Tag Archives: New Images

Stan Douglas Named the Recipient of ICP’s Infinity Award for Art

Stan Douglas has been named the recipient of the prestigious Infinity Award for Art by the International Center of Photography. Tonight, he will be presented the award at a ceremony in New York City. Douglas works in various media including video, installation and photography. Here, Lightbox visits highlights of three projects from the artist’s prolific photographic endeavors.

What is real? What is unreal? In a world where reality and history can be recreated and manipulated to appear authentic in a photograph, it is imperative that we ask these questions. We, as a society inundated with visual culture, are trained to ponder the truth and meaning behind what we see—but what if a photograph was created to question reality? To question history? Stan Douglas creates images that catalyze critical analysis and force their viewers to revisit the scenes they depict. Douglas, in creating new images of scenes in history, ponders the truth within the medium of photography and the sociological issues that lie in the passages and stories illustrated in his photographs.

Based in Vancouver, Canada, Douglas approaches each image with epic, Hollywood-level production—tapping into his history as a maker of films and video. Demanding the most active viewer who questions, challenges and investigates all that he or she sees, each image is created to excruciating detail.

Linda Chinfen; Courtesy the artist

A production photograph depicting the lighting and building of the set of Abbott & Cordova, 7 August 1971, 2008.

Courtesy the artist

A 3-dimentional rendering Abbott & Cordova, 7 August 1971, 2008.

In producing Abbott & Cordova, 7 August 1971, 2008 (slide #4), Douglas built a set to recreate a scene of the actual intersection in Vancouver. The placement of the actors in the image was pre-envisioned in three-dimensional renderings to anticipate the actual photograph. Not one detail was left unnoticed—down to the products in the dressings of the windows and the scraps of paper that lie on the streets. The mural-sized image, which was composited from 50 different images from the same shoot, is one of four in his series Crowds & Riots. All the images in the series are large scale tableaux depicting vignettes from Vancouver’s history—reflecting on matters of the police, class and social order.

Gjon Mili / Time & Life Pictures / Getty Images

Multiple exposure stroboscopic shot of actress and dancer Betty Bruce doing a routine for Broadway show High Kickers

In his series, Midcentury Studio, Douglas took on the identity of a photojournalist working between 1945 to 1951 (a selection of this work is represented by slides #6 – #9 in the gallery above). Inspired by imagery from this time, Douglas created images that discuss the decisive moment in photography—as Henri Cartier-Bresson explained, the exact moment that the photographer makes the photograph by firing the shutter of the camera—that very moment which is creative. Unfolding on Cartier-Bresson’s expression, Douglas constructed and carefully created these scenes to capture this experience and illustrate the scrupulous amount of information and action that lies in each frame of a photograph. In Dancer II, 1950, 2010, Douglas created an image similar to one from our own archive shot by famed photographer Gjon Mili for LIFE Magazine.

In Douglas’s most recent series, Disco Angola, most recently shown at David Zwirner Gallery in New York City in April, he once again approaches the identity of a photojournalist. This time, he is one who travels between New York City and Angola in the 1970s. Each image in the series utilizes the nature of body language as insight into the historical moment—from the pensive waiting of the Portugese colonialist awaiting evcuation (Exodus, 1975, 2012), to the interracial-intercultural array of dancing people (Club Versailles, 1974, 2012), to the group of rebel fighters performing capoeira, the Brazilian martial art that originated in Angola (Capoeira, 1974, 2012). Disco, a source of escapism for New Yorkers from the nearly bankrupt city at the time, traces its roots to Africa. Connecting these two seemingly disparate places, separated by thousands of miles of ocean and cultural-political borders, Douglas traces subtle parallels between New York’s struggles and the emerging Angolan liberation fight for independence from Portugal—one which would ultimately lead to a decades-long civil war.

Douglas’s series Midcentury Studio is currently on view at Victoria Miro Gallery in London through May 26, 2012. More information about the Infinity Awards can be found here.

