The time to enter the 25th annual National Geographic Traveler Photo Contest is running short -- entries will be accepted for another few days, until June 30, 2013. The first prize winner will receive a 10-day Galapagos expedition for two. National Geographic was once more kind enough to allow me to share some of the later entries with you here, gathered from four categories: Travel Portraits, Outdoor Scenes, Sense of Place, and Spontaneous Moments. Photos and captions by the photographers. Also, be sure to see Part 1, earlier on In Focus. [46 photos]
From the 'Sense of Place' category, a couple paddle out for a sunset surf in the coastal surfing town of Byron Bay, Australia. (© Ming Nomchong/National Geographic Traveler Photo Contest)
At age 7, Diana Markosian would look at the sky and wonder if her father was on each passing plane. Years later, she went in search of him, seeking answers in adulthood that she never got as a child.
Graduation season is well underway, with kindergartners, high schoolers, college seniors and graduate students alike donning caps and gowns to celebrate their achievement. With their diplomas, graduates also get words of wisdom from a commencement speakers and a good excuse to celebrate. -- Lloyd Young ( 31 photos total)
US Naval Academy graduates throw their hats at the conclusion of their commencement and commission ceremony, attended by President Barack Obama at the Navy-Marine Corps Memorial Stadium on May 24 in Annapolis, Md. (Michael Reynolds/European Pressphoto Agency)
Yolanda Cuomo is the curatorial voice behind some of the 20th century’s greatest photographic books. This year, alongside Melissa Harris, Cuomo is co-curating the LOOK3 Festival of the Photograph in Charlottesville, Va., June 13 – 15, 2013.
One word comes up again and again, like a shared mantra, when talking with Yolanda Cuomo, or when discussing Cuomo with people who know her: collaboration. Hardly surprising, perhaps, in light of the talent that, at one time or another, the 55-year-old art director and designer has worked with — including creative icons from Avedon and Sylvia Plachy to Twyla Tharp and Laurie Anderson. But one quickly gets the sense that, in Cuomo’s world, collaboration is not simply one way to approach a project; it’s the only way to approach a project.
As her longtime friend (“creative soulmate” might be a more apt description), Aperture Foundation editor-in-chief Melissa Harris, puts it: “Yolanda is simply one of the greatest people I know. She is so full of ideas, and our collaborations [on books, magazines, exhibitions] have been so fantastic because we always approach each project from an utterly fresh perspective. And we laugh,” she adds, making it clear that humor is an integral element of their long-time, enormously fruitful partnership. “We laugh a lot.”
The driving force behind the celebrated Yolanda Cuomo Studio, Yo (as all her friends and colleagues call her) has helped envision and produce some of the most striking and influential art and photography books of the past two decades, including Diane Arbus’ Revelations, Gilles Peress’ Farewell to Bosnia, Pre-Pop Warhol and scores of other titles.
(Incredibly, it was only within the last year, with New York at Night, that Cuomo got what she calls her “first spine.” She’d done 85 books through the years, she told LightBox, “but Norma Stevens and I published New York at Night in 2012 and, holy shit, there was my name on the spine!”).
A graduate of Cooper Union, Cuomo got her start in the publishing world as a junior designer at Condé Nast in the early 1980s. Under the mentorship of the legendary art director Marvin Israel, she not only was introduced to many of the people who would become part of her vast and cherished professional extended family — Plachy, Avedon, Peress, Nan Goldin and others — but also got her very first lessons, from a master, in the power of collaboration.
Yolanda Cuomo at her desk in her new Chelsea studio in February.
“Marvin was so brilliant,” Cuomo says, “and one of the key things I learned from him — by his example, not by his making a big deal out of it — was that bringing other peoples’ voices and sensibilities to a project can make it so much stronger and more wonderful than if only one person holds sway over everything.”
The reason Cuomo got the job at Condé Nast in the first place, meanwhile, is emblematic of another type of creativity altogether.
