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Original author: 
Mikko Takkunen

Features and Essays

Kirsten Luce for the New York Times

Kirsten Luce for the New York Times

Kirsten Luce: A Border Evolves as Washington Pursues Immigration Reform (NYT)

Ricardo Cases: ¡Evangélicos! (LightBox) Intensity, Isolation, and Fiesta

Ilona Szwarc: The Cowgirl Way (NYT Magazine)

Peter Hapak: Portraits of the Gay Marriage Revolution (LightBox)

Jeff Brown: Bar Regulars (NYT Magazine) This Is Who Rules the Bars of New York

Nina Berman:  Stop-and-Frisk (Photo Booth)

Carlos Javier Ortiz: Too Young To Die (Pulitzer Center) Chicago’s Gang Violence

Shannon Stapleton: North Dakota Booming (Reuters)

Lisa Wiltse: Mary’s Pageant (Reportage by Getty Images)

Sebastian Liste

Sebastian Liste / Reportage by Getty Images

Sebastian Liste: In The Wake Of Chavez (Reportage by Getty Images)

Alvaro Ybarra Zavala: The Legacy of Venezuela’s Bolivarian Liberator (Reportage by Getty Images)

Jorge Cabrera: Death in the murder capital (Reuters) Honduras

Bryan Denton: Afghan Army Taking the Lead (NYT)

Bryan Denton: Hardships in Afghan Refugee Camps (NYT)

John D. McHugh: Observe The Sons of Afghan Marching Towards The War (Reportage by Getty Images)

Sebastião Salgado / Amazonas / Contact Press Images

Sebastião Salgado / Amazonas / Contact Press Images

Sebastião Salgado: Genesis (LightBox)

Adam Dean: Myanmar Grapples With Ethnic Tensions (NYT)

Sim Chi Yin: Fragile Lake (The Straits Times) Burma

Stephen Dock: Mali, the new gold rush (Agence Vu)

Marco Grob: International Mine Action Day: Portraits (LightBox)

Abbie Trayler-Smith: The Spring that Wasn’t (Panos) Yemen

Hatem Moussa: How to Make Charcoal in Gaza (TIME)

Andrea Bruce: Christians in Syria Celebrate Good Friday With Hope and Fear (NYT)

Kalpesh Lathigra: Za’atari refugee camp (The Independent) Syrian refugee crisis

Peter Hove Olesen: Assad (Politiken) Syria

Lynsey Addario / VII

Lynsey Addario / VII

Lynsey Addario: Mortal Beloved (New Republic) The extreme perils of motherhood in Sierra Leone

Diana Matar: Return to Libya (Photo Booth)

Karla Gachet and Ivan Kashinsky: Kings of the Roma (NYT Lens)

Tomas van Houtryve: No Man’s Land (The Foreign Policy) Exclusive photos from the 38th parallel.

Sergio Ramazzotti: North Korea: Inside the utopia (Parallelo Zero)

Evi Zoupanos: Acid Attack (zReportage) Bangladesh

Mike Brodie: A Period of Juvenile Prosperity (Guardian)

Gert Jochems: S (Agence Vu)

Matthieu Rytz: The Eroding Culture of Kuna Yala (NYT Lens) Panama

Stephen McLaren: Wading into weirdness on the street (NYT Lens)

Benjamin Lowy: The First Signs of Spring in Brooklyn (NYT Magazine)

Chad A. Stevens: West Virginia Mining (CNN photo blog)

David Kasnic: Rattlesnake Roundup: Texas style (CNN photo blog)

Benjamin Bechet: El Hierro (CNN photo blog) An ‘everlasting island’ | Spain

Articles

KCNA / AFP / Getty Images

KCNA / AFP / Getty Images

Detecting North Korea’s doctored photos (AFP Correspondent blog)

North Korea ‘Photoshopped’ marine landings photograph (The Telegraph)

War’s Bricolage (No Caption Needed)

Photographer Sebastião Salgado captures areas of Earth untouched by modern life (Metro)

Ron Haviv’s Bosnian War Images as Evidence in War Trials (NYT Lens)

Sebastian Junger Shoots for the Truth (Outside) Junger’s powerful new documentary about the life of war photographer Tim Hetherington shows us why dedicated journalists are needed now more than ever

HBO documentary on the life and death of conflict photographer Tim Hetherington premieres next month (The Verge)

Inside the War Machine: New Documentary Maps an Epic Photo Career (Wired Rawfile)

Famed photojournalist Robert Capa and the mystery of his “Mexican Suitcase” (Imaging Resource)

Edmund Clark: control order house (FT Magazine)

George Strock / Time Life Pictures / Getty Images

George Strock / Time Life Pictures / Getty Images

Photo That Was Hard to Get Published, but Even Harder to Get (NYT Lens) One of the most significant war photographs in American history is routinely taken for granted.