Works on Paper by Ina Jang

During her last year of college at the School of Visual Arts in New York City, photographer Ina Jang began weaving paper cutouts into her images as a way of problem solving. “I started it because I was struggling to make images at the time,” the Brooklyn-based photographer says. “I was forcing myself to like everything—from the people I was working with to locations where I was shooting, so I started getting rid of the elements I didn’t like in the picture.”

Among her inspirations is Martin Margiela, a notoriously private fashion designer who avoids being photographed. “I admire how he visually deconstructed the language of fashion,” says Jang, who wanted to create her own language through the series featured here. “I liked the idea of using optical illusion and the two-dimensional quality of photography. I always go back and forth in experimenting with the combination of analog and digital manipulation in photographs. While working on the series, I enjoyed making images that allowed me to explore both approaches to photography. Additionally, having an anonymous character in the images have given me more freedom to relate myself to them. I wanted the images to effortlessly create its own language.”

From portraits to still-lifes, Jang covered up faces, shapes and spaces that she didn’t like and used paper to make new images. “I started with white space and filled it with stuff I like, such as painting or illustration,” she says. Jang graduated in 2010 with a B.F.A in photography, and though she’s no longer working on this particular series, Jang says she’ll continue incorporating layers into her photographs. Some of her new work is included in the gallery above, and her more recent work with paper cut-outs will be exhibited at the Hyères Festival of Fashion & Photography beginning April 27 in Hyères, France. “I’m still really into shapes and cutouts and collages,” she says. “So I think you’ll always see part of that in my work.”

Ina Jang is a Brooklyn-based photographer. Read more about her here. Her work will be exhibited at Christophe Guye Galerie in Zurich March 29 through June 2 and at the Hyères Festival beginning April 27.

Utopia/Dystopia: Construction and Destruction in Photography and Collage

Since the late 19th century, photographers have honed their craft to expose social and political truths existing in their surroundings. The use of collage has expanded on this exploration by allowing artists to reconfigure, cut and fragment photos to create entirely new images and conversations

Utopia/Dystopia: Construction and Destruction in Photography and Collage, a new exhibition at the Museum of Fine Arts in Houston (MFAH), features 150 years of collage, as well as photomontages and moving images, to present “alternative realities” of utopia or dystopia.

The exhibit has more than 100 works, from as early as the 1860s to the present, with origins spanning Asia, Africa, the Americas and Europe. The show is organized around three themes: urban visions, figure construction and the quest for a utopian world, and contains pieces drawn from four museums and private holdings.

Utopia/Dystopia is the brainchild of MFAH associate photography curator, Yasufumi Nakamori. “In breaking and reassembling found images to create a new vision, artists have found collage and montage ideal for expressing utopian dreams and dystopian anxieties,” said Nakamori. Featured artists include El Lissitzky, Okanoue Toshiko, Herbert Bayer, Matthew Buckingham, Tom Thayer, among others, and although their work stems from different artistic movements—from Dada to Constructivism—all the artists embrace the compelling process of photography construction and destruction.

Utopia/Dystopia will be on display through June 10 as part of the FotoFest 2012 Biennial, the largest international photography festival in the U.S. 

Lost and Found

It will soon be the first anniversary of the huge earthquake and tsunami that devastated Japan’s Tohoku region. Hundreds of thousands of images have been taken since the disaster and most of these naturally focus on documenting the scale of the devastation. In my view, little interesting work that goes beyond straightforward visual description has emerged as yet. One of the strongest projects started up immediately in the aftermath of the disaster when the photographer Aichi Hirano decided to distribute disposable cameras to the people in the shelters in the devastated region. He retrieved the cameras, developed the film and published the results at www.rolls7.com. I have written about the Rolls Tohoku project before on the blog and Hirano has continued to add new images to the Rolls website since then.

