November 1, 2025
Showing posts with label photojournalism. Show all posts
Showing posts with label photojournalism. Show all posts
Saturday, November 1, 2025
Inside NPPA’s fight for the future of photojournalism
Wednesday, October 29, 2025
How two photojournalists are dealing with the trauma of documenting immigrant detentions at Federal Plaza
October 28, 2025
ICE in courts: How two photojournalists are dealing with the trauma of documenting immigrant detentions at Federal Plaza
Almost every day for five months, photojournalists David Dee Delgado and Carol Guzy have entered 26 Federal Plaza with cameras in hand, ready to capture what many are calling one of the most startling stories of this century: ICE detainments inside the immigration court.
Guzy, 69, and Delgado, 49, have walked the hallways of 26 Federal Plaza, working alongside amNewYork and other outlets to document masked federal agents arresting immigrants who attended legally mandated court hearings. With Delgado on assignment for Reuters, a photo agency, and Guzy performing a long-term photo project, both shutterbugs knew that the proliferation and escalation of President Trump’s immigration enforcement crackdown was going to be a vital story to tell. - click for full article
"Guzy, a multi-time Pulitzer Prize winner, has covered war zones, the toll of gun violence, and much more, yet says covering ICE arrests has affected her unlike anything else in her long career."
"I know down the line, I’m pretty sure this is gonna come out in some type of f**ked up way. I’m probably gonna need therapy, but, yeah, but at this moment, you know, I just go through the motions,” Delgado said."
Wednesday, October 22, 2025
Work In Progress Podcast Conversations With Creators Features Ed Kashi
October 22, 2025
WORK IN PROGRESS: CONVERSATIONS WITH CREATORS is a monthly arts podcast with Albuquerque Journal writer Logan Royce Beitmen. Logan talks to visual artists, musicians, filmmakers, and others about their current projects, getting inside the minds of creators and exploring their creative processes.
WORK IN PROGRESS: Conversations with Creators | Podcast on Spotify
WORK IN PROGRESS: Conversations with Creators Podcast on Apple
View the exhibition Ed Kashi A Period In Time here
Sunday, October 19, 2025
Photojournalist Ed Kashi on his career-spanning exhibition at Monroe Gallery
October 19, 2025
Ed Kashi
In a Turkish terrorist court in Diyarbakir, this Kurdish woman was sentenced to 13 years in prison, accused of belonging to the Kurdistan Workers Party, or PKK, which seeks to create an independent state in southeastern Turkey, 2006
Even people who don’t know Ed Kashi’s name are often familiar with his photographs. Over the course of his nearly 50-year career, the award-winning photojournalist has created memorable long-form photo-essays for National Geographic, and his work has been published in Time, Newsweek and The New York Times. The World Photography Organisation has called him “one of the leading and most innovative photojournalists of our time.”
Kashi’s current, career-spanning exhibition at Monroe Gallery of Photography in Santa Fe, “Ed Kashi: A Period in Time,” is also the title of his most recent book. The exhibition runs through Nov. 16.
Known for documenting some of the world’s most challenging social and geopolitical issues, Kashi’s subjects have ranged from Protestants in Northern Ireland during the time of the Troubles to oil workers in the Niger Delta to America’s rapidly aging population.
Ed Kashi
A worker subcontracted by Shell Oil Company cleans up an oil spill from a well owned by Shell that had been left abandoned for over 25 years, 2004
“One of the many reasons that I feel so fortunate that I’ve been able to have a long career in this field is that I get to really go deep with issues and subjects that I come to truly care about and that I think that are important,” Kashi said.
One thing that sets Kashi apart from more events-driven news photographers is the length of time he spends with his subjects. He often embeds himself with the groups he’s documenting for months on end, returning year after year for decades-long projects.
“I often say I’m as much of an anthropologist as I am a journalist,” Kashi said. “While many of my projects have a journalistic edge, or they’re topical — like oil in Nigeria or Jewish settlers in the West Bank — I’m not a great news photographer, and frankly, I don’t like working in situations where there’s a lot of other media around. It always feels intrusive to me, and it makes me uncomfortable.
“I much prefer to work where my subjects, or collaborators, as I like to call them, are my own, and I’m able to develop a direct relationship,” he said.
One of Kashi’s longest-running photojournalism projects centered on the Kurdish diaspora. He began photographing the Kurds for National Geographic in 1991 — his first major project for the magazine — and kept returning to the subject for the next three decades.
“It was something I really cared about, and I was given this tremendous support that only National Geographic could give, where I went to eight countries — not only in the Middle East, but in the Kurdish diaspora in Germany and the U.K. — and I was really able to spend time to tell a very deep story about what was the largest ethnic group in the world without a nation of their own,” Kashi said. “The Kurds have the geopolitical misfortune of being in what is now Iran, Iraq, Turkey and Syria, mainly, so not the friendliest places for a minority group.”