Syria’s Media War (The Daily Beast)

Fake Somali Pirates Scam Western Journalists (The Daily Beast)

At War with the Obvious: Photographs by William Eggleston (Photo Booth)

William Eggleston’s photographs of eerie Americana – in pictures (Guardian)

War reporting documentary wins prestigious Peabody Award (Star.com)

The girl in the 2011 Afghan bombing photograph (The Independent)

Snaps by Elliott Erwitt – review (Guardian)

Chim: Photography’s forgotten hero (The Jewish Chronicle)

Femen gets kick in the pants (but not on Facebook) (AFP Correspondent blog)

AP opens full news bureau in Myanmar (AP Big Story)

Photojournalists Move To Instagram, From Syria to Sandy (American Photo)

Traditional Photographers Should Be Horrified By The Cover Of Today’s New York Times (Business Insider)

NYT’s front-page Instagram: Maybe not the end of photography (Poynter)

Instagram and the New Era of Paparazzi (NYT)

Hyper-Realistic CGI Is Killing Photographers, Thrilling Product Designers (Wired)

Tim A. Hetherington

Tim A. Hetherington

The Guide: April 2013 Edition (LightBox) TIME LightBox presents a new monthly round-up of the best books, exhibitions and ways to experience photography beyond the web

The month in photography  (The Guardian) New exhibitions and books by William Eggleston, Sebastião Salgado, Kitra Cahana and Pieter Hugo are featured in this month’s guide to the best photography around the world.

Someone I Know (Someoneiknow.net)  Project bringing together some of the best known emerged and emerging photographers from across the globe. The brief for the photographers was to take a portrait of someone they know, no matter how loosely.

The Ethics of Street Photography (Joerg Colberg)

The Age of “Fauxtojournalism” (Chicago Tribune Assignment Chicago blog)

Bobby’s Book: Bruce Davidson’s Photographs of the Brooklyn Gang The Jokers (Photo Booth)

Magnum Photos approaches new audiences in deal with Vice magazine (British Journal of Photography)

MJR – Collection 100 / A history (Vimeo)

Review: Liquid Land by Rena Effendi (Joerg Colberg)

Uncharted Territories: Black Maps by David Maisel (LightBox)

Classical Portraits of Extreme Plastic Surgery (Slate Behold photo blog)

From Desert to City: A Photographer Unveils Forgotten Stars (LightBox)

Paul McDonough : Shooting film on the move (CNN photo blog)

A Look at the Pristine: Walter Niedermayr’s Aspen Series (LightBox)

Orlando Luis Pardo Lazo’s Photos From His Native Cuba (NYT Lens)

Larry Racioppo’s Photos of Good Friday Processions In Brooklyn (NYT Lens)

Gillian Laub : On Passover, Celebrating Life and Ritual in a Jewish Family (Slate Behold photo blog)

McNair Evans: Chasing hope on the railways (CNN photo blog)

Ahn Sehong : Comfort Women in China (NYT Lens)

Henri Huet / AP

Henri Huet / AP

An Expansive Exhibition of War Images at the Annenberg Space in Los Angeles (NYT Lens)

Anatomy of a Successful Grant Application: Joseph Rodriguez on the Audience Engagement Grant (PDN)

Crowd-Sourcing, Part One: Ask And You Shall Receive (NPPA)

The Photographer’s Guide to Copyright (PhotoShelter)

Featured photographer: Paolo Patrizi  (Verve Photo)

Featured photographer: Abbie Trayler-Smith (Firecracker)

Judge Rules William Eggleston Can Clone His Own Work, Rebuffing Angry Collector (Artinfo)

Judge Rules William Eggleston Can Clone His Own Work (Joerg Colberg)

How Joachim Brohm set the world of landscape photography on fire (The Guardian)

Thoughts on the TIME Gay Marriage (or, Gay Sex?) Covers (BagNewsNotes)

Can 20×200 Be Saved? Anger From Collectors Mounts as Leading Art Site Flounders (Artinfo.com)