“I lied,” she says, her mischievous laugh all these years later suggesting that she still can’t believe it herself. “When I was interviewed [for the Condé job] I told them that of course I knew how to do mechanicals. Then I went right out and immediately called a friend and was like, ‘What’s a mechanical?’”
Regardless of how she got her foot in the door, Cuomo learned the ins and outs of the art and publishing worlds from the very best. A quick study, she was eventually asked to oversee a new project by the Village Voice, and in 1985 Yolanda Cuomo was named art director of the Voice’s short-lived, tremendously creative fashion magazine, Vue. There, she and her small staff were afforded the sort of creative freedom that, for anyone working in magazines today, must seem something from another, near-mythical age.
Courtesy of the Village Voice/Yolanda Cuomo Design
Cover and spreads from the September 1986 issue of Vue. Photographs by Amy Arbus.
“It was total carte blanche,” Cuomo recalls. “We had to fill 32 pages that came out once a month. We sat in a room and just said to each other, ‘Okay, let’s call up people we love.’”
The names of those people they loved comprise something of a Who’s Who of talent of the era — each one of whom brought a unique sensibility to the pages of Vue. For one shoot, Sylvia Plachy photographed models posing in the trees of a New York cemetery. For another, Nan Goldin commissioned a pregnant bodybuilder friend to model lingerie in the East Village’s Russian baths. Phrases like “creative foment” seem to have been coined to describe exactly the sort of atmosphere that existed when Yolanda Cuomo was learning her chops.
The Voice shut down Vue after just a half-dozen issues, but its young staff, thrilled by what they’d accomplished together, was not ready to quit working as a team. With her assistant and two others, Cuomo found a small office space in Manhattan, and her design studio was born.
The studio’s first photo book was Unguided Tour, a collection of work by Sylvia Plachy.
“When we work together,” Plachy says of her collaborations with Cuomo, “we both have an intuitive sense about editing and designing. Yo is open to new things; she responds to things in the moment. She doesn’t force her point of view. Instead, it’s a free-flowing enjoyment of the evolution of the ideas, and moving toward something new and exciting.”
For Cuomo, inspiration can come from anywhere, from any time and from anyone. An old French book about the Eiffel Tower, for instance, discovered in a bookstore in Paris decades earlier, might influence the design of a photography book today. Closer to home, while making Paolo Pellegrin’s 2012 artist book — designed in a single, breakneck week — Cuomo found a visual muse in her assistant designer’s workspace.
“Bonnie [Briant] had a little color copy of a dog photo that she loved taped to her notebook on her desk, and I saw it and thought, ‘That is so beautiful.’”
A scan of the notebook — Scotch tape and scratches included — became the cover of the Pellegrin book. “That’s the way I like to work,” Cuomo says. “Spontaneously inventing.”
The fact that Cuomo has a full life outside of her work — a life that helps inform everything she does — speaks volumes about her ability to find balance in both the spontaneous and the thoroughly predictable. Living in Weehawken, New Jersey, Cuomo rides her bike every day from her home to the ferry, which she takes across the Hudson River to the West Side of Manhattan and her studio. At day’s end, she heads back across the river, to her “big old Victorian house,” her garden, her family — in other words, to a world that adds meaning and color to her vocation as an art director, designer and teacher.
In the end, that might be the greatest collaboration of them all: the way Yolanda Cuomo weaves family and work, leisure and labor, vision and vocation into a fully realized world of her own making.
—Alissa Ambrose & Ben Cosgrove
See more of Cuomo’s work at Yolanda Cuomo Design.
Alissa Ambrose is a freelance writer and photo editor based in New York. Ben Cosgrove is the editor of LIFE.com.
Oculus VR’s Palmer Luckey, left, and Nate Mitchell, right. At center, AllThingsD’s Lauren Goode tries out the Oculus Rift at CES 2013.
This is the second part of our two-part Q&A with Palmer Luckey and Nate Mitchell, the co-founders of virtual-reality gaming company Oculus VR. In Part One, Luckey and Mitchell discussed controlling expectations, what they want from developers, and the challenges of trying to make games do something radically different.