This week, I discovered another project which is a fascinating companion to Rolls Tohoku. The Memory Salvage Project was started two months after the earthquake by a team of young researchers from The Japan Society for Socio-Information Studies who felt the need to return the photographs which were swept by the tsunami to their owners. A group was set up to gather photographs that were retrieved after the tsunami, to clean them, digitize them, and to attempt to return them to their owners. This could seem like a herculean and perhaps misplaced undertaking given the scale of the problems that people face in the affected areas, but I think it is a wonderful reminder of what photographs can mean to people and how closely they are linked to our memories.

An exhibition of some of the retrieved images took place at Akaaka’s gallery in Tokyo earlier this year and, for any readers in Los Angeles, a second exhibition at Hiroshi Watanabe’s studio is taking place from 8-25 March. Details are on the Lost & Found website.


No related posts.

Review: The Japan Series by Andres Gefeller


Andreas Gefeller has been well known for meticulously constructed images of the surfaces we walk on. For each of those images, he walks around with a digital cameras elevated with some contraption, taking the many source images that are then assembled on a computer. The results, visual surveys of small pieces of our world, often are startling and strange (see my review of a book filled with such images). Of course, I’ve been wondering where he would go from there, hoping he wouldn’t turn what has been very successful into something that would merely become a shtick (as the person not producing those images, of course, it’s easy for me to say that). (more)

Now we know: Instead of looking down, he started to look up. To be more precise, during a visit to Japan, Gefeller noticed the ubiquitous power and telephone lines, and he started to produce images of those. There’s one thing missing in the final images: The poles that hold those cables and boxes up. The absence of those poles immediately transforms the results into something as alien as Gefeller’s earlier images: Something is very familiar, yet it looks very strange.

Make no mistake, photographs of power lines have been taken before, by many different photographers (even I have a set of negatives floating around somewhere…). But Gefeller manages to take things to a different level. These new images have now been published as The Japan Series.

I imagine it must have been a huge temptation to produce a very glossy, shiny book of those electrical contraptions. It’s technology, after all, and we like our technology shiny and glossy. But the book is the complete opposite, using a thick cardboard for the covers and matte paper for the contents. It’s very interesting how this does yet another transformation, because the feel of the book is almost organic. Almost.

But just that fact that it’s not a shiny book gives the work such a different, other dimension. At times it even makes you forget a little that you are looking at photography. Of course, that is one of those crucial ingredients in photobook making: Knowing that even seemingly small choices can make a big difference.

The Japan Series, photographs by Andreas Gefeller, essays by Celina Lunsford, Christoph Schaden, 80 pages, Hatje Cantz, 2011

Abadzic, Carrillo, Vassilev Show Press Release

For images, please check out our website and the exhibitions page.

VERVE Gallery of Photography Presents


Opening Reception: Friday, April 15, 2011, 5-7pm
Exhibition is on view Friday, April 8 – through Saturday, June 16, 2011

Conversation with Jacko Vassilev
Saturday, April 16, 2011, 2pm
Location: VERVE Gallery of Photography

VERVE Gallery of Photography is pleased to present work by Eastern Europeans Stanko Abadžic and Jacko Vassilev, both of whom have worked documenting their respective cultures in stunning black and white, gelatin silver prints. Croatian born Stanko Abadžic’s second exhibition at VERVE debuts his playful new work from Berlin, Paris and Croatia. Bulgarian artist Jacko Vassilev brings to Santa Fe, for the first time, the renowned series that documented his Bulgarian culture from 1971 until 1993, when the country was under communist totalitarianism. Lastly, VERVE will be presenting newly acquired work by the only non-contemporary artist in our stable, Manuel Carrillo (1906-1989) from Mexico City.

The public reception for this exhibition takes place on Friday, April 15, 2011 from 5-7pm. There will be a conversation with Jacko Vassilev about his work at VERVE Gallery on Saturday, April 16 from 2-3pm.

The exhibition is on view from Friday, April 8, 2011 through Saturday, June 16, 2011.


Stanko Abadžic brings us new images from Berlin, Paris and Croatia. Croatian-born Abadžic is a street photographer known for irony, humor and satire in his juxtapositions. This new work continues this winning formula.