Henry Groskinsky / Time & Life Pictures / Getty Image

Henry Groskinsky / Time & Life Pictures / Getty Images

The Day MLK Was Assassinated: A Photographer’s Story  (LIFE) On April 4, 1968, LIFE photographer Henry Groskinsky and writer Mike Silva, on assignment in Alabama, learned that Martin Luther King, Jr., had been shot at the Lorraine Motel in Memphis. The two men jumped into their car, raced the 200 miles to the scene of the assassination

Photographer Who Shot Beatles Concert With a Fake Press Pass Sells the Pics for $45K (PetaPixel)

Camera Finds Way Back to Owner After Drifting 6,200 Miles from Hawaii to Taiwan (PetaPixel)

Photographer Accuses Getty of Loaning Images to CafePress Instead of Licensing Them (PetaPixel)

Photographing a Mother’s Descent Into Mental Illness (Mother Jones)

Review: Tales of Tono by Daido Moriyama (Joerg Colberg)

The new war poets: the photographs of Adam Broomberg and Oliver Chanarin (The Telegraph)

LaToya Ruby Frazier Photography at Brooklyn Museum (NYT)

Makoko exhibition opens a window on a Nigerian world (The Guardian)

Distance & Desire: Encounters with the African Archive (Photo Booth)

Rene Burri in colour (BBC)

Helmut Newton Book ‘World Without Men’ Returns (The Daily Beast)

Interviews and Talks

Dominic Nahr / Magnum Photos

Dominic Nahr / Magnum Photos

Dominic Nahr (Leica blog) Recording History for Posterity

Sebastião Salgado (Monocle Radio) Salgado interview starts at 13 minutes into the show

Mike Brodie (Guardian) On his freight train photographs: ‘It’s a romantic life, at least in the spring and summer’

Andrew DeVigal (Wired RawFile blog) Smart Readers Are Too Distracted to Dig Smart Content

Carlos  Javier Ortiz (CBS News) Photographer brings Chicago gun violence into sharp focus | slideshow on CBS News website 

Jenn Ackerman (Slate Behold photo blog) Trapped: The Story of the Mentally Ill in Prison

Farzana Wahidy (NPR) How A Female Photographer Sees Her Afghanistan

Andrea Bruce / The New York Times

Andrea Bruce   / The New York Times

Andrea Bruce (NOOR) My first day in Damascus

Steve McCurry (Vice)

Raghu Rai (Visura Magazine)

Mohamed Abdiwahab (LightBox Tumblr)

Bert Stern (LightBox)  The Original ‘Mad Man’

Duane Michaels (Bomb blog)

Gregory Crewdson (The Telegraph) Gregory Crewdson’s silent movies

Maika Elan (Vietnam News)

Lisa Rose (The Chicago Tribune Assignment Chicago blog) The Goals of PhotoPhilanthropy

Shannon Jensen (The Daily Pennsylvanian) No ‘fancy pictures’, just tell the story

Alice Proujansky (The Guardian) Alice Proujansky’s best photograph – childbirth in the Dominican Republic

Camille Seaman (Piper Mackay Photography)

 Zhe Chen (Le Journal de la Photographie)

Guillem Valle (Leica blog) Transporting The Viewer Through Photographs

Stanley Forman (Boston Globe) Photojournalist Stanley Forman on his new book

Bill Armstrong (Aperture)

Thomas Ruff (Aperture)

Misha Friedman (Dazed Digital)

John Kilar (Dazed Digital)

Daniel Cronin (Dazed Digital)

Awards, Grants, and Competitions

Upcoming Deadlines for Grants, Fellowships Up to $10,000 (PDN)

PROOF : Award for Emerging Photojournalists  : Deadline May 1, 2013

NPPF Scholarship : Deadline April 15, 2013

Lens Culture student photography awards 2013 : Deadline April 15, 2013

72nd Annual Peabody Awards: Complete List of Winners (Peabody)

Best of Photojournalism 2013 Multimedia Winners

Photographic Museum of Humanity 2013 Grant Winners

William Eggleston to receive Outstanding Contribution to Photography award (British Journal of Photography) Also on The Guardian here.

Mikko Takkunen is an associate photo editor at TIME.com.

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We all look at things. Loved ones, traffic lights, television, the sky — you name it, we look at it. Along with reasoning, and the conscious use of tools, looking at things is an integral aspect of the human experience. In North Korea, this elemental, quotidian activity has been transformed, ingeniously, into a propaganda device for the country’s regime. The beauty of that transformation, meanwhile, is that one culture’s propaganda is another’s source of humor, and wonder.

Case in point: the popular, uncannily simple blog, “Kim Jong Il Looking at Things.” Launched in October 2010 by a Lisbon-based art director named João Rocha, KJILAT is nothing more and nothing less than what it purports to be: a series of photographs of the Dear Leader looking at things.