AllThingsD: What do you guys think about Google Glass? They’ve got their dev kits out right now, too, and –
Palmer Luckey: — What’s Google Glass? [laughs]
No, seriously, they’re doing something sort of similar with getting this wearable computing device to developers. Does the early buzz about Glass worry you?
Luckey: No. They’re not a gaming device, and they’re not a VR device, and they’re not an immersive device, and they’re five times more expensive than us.
Nate Mitchell: It’s just a completely different product. Wearable computing is super-interesting, and we’d love to see more wearable computing projects in the market. At Oculus, especially, we’re excited about the possibilities of Google Glass. We’ve seen it, we’ve checked it out, it’s very cool. But if you bring them together –
Luckey: Our image size is like 15 times larger than theirs. It’s like the difference between looking at a watch screen and a 60-inch monitor. It’s just an enormous difference.
Mitchell: With the Rift, you’re in there. You’re totally immersed in the world. I think one of the things people keep bringing up (with Glass) is the awkward, the social aspect. For the Rift, you strap into this thing, and you’re gone.
Luckey: It’s about being inside the virtual world, not caring about the real one.
Mitchell: You could put your Glass on in the virtual space.
Luckey: We could do that! We could simulate Glass. … It’s not that hard. You just have a tiny heads-up display floating there. A really tiny one.
Mitchell: I like it.
“Okay, Rift, take a picture. Okay, Rift, record a video …”
Luckey: There’s actually Second Life mods like that. People sell heads-up displays that you can buy.
Luckey: And they put information in there like distance to waypoints and stuff.
Mitchell: Oh, that’s cool!
Luckey: Yeah, they overlay it on the screen when your character’s wearing it.
I never really “got” Second Life. Minecraft, I can wrap my head around quickly. But Second Life …
Luckey: It’s very difficult to get into. There’s a steep learning curve. The last time I went into Second Life was to buy bitcoins from a crazy guy who was selling them below market value, but you had to go into Second Life to meet with him.
Mitchell: The underbelly of the Internet.
Luckey: They’re actually working on Oculus Rift support, though. The kind of people who make games like Second Life definitely see the potential for virtual reality — being able to step into your virtual life.
And if you’re completely immersed in the game, I guess that wherever you’re playing, you need to trust whoever’s around you.
Mitchell: Absolutely. There’s already some sneaking up on people happening in the office. Someone’s developing, they’re testing the latest integration, and then Palmer comes up and puts his hands on their shoulders: “Heyyyy, Andrew! What’s going on?” There’s a trust factor.
Luckey: Have you seen the Guillotine Simulator? (video below) Some people are showing that without even telling the person what it is: “Here, check this out!” “Whoa, what’s going on?” And then — [guillotine sound effect]
Mitchell: One thing that that does lead into is, we’re exploring ways to just improve the usability of the device. When you put on the Rift, especially with the dev kit, you’re shut off from the outside world. What we’re looking at doing is how can we make it easy to pull it off. Right now, you have to slip it over your head like ski goggles. The dev kit was designed to be this functional tool, not the perfect play-for-10-hours device. With the consumer version, we’re going for that polished user experience.
What about motion sickness? Is it possible to overcome the current need for people to only play for a short period of time on their first go?
Luckey: The better we make the hardware, the easier it’ll be for people to just pick up and play. Right now, the hardware isn’t perfect. That’s one of the innate problems of VR: You’re trying to make something that tricks your brain into thinking it’s real. Your brain is very sensitive at telling you things are wrong. The better you can make it, the more realistic you can make it, the more easily your brain’s gonna accept the illusion and not be throwing warning bells.
You mentioned in one of your recent speeches that the Scout in Team Fortress 2 –
Luckey: — he’s running at like 40 miles per hour. But it’s not just, “Oh, I’m running fast.” It’s the physics of the whole thing. In real life, if you are driving at 40mph, you can’t instantly start moving backward. You can’t instantly start strafing sideways. You have inertia. And that’s something that, right now, games are not designed to have. You’re reacting in these impossible ways.