Abadžic’s work is characterized by strong contrasts of light and dark, an interest in patterns and geometric forms created by long shadows, brick or cobblestone streets, intricate ironwork designs, fences, and other grid-like elements. He seeks out children playing, people on bicycles or lingering at street cafes, and has an eye for irony. There is a strong sense of nostalgia and transience running through his work, due, no doubt, to his experiences as a displaced person.

Stanko Abadžic was born in 1952 in Vukovar, Croatia. At the age of 15 he began teaching himself photography. After marriage, he worked as a reporter and photojournalist to support his family. When the Croatian War of Independence broke out in 1991, Abadžic left everything and fled with his family to Germany for what he hoped would be a brief stay. After four difficult years, during which he took few photographs, Stanko and his family were denied German citizenship and forced to leave. He moved to Prague. Abadžic’s move brought with it a rebirth as he began a new series of photographs with a medium-format camera. With this new camera, he began to develop his visual eye in earnest.

Abadžic was able to return with his family to Croatia in 2002, settling in the capital of Zagreb. He continues to photograph in Prague and also shoots along the Adriatic. Abadžic has had solo exhibitions at the Museum of Modern Art Dubrovnik, Museum of Modern Art Rijeka, Mimara Museum in Zagreb, and various galleries in Japan, Argentina Prague, Berlin, and other Eastern European cities. He is represented in the United States by John Cleary (Houston, TX), Verve Gallery (Santa Fe, NM) and Contemporary Works (Pennsylvania).


Jacko Vassilev’s work gives us a compelling look at peasant life in the Bulgarian countryside during the communist regime (1971 to 1993). His images communicate to us the strength of the human spirit that endures in meager living conditions and during political oppression.

His portraits of fellow Bulgarians presents us with a full spectrum of human emotion and culture, from heartbreak to joy. Vassilev captures, with sensitivity and respect, the tumultuous history and political struggles of his people. His images of everyday people and everyday life in provincial towns throughout the rural countryside are a journey back into time.

“I really wanted to preserve all we have in Bulgaria, especially the big army of the old generation. Those people have something that the young generation does not have. Their spirit I have seen in their eyes, in their hands, and on their faces. The grand and endless expressions on their faces are so natural, so real – sometime I wish my photography could have smell and sound. At least it is something that will remain for future generations. That is why I photograph man.” – Jacko Vassilev

When Jacko was photographing this project, his darkroom was raided. He was accused by the regime of presenting the “bad” side of Bulgaria. Of this, he says, “Photography is a big art, and no one, no regimes, no party can stop the creation of it. I was keeping all my negatives and black and white art prints hidden, hoping one day my son or his children will be able to bring them out of secrecy. How blessed I am, that I have survived and I am able to show them in person. No more arrests for photographing my people, no more destroyed films and broken cameras. Today I am living in my dreams. I AM A FREE MAN. I can speak free without censoring my political vocabulary; I can travel anywhere I would like…and I am having friends from all over the world!”

Vassilev holds a Diploma from the Bulgarian Ministry of Education’s Julius Fuchik Technical School for Polygraphy & Photography. He was awarded a Diploma of Art Photography from the Ministry of Culture and the Bulgarian Photography Society in 1990. Jacko Vassilev’s photographs are included in the permanent public art collections of the International Center for Photography in New York City, and the European Center of Photography in Paris. Other prestigious museum, private and corporate collections that hold his work include: The Harry Ransom Humanities Research Center in Austin, Texas; The Museum of Fine Arts in Houston, Texas; The Minneapolis Institute of Arts in Minneapolis, Minnesota; The Huntsville Museum of Art in Huntsville, Alabama; and The Bayly Art Museum in Charlottesville, Virginia. Vassilev has had numerous solo and group exhibitions throughout the world including Yugoslavia, England, Germany, Brazil, Czechoslovakia, Venezuela, Italy, Bulgaria, Poland, Belgium, Hungary, Australia, Estonia, France, Rumania, Canada, Holland and the United States. Vassilev’s work has been written about extensively in art and photography publications worldwide. He has published a book of his photographs entitled Bulgarians, 1994 by Contrejour Publishers in Paris.


