photojournalisme - Tumblr blog

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Children who were participating on the Mayday for food supplies in Japan, photographed by Shigeru Tamura, date unknown

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Untitled by Leo Berne

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Man with Kitten on Christmas Eve, 1975, Markéta Luskačová

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View near Greenwood, Mississippi, by William Eggleston

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Glasgow, 1980, Raymond Depardon

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Night Bus 17, by Dan Sully

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Steelworker with his racing pigeons, Consett, County Durham, UK, 1974. Photo and caption by Don McCullin

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Bathurst Races, 2004

New Year’s Eve, Gunnedah, NSW, 2003

6:00am, New Year’s Morning, Gunnedah, NSW, 2003

Photographs & captions by Trent Parke - influential Australia street photographer. His documentation of Australian culture and energy in his 2003-2004 series ‘Minutes to Midnight’ amounts to an incredible photo series.

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Wings of the Hawk, 42nd Street, New York, 1955.

William Klein

Gelatine Silver Print 24 x 20 in.

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Red Jackson, Harlem, New York, 1948

The first story that Parks proposed to Life magazine was a piece on the gang wars that were consuming Harlem in the late 1940s. The great challenge was to gain to the trust of gang members. Parks found success when he met Red Jackson, a young black man who led a gang known as the Midtowners. Pushing through the aggression and suspicion that at first confronted him, Parks spent a week driving Jackson and his companions around in his Buick Roadmaster (which Jackson loved), learning where turf lines were drawn, weighing the value of honor and loyalty, and discovering the daily reality of death, before asking Jackson if he could use his camera.

Harlem Rooftops, Harlem, New York, 1948

Parks hoped that in bringing Harlem’s brutality to light, he could dispel the danger that threatened its residents, but he wanted to do so without risking his subjects or himself. He succeeded just barely. Parks’ writings from the piece include transcriptions of Jackson’s brutal stories, and an account of how Parks had to run from an attack by the Sabers, a rival gang that had ambushed the funeral of a Midtowner.

Untitled, Harlem, New York, 1948

These Harlem photographs reflect Parks’ complex ambitions. They present young men in quiet, contemplative moments and in the blurred heat of savage brawls. Perhaps the most unforgettable image is from the funeral incident, in which Jackson and Parks, pursued by the Sabers, took refuge on the second floor of an abandoned building. This photograph solidified what would be Parks’ lengthy career at Life.

Red and Herbie Levi at the funeral of Maurice Gaines, Harlem, New York, 1948

All photographs and captions by Gordon Parks, story by Gordon Parks Foundation. Gordon Parks was the first ever African American photographer who worked for Life and Vogue magazine. As a self taught artist he documented Black American history, civil rights, race issues and poverty. Parks passed away in 2009, however his photos are displayed in galleries and museums around the world to this day, his foundation carries on his legacy and has an archive of his artworks.

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Sleeping by the Mississippi

Cemetery, Fountain City, WI, 2002

Photograph & caption by Alex Soth

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Ordinary People

Russia, Saint Petersburg, 12/08/2018. Private party “Infinity” for girls only. This time it was held in the nightclub “Emigrants” in Saint Petersburg. Ksenia Infinity is one of the two persons who organize these parties in Saint Petersburg and Moscow. Infinity parties are held approx two times in a month.

Photograph & Caption by Ksenia Kuleshova.

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Abkhazia

Abkhazia, Sukhum, 25/01/2016. Portrait of hegumen Ignatij, St. John Chrysostom's Monastery in Kamani village.

Photograph & Caption by Ksenia Kuleshova.

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Toy Soldiers (2016-17) photographs & captions by Sarah Blesener

In 2015, a proposed program from the Russian government entitled the “Patriotic Education of Russian Citizens in 2016-2020” called for an eight percent increase in patriotic youth within the next ten years, and a ten percent increase in new recruits for the Russian armed forces.Over 200,000 youth in Russia are currently enrolled in patriotic clubs, with 10,000 in Moscow alone.

While focusing on Russia, the aim of this project is to investigate the ideologies and traditions passed down to younger generations. I had hoped these images would spark conversations about the polarization and nationalist rhetoric that marked the last United States presidential campaign, as well as trends happening globally.

However, they did not. When these photographs were published in 2016, the overwhelming response from the American media and public centered on Russian nationalism and the moral dilemmas surrounding militarization of youth. The most common reaction was that “other people are nationalists, but Americans are simply patriots.”

In light of this frustration, I began to photograph similar themes of patriotic ideology and educational programs across the United States in 2018, in an attempt to discuss these themes on a larger level. The resulting project became Beckon Us From Home. In later publications, these two projects, Toy Soldiers and Beckon Us From Home, have been published together as a single project. When presented as a whole, it can be nearly impossible to distinguish which programs are Russian or American. This approach intentionally causes further confusion about ideological allegiance, patriotism, and nationalism, in an attempt to re-examine our relationship to our beliefs surrounding our own traditions and nations.

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Misrata, Libya, April 20th 2011. A Libyan rebel fighter covers a burning room containing ensconced government loyalist troops who were firing on them during house-to-house fighting on Tripoli Street in downtown Misrata.

Rebel forces assaulted the downtown positions of troops loyal to Libyan strongman Moammar Gaddafi April 20, briefly forcing them back over a key bridge and trapping several in a building that fought back instead of surrendering, firing on the rebels in the building and seriously wounding two of them during the standoff.

Fighting continue between Libyan government forces that have surrounded the city and anti-government rebels ensconced there. Photos by Chris Hondros

On the last day of Hondros’ life, April 20, 2011, he had been spending his time with the rebel fighters resisting the government in Libya. These images are among the last that Hondros ever took. Unfortunately a mortar shell was dropped on him and a group of rebels as they travelled through Misrata. His work is to this day an important showcase of the tragedies in war, his family & friends continue his legacy through a website displaying his life’s work.

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Hanaa waits in her tent to go to work before dawn along with other Syrian refugees from her informal tented settlement in the Bekaa Valley, between the city of Zahle and Baalbak, in Lebanon, August 3, 2015. Hanaa and her family fled Syria in 2011 at the beginning of the Syrian civil war, and moved to this settlement two years ago, along with other Syrian refugees from Hasaka and the surrounding areas. Hanaa and other children in the settlement work for up to ten hours a day in agricultural lands owned by Lebanese in the area, and earn equivalent of $5. Per day. Photographs & captions by Lynsey Addario

Hanaa takes a nap under a mosquito net in her tent.

Hanaa pick cucumbers at dawn with other Syrian Refugees.

Hanaa Abdullah, 12, poses for a portrait.

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Alberto Giacometti, Maeght Gallery, Paris 1961

Gelatin Silver Prints by Henri Cartier-Bresson

The forefathers of their crafts came together for this famous shoot of Giacometti in his studio. Henri Cartier-Bresson is credited as the forefather and creator of street photography and photojournalism. He worked with many artist and fellow photographers, taking candid portraits of them in their natural state.

Giacometti was an influential part of the surrealism, expressionism and cubism movements, his most famous work was his sculpture, however he also painted and made lino prints.

His work was often dark and existential - focusing on the human form in an almost dilapidated state. He uses sculpture to present insecurities and scary human experience in a human form.

Both innovators of their trades, the work that came out of Gaicometti and Cartier-Bresson’s collaboration is almost surreal, it feels like a look into the mind of a troubled artist.