Mitchell: In that same vein, just as Palmer’s saying the hardware’s not perfect yet, a huge part of it is the content.
Luckey: You could make perfect hardware. Pretend we have the Matrix. Now you take someone and put them in a fighter jet and have them spinning in circles. That’s going to make someone sick no matter how good it is, because that actually does make people sick. If you make perfect hardware, and then you do things that make people sick in real life, you’re gonna make them sick in VR, too. Right now, there’s lots of things going on in games that don’t make people sick only because they’re looking at them on a screen. Or, in so many games, they’ll have cutscenes where they take control of the camera and shake it around. You don’t want to do that in VR because you’re not actually shaking around in real life.
You’re changing the experience that you have previously established within VR.
Mitchell: It breaks the immersion.
Luckey: And that’s why it’s so hard to instantly transfer. In the original version of Half Life 2, when you’d go into a new space for the first time, the whole game would just freeze for a second while it loads. It’s just a short freeze, but players were running along or driving along and all of a sudden, jjt! Now it looks like the whole world’s dragging along with you, and a lot of people feel very queasy when that happens.
Mitchell: It comes back to content. My talk at GDC was very specifically about how developing for VR is different from a 2-D monitor. All those things like cutscenes, storytelling, scale of the world — if the player is at four feet on the 2-D monitor and you put them in there, they immediately notice. They look down and they have the stereo cues: “I’m a midget!” So you make them taller, and now they don’t fit through doors. We really do believe that, at first, you’re going to see these ports of existing games, but the best “killer app” experiences are going to come from those made-for-VR games.
Luckey: And that’s not even to say it has to be new franchises. It doesn’t have to be a new type of game. But you want the content to be designed specifically for the hardware.
Mitchell: It’s just like the iPhone. The best games come from developers pairing hardware and software.
Oculus VR CEO Brendan Iribe testing out the Rift at D: Dive Into Media.
And that’s the 10,000-foot view: Does VR change game design in a fundamental way?
Mitchell: Yes. Fundamentally. Absolutely. I think, right now, there’s this great renaissance in the indie community. Indie developers are doing awesome things. If you look at games like The Walking Dead, you’ve got the mainstream genres here. You’re going to have a lot of these indie games start to feel more natural in virtual reality, because that’s almost, like, the intended experience.
Luckey: And not to invent a whole new genre on the fly, but you don’t see many first-person card games or something. There’s a lot of card game videogames, but there’s not many that are first-person because it wouldn’t make any sense to do.
Like a poker game where you could look around the table and read people’s reactions?
Luckey: And you could have all kinds of things integrated into it. I guess that would fit into the first-person-shooter genre, but not really, because you’re not moving and you’re not shooting. You’re just playing cards.
Mitchell: And if you look at the research that’s been done on virtual characters, it’s the type of thing where, if you smile at me in VR, even if you’re an NPC (non-playable character), I’m much more likely to smile back. Your brain is tricked into believing you’re there.
Luckey: There’s also fascinating research on confidence levels in VR, even tiny things. There was a study where a bunch of people performed tasks in real life, in a control group, and then performed them in VR. And the only difference is that one group in VR was about six inches taller than the other group. So, one was shorter than the NPC they were interacting with, one was taller. Universally, all of the “taller” people exhibited better negotiation with the NPCs. Then, they took them out (of the VR simulation) and they redid the (real-world) study, putting everyone back in another trial with a physical person. The people who’d been tall in VR and negotiated as a taller person did better when they went back into the real negotiation as well. It’s ridiculous.
Mitchell: That’s the sort of thing we’re super-excited about. That’s the dream.
And do you have a timeline for when –
Mitchell: When the dream comes to fruition?
Luckey: It’s a dream, man! Come on! [laughs]
Not when it comes to fruition. Are there milestones for specific accomplishments along the way?
Luckey: Sure, we have them, internally. [laughs]
Mitchell: We have a road map, but like we keep saying, a huge part of this is content. Without the content, it’s just a pair of ski goggles.