This exhibition of Manuel Carrillo, a legendary 20th Century Mexican photographer, includes newly acquired images shown for the first time. This body of work consists of Carrillo’s historic photographic masterpieces of Mexican culture in the period between 1950 and 1970. Images in this exhibition include explorations of daily life in central and coastal Mexico that include portraits of children, laborers, fishermen, and farmers.

Manuel Carrillo’s work was inspired by the American Modernist artists of his time, such as Edward Weston, Edward Steichen, Paul Strand and others that informed the aesthetics and politics of his photographic work.

“Manuel Carrillo’s relationship to his subject matter is a position based on his own cultural identity as a Mexican by birth and an American by processes of binational crossings that led to his induction as an honorary citizen of El Paso, Texas in 1980 by the Photographic Society of America. This position allowed him to move in and out of fixed constructs of identity that may have otherwise limited his visual interpretations.” [1]

Carrillo’s compassion, sensitivity and his understanding of a universal connection to the shared human experience produced stunning, poetic images of the Mexican culture that he passionately identified with as his own. “Mi Pueblo”(My People), depicting daily life in rural Mexico, was the title of his first international exhibition held in 1960 in Chicago.

Born in Mexico City in 1906, Manuel Carrillo’s destiny as interpreter of his own people would not be revealed until almost half a century later. At the age of 16, in 1922 Carrillo left Mexico for New York where he pursued several odd jobs before becoming an Arthur Murray waltz and tango champion. During this period in New York, he settled down to work for the Wall Street firm of Neuss Hesslein and Co., but in 1930 he returned to his beloved Mexico. There he began working for one of the pioneers of the Mexican tourist industry Albert L. Bravo. Carrillo later abandoned that position to become the general agent for the Illinois Central Railroad’s office in Mexico City, where he stayed for thirty-six years, until his retirement. At the age of 49, he joined the Club Fotografico de Mexico and the Photographic Society of America, thus launching his career in Photography. His first international exhibition, titled, “Mi Pueblo” (“My People”), was held in 1960 at the Chicago Public Library and depicted daily life in rural Mexico. Since 1975, Carrillo’s work has been seen in 209 individual exhibitions and 27 group exhibits in Mexico, the United States and around the world. His work has been published in a variety of photographic anthologies and journals. Carrillo died in Mexico City in 1989 at the age of 83. His archives are held at the University of Texas at El Paso’s Library.

[1] Revealing Personal Identity: The Indigenous Vision of Manuel Carrillo, 2003 (Writings from exhibition with Special Collections Department of the University of Texas at El Paso Library and the Smithsonian Center for Latino Initiatives.

Email: [email protected]
Phone: (Croatia) + 385 98 923 2530

Email: [email protected]
Phone: 323-376-0121

Jennifer Schlesinger, Director
219 E. Marcy Street, Santa Fe, NM 87501
Email: [email protected]
Phone: 505-982-5009 Fax: 505-982-9111

Life Support Japan – Photography Fundraiser

Photography documents historical events but now it can offer tangible action to heal the devastating earthquakes and tsunamis that have occurred in Japan last Friday, March 11th, 2011.

Aline Smith of Lenscratch teamed up with The Jennifer Schwartz Gallery in Atlanta and the Wallspace Gallery in Santa Barbara to auction off limited edition prints (at the quantity of 10 each) priced at $50.  Photographers from around the world have donated their prints and all the proceeds will go to Direct Relief International and Habitat for Humanity in aid of Japan’s recovery.

When natural disasters hit, humanity finds its way to recover by helping each other.  The online auction can be found at Wallspace Gallery.   While some editions are sold out, there are new images constantly updated.

Jennifer Schwartz Gallery in Atlanta, GA will host a silent auction on March 19th, 2011 from 11am-5pm during the Westside Arts District monthy Art Stroll.  Winning bidders will be notified at 6pm on March 19th.  Bids will be taken at the gallery and also by absentee bidding.  Absentee bids can be sent to [email protected] from 11am-5pm (Eastern Standard Time).