Jean Boîte Éditions

A selection of these compelling photos have now been published in a book by Jean Boîte Éditions: Kim Jong Il Looking at Things. The pictures, originally distributed by the official Korean Central News Agency, depict the late North Korean leader, always accompanied by an entourage of compatriots who appear both fawning and terrified, examining objects ranging from machinery to snack food. The images are, one presumes, meant to celebrate the notion of North Korean independence and superiority by illustrating Kim Jong Il’s endorsement of products and services manufactured or offered by the Democratic People’s Republic of Korea. The spare, almost clinical look of the images, meanwhile, coupled with the often profoundly mundane nature of the objects at hand lend the entire portfolio a tone that is one part humorous and three parts crazy.

Visual Culture Blog curator Marco Bohr contributed an essay to the book, analyzing how and why both the blog and the book versions of “Kim Jong Il Looking at Things” succeed on their own, admittedly streamlined terms. Bohr suggests that the blog and book tap into a type of unpretentious humor “by using matter-of-fact captions that, firstly, withhold any subjective opinion, and secondly, do not self-consciously attempt to be funny in the first place.” The success of the meme “relies on deconstructing the ridiculousness of [Kim's] propaganda apparatus.”

The book is the newest installment in Jean Boîte Éditions’ series, FOLLOW ME, Collecting Images Today, which seeks “to highlight another art scene, [one that] establishes the online collector as a creator, and the ephemeral in the perennial.”

A spin-off blog featuring the Dear Leader’s son and successor, Kim Jong Un, was launched hours after the announcement of Kim Jong Il’s death on Dec. 18, 2011. The original blog, which continued to add images for a full year after its subject’s death, posted its final image in late December, as Rocha reached the end of his archive.

Fortunately for all of us, the Dear Leader lives on in Rocha’s book, where we can look at him looking at things to our collective hearts’ content.

Kim Jong Il Looking at Things was published by Jean Boîte Éditions in December 2012.

Tanner Curtis is an associate photo editor at TIME.com.

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Since the 1948 creation of separate governments for North and South Korea after World War II, the Democratic People’s Republic of Korea (DPRK) in the North has remained behind an iron curtain, an isolated and secluded state. Our image of the country has been pieced together from pictures taken across the border at the DMZ, photographs provided by government news agencies or unauthorized surreptitious photographs taken by western photographers inside the country—until now.

In January, the Associated Press opened a bureau in Pyongyang for full news coverage within North Korea. AP’s Chief Asia Photographer David Guttenfelder—who first traveled to North Korea as a pool photographer in January 2000 to cover the visit of Madeline Albright—has made a dozen trips to the country over the past 18 months as part of the negotiating team and on reporting trips with Jean H. Lee, AP bureau chief for the Koreas, taking photos each time. Guttenfelder’s approach to showing North Korea to the world has been shaped by his long and prestigious career with the AP.

Guttenfelder has just received two honors from the Overseas Press Club, which announced their annual awards this morning. The Olivier Rebbot Award for best photographic reporting from abroad, in magazines or books, and the Feature Photography Award for best feature photography, published in any medium on an international theme, recognize his recent work from last year’s Tsunami aftermath in Japan and his work inside North Korea.

In 1994, Guttenfelder traveled to the former Zaire to cover the Rwandan refugee crisis as a freelance photographer. “I thought if I ever wanted to do something more serious, this was it,” he says. Guttenfelder stayed in Africa for five years, stringing for the AP, among other outlets, and eventually became an AP staff photographer. He hasn’t lived in the States since. In the ensuing years, he has worked all over the world, from Kosovo to Israel and Iraq to Afghanistan. In 1999 he became AP’s Chief Asia photographer and moved to Japan.

Guttenfelder says when he first worked in Asia he wondered if he had made the right decision. “In the beginning it was really hard, I’d only ever covered conflict and had not done anything else,” he says. One of his first assignments was covering family reunions between North and South Koreans in Seoul. “I wasn’t used to taking photographs in an organized event surrounded by other photographers in such a modern context,” he says. “Now I look back and it was really important work. I only really spoke one language at that point—fighting, refugees and hard news—so it was an important transition for me.”

Fittingly then, when Guttenfelder was in Iraq during the U.S. invasion, he focused on trying to cover the Iraqi side of the war rather than embedding with U.S. troops. “I always thought of myself as the guy on the other side of things,” he says. Then, a year later, when Baghdad fell, Guttenfelder found himself confined to the Palestine Hotel and his role and means of covering the conflict changed again.