Luckey: And we don’t even know, necessarily, what a road map needs to look like. We’re getting this feedback, and if a lot of people need a certain feature — well, that means it’s going to take a little longer.
Mitchell: But we have a rough road map planned, and a lot of exciting stuff planned that I think you’ll see over the course of the next year.
And is there a timeline for when the first consumer version comes out?
Mitchell: It’s TBD. But what we can say is, Microsoft and Sony release their dev kits years in advance before they get up onstage and say, “The Xbox One is coming.” We went for the same strategy, just open and publicly.
Luckey: And we don’t want to wait many years before doing it.
Mitchell: Right. So, right now, we’re giving developers the chance to build content, but they’re also co-developing the consumer version of the Rift with us. Once everyone’s really happy with it, that’s when you’ll see us come to market.
Luckey: And not sooner. We don’t want to announce something and then push for that date, even though we know we can make it better.
And what about the company, Oculus VR? Is this dream you’re talking about something you have to realize on your own? Do you want to someday get acquired?
Luckey: Our No. 1 goal is doing it on our own. We’re not looking to get acquired, we’re not looking to flip the company or anything. I mean, partnering with someone? Sure, we’re totally open to discussions. We’re not, like, we want to do this with no help.
But you wouldn’t want to be absorbed into a bigger company that’s doing more than just VR.
Mitchell: The goal has been to build great consumer VR, specifically for gaming. We all believe VR is going to be one of the most important technologies of –
Luckey: — ever!
Not to be too hyperbolic or anything.
Luckey: It’s hard not to be. It’s like every other technological advance could practically be moot if you could do all of it in the virtual world. Why would you even need to advance those things in the real world?
Mitchell: Sooo …
Mitchell: With that in mind, we have to figure out how we get there. But right now, we’re doing it on our own.
Luckey: And we think we can deliver a good consumer VR experience without having to partner with anyone. We’re open to partnering, but we don’t think we have to. We’re not banking on it.
And how does being based in southern California compare to being closer to a more conventional tech hub like Silicon Valley?
Mitchell: Recruiting is a little harder for us. But overall, we’ve been able to attract incredible talent.
Luckey: And if you’re in Silicon Valley, it’s probably one of the easiest places to start a company in terms of hiring people. But VR is such a tiny field, it’s not like all of a sudden we’re going to go to Silicon Valley and there’s, like, thousands of VR experts. Now, if I’m a Web company or a mobile company –
Mitchell: — that’s where I’d want to be.
Luckey: But in this case, these people aren’t necessarily all up in Silicon Valley. We’ve hired a bunch of people from Texas and Virginia and all these other places. It’s a niche industry. We actually have the biggest concentration of people working in consumer VR right now. And a lot of the top talent we get, they don’t care where we are, as long as it’s not, like, Alaska. They just really want to work on virtual reality, and there’s no one else doing it like we are.
Tim Laman has logged thousands of hours perched in tropical treetops waiting for a glimpse of paradise — Birds of Paradise.
Features and Essays
Lucas Jackson / Reuters
Lucas Jackson: Haunting Night Scenes of Oklahoma’s Devastation (ABC News) Reuters photographer Lucas Jackson traveled to Moore and used the twilight night sky to illuminate some haunting landscapes the tornado left behind.
Katie Hayes Luke: Faces And Places The Tornado Left Behind (NPR Picture Show)
Ashley Gilbertson: Intricate Rituals for Fallen American Troops (NYT)
Steve Ruark: Honoring the Fallen (LightBox) One Photographer’s Witness to 490 Dignified Transfers
Luke Sharrett: Sacrifices Set in Adorned Stone (NYT Lens) Gravestones at Arlington National Cemetery in Virginia.