Help spread the word during a time of need.

Saturday 5 February 2011

It’s all Egypt again, to start-off with…

Some of the best photos I’ve seen from Tahrir Square…

Features and Essays – Yuri Kozyrev: The Battle for Tahrir Square (TIME: February 2011)

Features and Essays – NYT (various photographers): From the Protests in Egypt (NYT: February 2011)

Features and Essays – Jacopo Quaranta: A Night in Tahrir Square (TIME February 2011)

TIME has also updated Dominic Nahr’s gallery I posted on Tuesday, with some new images..

Features and Essays – Dominic Nahr: The Clashes in Cairo (TIME: February 2011)

Features and Essays – Guy Martin: Clashes in Cairo (WSJ: February 2011)

It’s not surprising photographers are moving in small packs in conditions as in Cairo during this week and end up with similar photographs. It does however give an interesting opportunity to compare, how two photographers see and capture identical scenes….As pointed out by @melissalyttle, Dominic Nahr and Guy Martin for instance seem to have moved together as both of the two slideshows above include several photographs that have been taken as if the two men have been standing, in Lyttle’s words, “shoulder to shoulder”….See for yourself in the below examples…I find especially the first example striking… The two photographs are pretty much identical…only slight differences in contrast and saturation…About the photo of the man wiping blood off his head, I’m almost 100% certain we are looking at the same man, despite the fact his jacket does look different colour…this might be due to post processing… I’m pretty sure the wall is the same, and its colour is slightly different as well in the two photograps…

Dominic Nahr for TIME:

Guy Martin for Wall Street Journal:

Egypt in New Yorker Photo Booth…

Features and Essays – Kate Brooks: Postcard from Tahrir Square (New Yorker: February 2011)

Features and Essays – Joao Pina: Postcard form Tahrir Square (New Yorker: February 2011)

Features and Essays – Nadia Shira Cohen: Postcard from Tahrir Square (New Yorker: February 2011)

Features and Essays – Ron Haviv: Egypt (VII: February 2011)

From LA Times…

Features and Essays – Caroly Cole: Egypt (LA Times: February 2011) audio slideshow

Features and Essays – LA Times (Carolyn Cole and Michael Robinson Chavez): Protests in Egypt (LA Times: February 2011)

Features and Essays – Sean Smith: Egypt protests: events in Tahrir Square (Guardian: February 2011) Another Guardian gallery by various photographers

Great photos by Ivor Prickett on the Panos site…and it’s not 6×6…

Features and Essays – Ivor Prickett: Days of Anger (Panos: February 2011)

Features and Essays – Jason Larkin: Cairo’s Ornate (or Odd) Portals to the Past (NYT Lens: February 2011)

The harrasment of journalists and photographers has been worrying…

Articles – NYT Lens: Even the Middle Ground Is Perilous in Cairo (NYT Lens: February 2011)

Articles – PDN: Photographers Beaten, Robbed as Pro-Mubarak Gangs Turn on Press (PDN: February 2011)

Articles – MSNBC: Hotel staff take photojournalists’ cameras in Cairo (MSNBC: February 2011)

Interviews Chris Hondros interview regarding the madness in Tahrir Square in Egypt (BagNewsNotes: February 2011)

Interviews Magnum photographer Peter Van Agtmael tells of ordeal in Cairo’s streets (BJP: February 2011)

Interviews – Ron Haviv : Mob mentality creates dangerous conditions for protesters and journalists (MSNBC: February 2011)

Articles – Andrew Burton: Account of an Attack (Photographer’s blog: February 2011)

This is from week ago…

InterviewsScott Nelson (NYT Lens: February 2011)

NewsABCNews ongoing list of journalists arrested/injured/attacked/threatened in Cairo

I wondered how they all filed during the internet shut down..