One of Kashi’s most compelling images from that series was taken at a military tribunal in Diyarbakir, Turkey. A fashionably dressed Kurdish woman, accused of being a member of the outlawed Kurdistan Workers’ Party (PKK), stands at a cage-like witness stand, a handful of armed military men behind her.
“I think I got in because I was following a Kurdish human rights lawyer, so I sort of traipsed into the courtroom with him and made a few pictures. And that ended up being a very significant image,” Kashi said. “But after that image appeared in the magazine, they (the Turkish government) confiscated all the copies of (that) 1992 issue of National Geographic within Turkey.”
Despite the attempted censorship, that image, and others from the series, reached a wide international audience. Kashi credits those images with bringing much greater attention to the persecution of the Kurds, a subject that had previously gone underreported.
The Turkish government, meanwhile, grew increasingly restrictive on press freedom. Government repression is an ever-present challenge for photojournalists around the world, Kashi said, and something he has contended with many times.
“For journalists, and particularly for photographers, there is a constant battle of how much can we get away with. How close can we get? What can we access? And when that gets shut down, we have to find other ways to gain access,” he said.
The global landscape for press freedom has gotten significantly worse in recent years, according to Kashi, with widespread and concerted attacks on journalists that he calls “unprecedented.”
“Look at our own Pentagon and the restrictions they’re trying to place on the media,” Kashi said. “It’s a very interesting and tricky moment right now for the media in general, all around the world. There’s been an increase in journalists being arrested, imprisoned and in some cases killed, particularly in Gaza.”
Although Kashi said he has sometimes risked his life for stories, he was never deliberately targeted, the way he said some journalists are currently being targeted and killed in places such as Gaza and Ukraine.
“I’ve not worked in Ukraine, but a colleague of mine, who works a lot with the New York Times as a photographer, was just saying, the scariest thing is when you’re driving down a highway and you hear a drone overhead. It’s not even about (accidentally being hit by) missiles or bombardment from planes or artillery. It’s that a drone can take your car out because they suspect you of being the enemy, or they just want to,” Kashi said. “They know you’re a journalist. They wanted to target you.”
Despite the dangers, photojournalists continue doing their jobs, Kashi said, because they know it can change people’s hearts and minds. Kashi has seen the far-reaching impact his own work has had, and he hopes it will inspire others.
“If you tell good stories, and you tell them in an authentic and sincere way, you can reach people. You can penetrate their consciousness,” Kashi said. “And whether they donate money, or they get involved through their actions, or, at the very least, you might change their mind about something. That’s the reason we must do this work.”
Ed Kashi
A journey, made in 1999, to some of Peru's most outstanding natural and man-made sights. A cloudy view near Machu Picchu.
Saturday, October 18, 2025
Friday, October 17, 2025
Ron Haviv Exhibition Featured At FOTOIST - International Photography Festival - Edition 3
Via Fotoist International Photography Festival
October 17, 2025
Exhibition: "A Brief Guide to Investigating War Crimes” by Ron Haviv - VII Foundation / 17.10.2025 / 18:00 / Barabar Centre - Grand 4th Floor
Photo: © Ron Haviv – VII Foundation / Young Darfuri girls leave a camp for internally displaced persons to gather firewood. Girls as young as 8 have been raped, attacked and killed trying to get wood. Darfur, Sudan, 2005
Exhibition: “A Brief Guide to Investigating War Crimes” by Ron Haviv
World-Renowned Photojournalist Ron Haviv Presents “A Brief Guide to Investigating War Crimes”
Internationally acclaimed photojournalist and co-founder of the VII Foundation, Ron Haviv, in collaboration with the Global Investigative Journalism Network (GIJN), presents the powerful exhibition “A Brief Guide to Investigating War Crimes.”
Curated by Haviv himself, the exhibition draws from the GIJN’s definitive guide for journalists covering war crimes, and features evocative and hard-hitting imagery by members of the prestigious VII Foundation. Through a compelling visual narrative, the exhibition explores the brutal realities of armed conflict, the mechanisms of war crimes, and their long-lasting human and societal impacts.
“A Brief Guide to Investigating War Crimes” underscores the critical role of investigative journalism, human rights advocacy, and legal accountability in uncovering the truth. It stands as both a tribute to courageous reporting and a call to action for justice and transparency in times of war.
Ron Haviv is an Emmy-nominated filmmaker and an award-winning photojournalist. He co-founded VII Photo Agency and The VII Foundation, where he currently serves as a director. He is dedicated to documenting conflict and raising human rights issues around the globe.
Haviv’s first photography book, Blood and Honey: A Balkan War Journal, was called “One of the best non-fiction books of the year,” by The Los Angeles Times and “A chilling but vastly important record of a people’s suffering” by Newsweek. His other monographs are Afghanistan: The Road to Kabul, Haiti: 12 January 2010, The Lost Rolls and Shadow of Memory.
