Facebook (NBC News photo blog)
Photographic Mood, on the Eve of Destruction (No Caption Needed)
Pixelating the reality? (Al Jazeera: Listening Post) Photography is a subjective medium, and how it is used will always depend on who is using it. | On Paul Hansen’s World Press Photo of the Year and post-processing in photojournalism in general
The Art of War – Ron Haviv (Viewpoint on Vimeo) A documentary from the public television of Greece, year 2013. Language: English | Greek Subtitles
Leading photojournalist captures the beating heart of a brutal world (Sydney Morning Herald) Forty years of covering atrocities has only reinforced James Nachtwey’s faith in humanity
Rita Leistner: Looking for Marshall McLuhan in Afghanistan (BagNewsNotes)
A Glance at the 2013 LOOK3 Photo Festival (LightBox)
Edouard Elias / Getty Images
Two journalists, including photographer Edouard Elias, abducted in Syria (BJP) According to Le Monde and BBC News, the two journalists, Didier François and Edouard Elias, were travelling to Aleppo in Syria when they were abducted by four armed men at a checkpoint
Syrian teacher turned war photographer (CNN) Nour Kelze describes her transition from English teacher in Aleppo to war photographer in the middle of Syria’s conflict.
A Paean to Forbearance (the Rough Draft) (NYT) The origins behind James Agee’s 1941 book, “Let Us Now Praise Famous Men,” a literary description of abject poverty in the South, accompanied by Walker Evans photographs.
The Woman in a Jim Crow Photo (NYT Lens)
Abigail Heyman, Feminist Photojournalist, Dies at 70 (NYT) Related
Nelson Mandela: a life in focus (Guardian) Pulitzer Prize-winning photographer Greg Marinovich reflects on a legend of our time
Eman Mohammed in the Gaza Strip (Denver Post Plog)
Robert Capa’s vintage prints on show (BBC) To mark what would have been the 100th birthday of photographer Robert Capa, the Atlas gallery in London is holding an exhibition of his work. It comprises a wide range of prints from his time in Spain during the Civil War through World War II, and ending with the Indo China conflict where he lost his life.
Chloe Dewe Mathews
Featured photographer: Scout Tufankjian (Verve Photo)
Featured photographer: Carlo Gianferro (Verve Photo)
Featured photographer: Antonia Zennaro (Verve Photo)
American Girls: Photographs Offer Vision into American Girlhood (Daily Beast) Polish photographer Ilona Szwarc’s new exhibit captures 100 kids with their cult-classic toy, the American Girl doll.
Northern Ireland: 30 Years of Photography by Colin Graham – review (Guardian) This catalogue of recent Northern Irish photography shows a determination to leave the documentary style of the Troubles behind
After Lowry (FT magazine) Landscape photographer John Davies takes a series of pictures in the northwest of England inspired by the work of LS Lowry
Eric Maierson: This is what editing feels like (MediaStorm blog)
Interviews and Talks
Rodrigo Abd and Javier Manzano (C-Span)
Carolyn Drake (cestandard) An interview with Carolyn Drake, author of Two Rivers
Paul Conroy (Amanpour) The deadliest country on earth for journalists | Conroy on Marie Colvin’s last assignment
Alex Webb (LA Times Framed)
Christopher Anderson (GUP magazine)
Stuart Franklin (Vice) There’s More to Stuart Franklin Than the Most Famous Photo of the 20th Century
Paula Bronstein / Getty Images
Paula Bronstein (ABC Radio National Australia) Internationally acclaimed US photo journalist Paula Bronstein talks about bearing witness to human suffering through her photo essays.
John H. White (NPR Picture Show) Photo Staff Firings Won’t Shake Pulitzer Winner’s Focus
Joe McNally (NYT Lens) Photographing on Top of the World
David Guttenfelder (NGM) Photographer David Guttenfelder reflects upon why taking pictures of the slaughter of songbirds is like covering a war.
Alexandra Avakian / Contact Press Images
Jean-François Leroy (BJP) Visa pour l’Image organizer on the festival’s editorial line and the cost of covering war
Jean-François Leroy (BJP) Visa pour l’Image organizer on social media, the future of photojournalism and the need for greater cooperation
Marco Di Lauro (Image Deconstructed)
Evgenia Arbugaeva (Leica blog) Leica Oskar Barnack Award Winner 2013
Jenn Ackerman (PBS NewsHours) One Photographer’s Experience Documenting Mentally Ill Inmates
Richard Misrach (PDN Pulse) Misrach on Documentary vs. Art, the Complications of Portraiture, and Digital Photography
Daniel Etter / Redux
Daniel Etter (LightBox Tumblr)
Espen Rasmussen (Panos Social)
Michael Christopher Brown (Window magazine)
Terry O’Neill (WSJ) The photographer on starlets, the Stones and Sinatra
Ewen Spencer (Vice) The Soul of UK Garage, As Photographed by Ewen Spencer
Mikko Takkunen is an associate photo editor at TIME.com. Follow him on Twitter @photojournalism.