Sergey Ponomarev: A Supporting Role (NYT) In Afghan Transition, U.S. Forces Take a Step Back
Andrew Burton: Afghanistan (CNN Photo blog) Photographing ‘my generation’ at war
Eugene Richards: Inside Guantanamo (LightBox)
Ilona Szwarc: The Little Cowgirls (Telegraph) Deep in the heart of Texas, young girls are bucking the trend and breaking into the traditionally macho world of rodeo. The photographer Ilona Szwarc has corralled some of these junior ropers and riders into a compelling visual essay | Related article here
Aaron Huey: Pine Ridge (LightBox) Aaron Huey has photographed the Oglala Lakota for seven years on the Pine Ridge Indian Reservation in South Dakota.
Ilona Szwarc: American Girls (Photo Booth)
Andrew Moore: Stuck in the Shadow of Affluence (NYT Magazine) How the epidemic of empty, foreclosed homes in Chicago’s poorest neighborhoods ignited a new form of guerrilla activism.
Justin Maxon: Gunland (LightBox) Chicago’s South Side
Billie Mandle: Reconciliation (Wired Raw File photo blog) American confessionals and reconciliation rooms
Christopher Anderson: Skin on Parade in Central Park (NY Magazine) New York Magazine sent photographer Christopher Anderson to meander around Central Park on a 79-degree day
Charles Ommanney: Heavy Metal Cruise (Reportage by Getty Images)
Anderson Scott: Civil War Lovers Can’t Leave the Past Behind at Awkward Reenactments (Wires Raw File)
Arne Svenson: The Neighbors (Photo Booth)
Martin Parr: Life’s a Beach / USA Color (Slate Behold)
Joshua Yospyn: America’s Quirky Coincidences (NYT Lens)
Saul Robbins: Behind Closed Doors at New York Shrink Offices (Slate Behold)
Ruth Prieto: Safe Heaven (burn magazine) The second chapter of a documentary project about Mexican immigrant women in New York.
Lynsey Addario / VII for TIME
Lynsey Addario: Rich Nation, Poor People (LightBox) With its vast oil wealth, Saudi Arabia has one of the highest concentrations of super rich households in the world. But an estimated 20 percent of the population, if not more, lives in crippling poverty.
Kiana Hayeri: Young Iranian Immigrants (NYT Lens) Leaving Tehran and Restraints Behind
Carolyn Drake: Two Rivers: A Journey Through Central Asia (Photo Booth) A photographic record of the area in Central Asia that follows the Amu Darya and the Syr Darya, the region’s major rivers.
Linda Forsell: Refugee Crisis (zReportage) Syria | Jordan’s Zaatari refugee camp is home to 170,000 people from Syria who have fled the fighting.
Kalpesh Lathigra: Passport-Style Portraits of Displaced Syrians Living in the Za’atari Refugee Camp (Feature Shoot)
Guillaume Herbaut: Chinese Weddings (CNN Photo blog)
Peter Pin: Life Beyond The Killing Fields (NPR Picture Show)
Angelos Tzortzinis: Societal Ills Spike in Crisis-Stricken Greece (NYT Lens)
Espen Rasmussen: Mud, Fire and Pain (Panos Pictures) Tough Guy claims to be the world’s most demanding one-day survival ordeal and it has been widely described as ‘the toughest race in the world’
Espen Rasmussen: Pain (Panos Pictures) As part of a longer project looking at masculinity and middle aged men, Espen visits the longest single stage cycle race in the world, from Tronheim to Oslo in Norway.
Kirsten Luce: Matadora (NYT Lens) In the Arena With a Smile — and a Bull
Brett Gundlock: One Small Town’s Fight to Banish a Brutal Mexican Cartel (Wired Raw File)
Yann Gross: A snake story in the Brazilian far west (Institute)
Kate Holt: Somalia surgeons: under the knife in Mogadishu (Guardian) audio slideshow
Siegfried Modola: Ethiopia’s ancient salt trail (Guardian)
Takayuki Maekawa: Wild Animals (CNN Photo blog)
The Financial Times Magazine, June 1/2 2013
My friend, Robert Capa (FT Magazine) John Morris, former picture editor of Life, talks about the great photographer and his most historic roll of film – of D-Day
The month in photography – audio slideshow (Guardian) Vanessa Winship, Erwin Blumenfeld and Nobuyoshi Araki feature in June’s guide to the best photography around the world.
