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Mother, father and brothers aged five and seven shot in the head as they returned from Ramadan shopping trip
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Yang Yongliang’s digital Chinese landscapes have redefined traditional landscape paintings, featuring a massive amount of urban images reconstructed, and recomposed. Poetic and quaint as it appears to be when seen from a distance, it unfolds a fable of modern civilization if one takes a closer look. His works have been…
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The collection of photos published in this magazine is a photo-story of personal concerns, documentations and reports made by 14 photographers who live and work in Iran.
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It’s common to hear photojournalists described as the eyes of the world, acting as witnesses to events that we would otherwise not see. To some extent this is true, but it’s a simplified description that suggests passive observation and it denies the greater function of active investigation that defines great…
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Good news, it infuses this issue with a sense of joy, and with an aspect of carefree childhood seized in flight. There is a feeling of solemnity, but a tender solemnity. An innocence that confronts the world, its difficulties and the trials of study, but it is amusing, happy, and…
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The last global farmers shelter in rifts and unreachable ravines enveloped in loneliness huddle on the margins and scraps of earth still damp from warm, organic contact and human touch. Precarious land that is alive because of extreme poverty.
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You are only dust amidst dust. You are only just visible even if you gesticulate, even if you make a commotion, even if you speak loud and clearly: you act in a silent film. Or rather: one hears nothing that you would like because…
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The photos in this volume are personal records of events that have taken place in the physical world. They are about discovery, not creation; about finding out, not inventing – for other people to see how the photographer has framed what he has witnessed. These photos are meant to educate…
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Even though it has been only about 10 years since photography was included in art in Korea, photography is becoming the very basics and center of the whole art field as it goes through amazing changes.
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As unique and special the scenes are that the photographers for this issue have chosen to focus on, the similarities (what we have in common, what we share) that can be found around the globe are striking.
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In contemporary China, uncertainty about what is “true” and what is “false”, “reality” and “appearance”, extends from the realm of photography to that of existence itself. We often feel that we are confronted with such an illusory, ambiguous, unexpected “reality” as to lead us to doubt not just our perceptions,…
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Such photographs are there not to gratify a curiosity, but are made in response to a feeling: it is not only the landscape we see, even if it takes solid form, and darkens or brightens in certain frames, or is transformed by the space under changing skies…
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The pictures of this issue show economic inequalities as they are today in a way which breaks the stupor of indifference generated by watching antiseptic clean TV programmes of the main news channels.
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Documenters in Israel and Palestine: Arabs, Jews and foreign photographers, participate in an active search for genuine circumstances of manifestations of the psychic, body and territory that represent a local third space condition. The means of communication embody these Meta Space qualities by dissolving territorial partitions and borders. World wide…
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For more than 10 years, Galerie VU’ has been promoting photographers of various ages, nationalities and inspirations. This issue of private magazine, which is dedicated to them, proves it.
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Our planet is in crisis; a crisis captured through this collection of photo essays taken by world-class photographers. It tells a story of environmental degradation and gives a voice to some of the forgotten peoples who are paying the price. This issue of PRIVATE takes us on a journey across…
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The goal of the photo agency Noor is to produce, publish, and exhibit long term visual projects on topics of human concerns to a broad international audience while maintaining the dignity of the subjects.
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Whenever people talk about ‘Indian photography’ it obviously leads to a debate and discussion about how appropriate it is to term it as ‘Indian photography’ rather than ‘photography in India’. The question is: to what extent has photography in India been Indianized?
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The photographers of this volume report the world as they have researched, investigated, explored, experienced and discovered it, and decided to tell us about.
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What is the state of Polish photography after 2000 then? This is a difficult question: today there seems to be a lack of meaningful currents and trends, and lots of authors borrow from other countries.