Syrian Torture Archive: When Photographs of Atrocities Don’t Shock (Time, 2014)
During the last century, photographs of mass murder in Nazi Germany, Argentina, Cambodia, Rwanda, and the former Yugoslavia seared the civilized conscience with their revelations of barbarity.
Interview: Can Photojournalism Survive in the Instagram Era? (Mother Jones, 2013)
In late May, the Chicago Sun-Times took the unprecedented move of gutting its photography department by laying off 28 full-time employees, including John H. White, a 35-year veteran who had won the paper a Pulitzer.
What a Photograph Can Accomplish: Bending the Frame by Fred Ritchin (Time, 2013)
What do we want from our media revolution? Not just where is it bringing us—but where do we want to go? When the pixels settle, where do we think we should be in relationship to media—as producers, subjects, viewers? Since all media inevitably change us, how do we want to be changed?
Of Them, And Us (Aperture, 2013)
War photography, at least the imagery that has been made for public consumption, has long distinguished itself, as has much of journalism, by focusing on ‘them’ instead of a more familial ‘us.’
Light Fades (Aperture, 2012)
Photography, the thinking goes, is done in the present to be seen as the past. But there are other thoughts as well…
The Camera is Not a Machine Gun (Design Observer, 2009)
For most of David Goldblatt’s career, which began in the early 1960s, nearly everything that he saw was contextualized by the distorting prism of apartheid. The ownership and use of land, as well as housing, jobs, marriage, schooling and countless other facets of everyday life, were all powerfully linked to the color of one’s skin…
Leaving Kansas (Apterture, 2008)
There are many ways to trace the origins of “Second Life,” a virtual world constructed from bits that mirrors, amplifies and contradicts our own…
Cathe (PixelPress, 2006)
She was thin, painfully so, someone who had trouble crossing a New York City street in the wind carrying her thin black portfolio case that acted like a sail blowing her the wrong way…
1968: The Unbearable Relevance of Photography (Aperture, 2003)
Thirty-five years ago, protest was in the air and on the streets. But unlike today, the photographer was essential to the depiction and interpretation of the turmoil that swirled about…
Evelyn Hoyfer’s Portrait of Moshe Dayan (The New York Times Magazine, 1996)
As a picture editor the idea is not to illustrate stories, confirming what the text says. The idea is to have other opinions, other points of view on a situation, a person…