In the continued blurring of borders between the art world and photojournalism an innovative project has sprung to life on the shores of Tate Britain. As newsworthy photographs from around the world roll in a computer brain mines its gallery archives looking for similarities. The resulting matches can be beautiful…
The British have had their fair share of shocks and surprises over recent weeks. If Brexit and its subsequent resignation spree weren’t enough, this incredible photograph captured by press photographer Peter Macdiarmid of a levitating prime minister will finally convince us the UK has lost its feet.
Of course Mr Cameron isn’t really levitating. Instead, and much to our relief it quickly becomes apparent that a common photography quirk is at play whereby an optical illusion between Cameron’s right Continue reading →
I remember when John Stanmeyer’s photograph was unveiled as the World Press Photo of the Year award in 2014. There was the usual controversy but, uncommonly it was understood immediately by most. The importance and prevalence of mobile phones in society was all the explanation a casual viewer needed. Beyond that it was perhaps seen as something quite comical by mimicking an experience anyone with bad cell reception has had.
The filmmakers behind Photo Wings caught up with Stanmeyer to find out the story behind the image in this lovely short film:
“Longtime National Geographic photojournalist John Stanmeyer shares the poignant story behind his World Press Photo of the Year winning image, “Signal.” John touches on the value of “getting lost” as a part of his process, the importance of communication, and the distances people will travel in pursuit of hope and opportunity.”
As Stanmeyer explains the people in the image holding their phones aloft are doing something called “catching” where they try to catch a signal from neighbouring Somalia where cell networks are among the cheapest in the world. Those lucky enough to manage it are able to Skype and phone their loved ones back home at a far cheaper cost.
How would you fare if a news publication offered you to “name your price” for a photograph from your archive that you knew was likely to be taken out of context? That’s exactly the conundrum photographer Samuel Hardy was faced with last Saturday when approached about a photograph he’d taken of Jeremy Corbyn at a pro-Palestine march in 2012.
For those that haven’t been following recent events in the UK, left wing veteran Continue reading →