Articles – PDN: From Egypt, Photographers Persisted in Filing Photos (PDN: February 2011)

Elsewhere in North Africa…

Features and Essays – Christian Als: Postcard from Algeria (New Yorker: February 2011)

Something completely different…

Features and Essays – Piotr Malecki: The Knacker’s Yard (Panos: February 2011)

Features and Essays – Alvaro Ybarra Zavala: Silent Murmur (Photographer’s website: 2011)

Features and Essays – Gerd Ludwig: Chernobyl (Huffington Post: February 2011)

Features and Essays – Jerome Sessini: Referendum in Southern Sudan (Reportage: February 2011)

Features and Essays – Tomas Lekfeldt: AfriChina (Moment Archive: 2011)

Features and Essays – David Moore: Inside London’s Secret Crisis-Command Bunker (Wired: February 2011)

MoviesHow to Make a Book With Steidl

Books – A Million Shillings – Escape from Somalia by Alixandra Fazzina is voted number 10 in a list of Amazon’s bestsellers in photojournalism

Awards Sony World Photography Awards Finalists and Shortlisted (SWPA)

Awards – Announcement for female documentary photographers: The 2011 Inge Morath Award is now open for submissions

World Press Photo judging…

InterviewsDavid Burnett, Vince Aletti, Ruth Eichhorn and Heinz Kluetmeier : WPP judges (World Press Photo: February 2011)

Another great blog post by Burnett…A must read!

Articles – David Burnett: To Photography and To Photographers (Photographer’s blog: February 2011)

Anastasia is everywhere…and to my surprise it’s not 6×6 this time…

Articles – Verve: Anastasia Taylor-Lind (Verve: February 2011)

I heard by the way, that her Gaza Zoo feature is published in today’s Telegraph Magazine, if you are interested…

[NB. the below link did work when I was doing this post, but not when I later checked. Fingers crossed it’s OK, again]

Articles – BJP: French retail chain offers three photojournalism grants (BJP: February 2011) FNAC, a French entertainment retail chain, has unveiled the recipients of its inaugural photojournalism grants with photographers Jan Banning, Cedric Gerbehaye and Anastasia Taylor-Lind each receiving €8000

Articles – BJP: New World Order : Images from the frontline of the recession by Christian Lutz, Marchand & Meffre, Ian Teh, etc (BJP: February 2011)

Articles / Tutorials – Joyel L: How to find a fixer (Photographer’s blog: February 2011)

Articles / Tutorials – Assignment Chicago: Two Essential Ingredients of Contest-Winning Photos (Chicago Tribune: February 2011)

Articles / Tutorials – Reuters: Want to know how to cover street protests? Here’s some useful photo tips and what to look out for (Reuters: February 2011)

A must read….

Articles – Justin Mott: Now What? Vol. 1: Why Being Busy Can Mean Being Broke (Photographer’s blog: February 2011)

Articles – Chip Litherland: i’ll just shoot some weddings (Photographer’s blog: February 2011)

Articles – Guardian: Featured photojournalist: Alexandre Meneghini (Guardian: February 2011)

AgenciesMagnum Photos February 2011 Newsletter

Multimedia New issue of 1000 Words Magazine is out

MultimediaEverybody Street

Articles / Interviews Misha Erwitt : The Woman in the ‘Family of Man’ Family (NYT Lens: February 2011)

Twitter accounts I’ve just started following…

Twitter David Guttenfelder

TwitterScott Nelson

Twitter Kevin German

Twitter David Walter Banks


TwitterShit Photojournalists Like

Twitter David Axelbank

JobsPanos seeks multi-media intern

Books – Phil Coomes: 64×64: Farewell to Kodachrome (Blurb)

WorkshopsWorkshop in Slovenia with Antonin Kratochvil and Marcus Bleasdale : March 2011 : Slovenia

To finish off, again, a joke: “Conan O’Brian’s advice to Egypt: “If you want people to stay at home and do nothing, you should turn the internet back on.”

As for me, I’m now going to turn off this computer and go cycling on the Brighton seafront. Even if it rains. Have a good weekend everybody.