World Press Photo controversy: Objectivity, manipulation and the search for truth (BJP) Beyond the attacks leveraged against Paul Hansen’s winning World Press Photo, the recent controversy over image toning is symptomatic of the current state of photojournalism and its place in a society that has learned not to trust what it sees. Photojournalists, photography directors and post-producers speak to Olivier Laurent, and ask whether objectivity in photojournalism is actually attainable
Hondros: A Life in Frames – trailer (Chris Hondros film website)
Censored – images of our ugly truths, natural and man-made (Sydney Morning Herald)
American beauty: Vanessa Winship’s photos of still, small-town US life (Guardian) Winship used her Henri-Cartier Bresson prize money well: to fund a book, She Dances on Jackson, in which she has captured the silence at the heart of a clamorous nation
Photographing What Endures For Australia’s Aboriginals (NPR Picture Show) Amy Toensing’s project for the National Geographic
Andrea Bruce / Noor Images
War Through a Woman’s Eyes (American Photo magazine) Some of today’s top conflict photographers just happen to be women. We spoke with a handful of these photojournalists about their experiences—and how they differ from their male colleagues’
Photojournalists Tell the Untold Stories From Iraq (Slate Behold)
Kathy Ryan: Office Romance: Renzo Piano’s Light (NYT Magazine 6th Floor Blog)
Capturing ‘Out Cold’ Commuters with TIME’s Patrick Witty (Instagram blog)
Martin Parr: All the world’s a beach (FT Magazine) For one photographer, there is no better place than the seaside to observe human eccentricity in all its glory
Finding And Photographing Alaska’s Remote Veterans (NPR Picture Show)
Who Will Crowdfund the Crowdfunder? (NYT Lens)
Moving Walls (The Foreign Policy) Looking back on 15 years of human rights photography.
Through the Lens of Eggleston (WSJ) The selection of William Eggleston’s photographs, “At War with the Obvious,” currently on view at The Metropolitan Museum of Art in New York City, reminds us why he an American master. For the June issue of WSJ. Magazine, the legendary photographer agreed to shoot part of his extensive collection of Leica and Canon cameras | Related
Garry Winogrand and the Art of the Opening (The Paris Review)
Wayne Miller obituary (Guardian) Magnum photographer celebrated for his images of the second world war and Chicago’s South Side
In Memoriam: Wayne Miller (1918 – 2013) (LightBox)
Featured photographer: Tim Richmond (Verve Photo)
Featured photographer: Albertina d’Urso (Verve Photo)
Featured photographer: Katharine MacDaid (Verve Photo)
Featured photographer: Joel van Houdt (Verve Photo)
The little girl in the photo, all grown up (AFP Correspondent blog) AFP photographer Jean-Philippe Ksiazek hears from a girl he photographed in Pristina at the end of the war in Kosovo
When Photography Imitates Voyeurism (NYT Magazine 6th Floor blog)
Joseph Eid / AFP / Getty Images
War and Representation: Showing the Limits of Comprehension (No Caption Needed)
Digital and the the desire for long form journalism (David Campbell blog)
Chicago Sun-Times lays off its photo staff (Chicago Tribune)
Alex Garcia: The Idiocy of Eliminating a Photo Staff (Chicago Tribune Assignment Chicago photo blog)
How the Internet Killed Photojournalism (PetaPixel)
Spitting on the Grave (Jim Colton website) On Yahoo CEO Marissa Mayer’s comment ‘there’s really no such thing as professional photographers anymore’
Defining “News photographer” for the future (Reuters photo blog)
Anton Corbijn to shoot James Dean biopic, Life (Guardian) Control director to explore real-life friendship between 50s icon and Life magazine photographer in new film
Harlequin Without His Mask (Francis Hodgson blog) On Rankin
Ponte City: An Apartheid-Era High Rise Mired in Myth (LightBox) In 2008, South African photographer Mikhael Subotzky, in collaboration with British artist Patrick Waterhouse, set out to create a visual document of the building as monumental as the structure itself, exploring a long, complex history mired in myth.