“We needed local photographers to cover the streets, someone who could bring back regular pictures of normal people’s lives,” he says. He solicited photographers, but found that they needed extensive training. Although the people Guttenfelder worked with barely knew the fundamentals of photography and worked with primitive equipment—including a camera that used floppy disks—they produced important work. Several of the regional photographers that Guttenfelder and his AP colleagues trained, Khalid Mohammed, Samir Mizban and Karim Kadim, became Pulitzer-Prize winning photographers when AP received the award for breaking news photography in 2005.

Iraq was not the only place Guttenfelder worked training and developing regional photographers; he also did so in Afghanistan, Israel and Palestine. His work in Afghanistan, which he considers the most important of his career, included the recruitment of Farzana Wahidy, the first Afghan woman to work as a news photographer after the fall of the Taliban. Between 2001 to 2010 Guttenfelder made at least 20 trips to Afghanistan, staying for as long as six months to a year at a time. Early on he covered the first election, and projects on the Afghan civilian side of things. But from 2007-2010 Guttenfelder focused on embeds and did multiple military trips including a stint in the Korengal Valley and was part of all of the major U.S. Marine operations into Helmand.

Guttenfelder eventually moved back to Japan in 2006, and he still lives there today. His first news photography in Japan came in March 2011, in the aftermath of the tsunami. Although his work there is highly regarded, he says he feels that his photographs could not capture the magnitude of what he saw.

Still, his experience with being dropped into a new place and quickly capturing the sense of its culture proved invaluable. “There is a known language to disaster pictures; you see the same things, people reaching through chaos, people reaching for food, a lot of emotion. Photographers were trying to find those pictures that existed in other places. It’s just not like that here. That’s just not how it is in Japan,” he says, noting that the emotionally moving picture embedded here, of a woman, on her knees, caressing and singing to her mother’s body, would seem subtle in another place but is a very “loud” picture for Japan.

David Guttenfelder—AP

March 19, 2011. Tayo Kitamura, 40, kneels in the street to caress and talk to the wrapped body of her mother Kuniko Kitamura, 69, after Japanese firemen discovered the dead woman inside the ruins of her home in Onagawa, Japan.

Although he continues to be based in Japan, Guttenfelder has spent much of the past year in North Korea in preparation for the new AP bureau, which opened in January. Guttenfelder has been part of the negotiating team at meetings that have taken place in Pyongyang and New York over the last eighteen months. “At the first meeting, we left with an agreement that we would hold a photo exhibition and workshop and work towards an AP office in the country,” he says. The joint exhibition, Window on North Korea, on view earlier this month at the 8th Floor Gallery in New York, featured images from both AP and the KCNA archives and a workshop held in North Korea offered an opportunity for KCNA photographers get technical training, for the AP to recruit staff and for the two parties get to know one another.

“We are starting from zero in a system that is so different from anything we’ve done before,” he says. The photo exhibition and workshop were an overture to build trust and collaborate on something, and Guttenfelder has already begun working with a regional photographer, Kim Kwang Hyon. But the most interesting result of the collaboration is the opportunity it has afforded for Guttenfelder to photograph inside North Korea.

Although he is accompanied by a guide wherever he goes and has to request in advance where he wants to go, the daily life photographs that he has taken—often one-off shots made on the way to or from an event—provide a stark contrast to the highly orchestrated government news-agency photos that are more commonly seen out of North Korea.

Despite the normalcy portrayed in these photographs, Guttenfelder says they are actually the most important images because they paint a picture of a place that has been hitherto a mystery. And that can open the window for understanding in both directions. “At the beginning I would take a picture in the street of people standing waiting for the bus. I could tell they didn’t really understand and thought it looked bad, looked poor,” he says. “I would spend a lot of time explaining that people wait for the bus and commute to work everywhere in the world and that someone beyond North Korea could make a connection—that picture breaks down barriers.”

Recently, a select group of photojournalists from western agencies have been allowed into North Korea to cover the celebrations of the birth of the country’s Eternal President Kim II-sung and a missile launch. How long they will be able to stay is in question, but Guttenfelder and AP are committed for the long term. “It’s a really good time to have an office here and to see how things evolve,” he says. “I feel a huge responsibility because this is the first time the country has allowed this much access to one of us.”

David Guttenfelder is AP’s Chief Asia Photographer he is currently based in Japan to see more of his work click here.

To see more of AP’s coverage of North Korea click here.

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