Interviews and Talks
Anastasia Taylor-Lind / VII
Anastasia Taylor-Lind (Nat Geo Live) Mothers, Models, and Fighters | A rising star on the photography scene, Anastasia Taylor-Lind documents the lives of women who live isolated from male society, including in schools for Siberian supermodels and military training camps for Cossack women | video
John H. White (CNN) Howard Kurtz talks to Pulitzer prize-winning photographer John H. White about what the layoffs mean for the news industry after Chicago Sun-Times drops photographers
Jonas Bendiksen (Vice) Bendiksen Takes Photos in Countries That Don’t Exist
Winners from the 2013 World Press Photo Contest (WPP) Nineteen prizewinners discuss their award-winning work.
Alec Soth (A Photo Editor)
Richard Mosse, The Enclave, 2013. Six screen film installation, color infrared film transferred to HD video. Filmed in Eastern Congo. Courtesy of the artist and Jack Shainman Gallery. Photo: Tom Powel Imaging inc.
Richard Mosse (Frieze Vimeo) The Impossible Image | Artist and photographer Richard Mosse reveals the stories behind the making of his latest film, ‘The Enclave’ (2013), in the Democratic Republic of Congo, which will be shown in the Irish Pavilion at this year’s 55th Venice Biennale.
Lauren Greenfield (Rookie magazine) Money Changes Everything: An Interview With Lauren Greenfield
Donna Ferrato (Vogue Italy) “I really believe in the power of photography to change the world. I think without it we would be like cavemen”
Fabio Bucciarelli (Photographic Museum of Humanity)
John G. Morris (Vogue Italy)
Tim Page (Radio Australia) Page on history, photography and the Vietnam War
Thomas Dworzak (Roads and Kingdoms) Dworzak’s Instagram Chapbooks
Saul Leiter (In-Public)
Photojournalists on Covering the War in Iraq (The Leonard Lopate Show / WNYC) audio | Michael Kamber interviewed photojournalists from many leading news organizations to create a comprehensive collection of eyewitness accounts of the Iraq War—Photojournalists on War. He’s joined by photographers Alan Chin and Ashley Gilbertson, who discuss trying to cover the war in Iraq and examine the role of the media and issues of censorship
New booktells ‘untold stories’ from Iraq (MSNBC) Photojournalist Michael Kamber joins MSNBC’s Craig Melvin and fellow photojournalists Carolyn Cole and Ed Kashi to talk about his new book, “The Untold Stories From Iraq: Photojournalists on War”.
Doug Richard (ABC Arts) A New American Picture: Doug Rickard’s Google Street View road-trip
David Guttenfelder (The World) Inside the Hermit Kingdom: David Guttenfelder on Photographing North Korea
Mads Nissen (Panos Social) The Making of Amazonas
Ben Lowy (ABC Arts)
Ben Lowy (MSN Australia) Covering warzones with an iPhone
Kai Löffelbein (Leica blog) A Hidden World in Hong Kong
Tomas van Houtryve (The Story)
Michal Chelbin (The Voice of Russia)
Sue Ogrocki (LightBox) Moments of Hope in Oklahoma: One Photographer’s Story
Paul Hellstern (CNN) Photographer captures snapshots of courage after tornado levels OKC school
Ed Jones (LightBox Tumblr)
Stacy Pearsall (Peach Pit) In the Trenches with Combat Photographer
Katrin Koenning (No Borders Magazine) A sense of belonging
Alonzo J. Adams (LightBox Tumblr)
Laura Pannack (Photo Whoa) Speaking Through Your Photographs & Connecting with Your Viewer
Mikko Takkunen is an associate photo editor at TIME.com
In today’s pictures, a man wears a makeshift gas mask in Istanbul, a girl laughs in a crowd of hand fans in China, people wait to vote in Bhutan, and more.
Joshua Yospyn, a Washington-based photographer, has a knack for capturing the gleefully odd juxtapositions of America's weird cultural and political landscape.