Haviv has produced an unflinching record of the injustices of war covering over twenty-five conflicts and his photography has had singular impact. His work in the Balkans, which spanned over a decade of conflict, was used as evidence to indict and convict war criminals at the international tribunal in The Hague. President George H.W Bush cited Haviv’s chilling photographs documenting paramilitary violence in Panama as one of the reasons for the 1989 American intervention.
His work is in the collections of The Getty, Eastman House and Museum of Fine Arts, Houston amongst others and has been seen in numerous other museums and galleries, including the Louvre, United Nations, Council on Foreign Relations, Fotografiska, and the International Center of Photography.
Haviv has co-created multi-platform projects for Doctors Without Borders’ DR Congo: The Forgotten War and Starved for Attention, Unicef’s Child Alert for Darfur and Sri Lanka and the International Committee of the Red Cross’s World at War. His commercial clients include Ad Council, American Express, BAE, Canon USA, ESPN, IBM and Volkswagen.
Haviv is the central character in six documentary films, including National Geographic Explorer’s Freelance in a World of Risk, in which he speaks about the dangers of combat photography, including his numerous detentions and close calls. He has provided expert analysis and commentary on ABC World News, BBC, CNN, NPR, MSNBC, NBC Nightly News, Good Morning America, and The Charlie Rose Show. He has written opinion pieces for the Washington Post and The New York Times and spoken at TEDx along with numerous other lectures at Universities and conferences.
He is currently co-directing two documentaries, Biography of a Photo and Picasso of Harlem.
Wednesday, October 15, 2025
Anna Boyiazis Receives Highly Commended Recognition At 61st Wildlife Photographer Of The Year 2025
Via Natural History Museum in London
October 15, 2025
Wildlife Photographer of the Year at The Natural History Museum in London celebrates the extraordinary life with which we share this planet, while illuminating some of the urgent threats it faces. On exhibit October 17, 2025 to July 12, 2026.
Anna Boyiazis (USA) documents this low-tide scene of seaweed farmers tending to their underwater farm on the Zanzibar coast.
Seaweed farmers Maua Mkubwa (standing) and Maua Mdogo nurture their undersea garden in the Indian Ocean off Paje, Zanzibar, within the Menai Bay Conservation Area, the archipelago’s largest marine-protected area. As members of the women-led, community-based Mwani (Swahili for seaweed) Zanzibar co-operative, they sustainably harvest a red alga in the genus Eucheuma, known as eucheumatoid seaweeds. These are used to create handmade skincare for international markets.
This recent initiative is empowering local women and improving the livelihoods of families traditionally reliant on fishing — now facing depleted stocks due to climate change, overfishing and destructive practices. Seaweed cultivation also has environmental benefits: the fronds absorb carbon dioxide in photosynthesis and take up nitrogen and phosphorus, and act as a water purifier by reducing acidification and removing some pollutants. All this, while providing precious habitat for marine life.
Anna is a documentary photographer based between Southern California, USA, and East Africa. Her areas of focus include conservation, human rights, public health and women and girls’ issues. Her ongoing project Finding Freedom in the Water, which was first published by National Geographic, documents women and girls in Zanzibar learning to swim – an act of emancipation. Anna is a contributing photographer for GEO, National Geographic and The New York Times Magazine. She has an MFA from the Yale School of Art and a BA from the UCLA School of the Arts and Architecture.
Thursday, October 9, 2025
Fragments in Time, a powerful two-person exhibition of work by renowned photojournalists Ashley Gilbertson and Franco Pagetti, opening this fall at Stanley. The exhibition is presented courtesy of Monroe Gallery of Photography.
Twenty Summers is proud to present Fragments in Time, a powerful two-person exhibition of work by renowned photojournalists Ashley Gilbertson and Franco Pagetti, opening this fall at Stanley. The exhibition is presented courtesy of Monroe Gallery of Photography.
First shown at Mad Rose Gallery in Millerton, NY, Fragments in Time brings together two distinct photographic voices in a tightly woven visual conversation that ranges in subject matter from the fashion world to the war torn lands, from refugee camps to New York during the pandemic. Though their assignments in conflict zones have taken them to different places—Iraq, Afghanistan, Syria, and beyond—Gilbertson’s and Pagetti’s work in this sphere overlaps in theme and sensibility, showing a deep concern for both soldiers’ and civilians’ experience of war, the emotional residue of violence, and the personal, often ambiguous role of the photographer as witness. War is not an event but a state that persists in bodies, landscapes, and memory.
At Stanley, these and other images—intimate, unflinching, and formally rigorous—are installed in close proximity, allowing the viewer to move between scenes of devastation, reflection, solitude, and survival.
Fragments in Time Opening Reception
Friday, October 10, 2025
7:00 PM 9:00 PM
Stanley
494 Commercial Street
Provincetown, MA, 02657
Fragments in Time | Ashley Gilbertson and Ben Brody in Conversation
Join us for an evening of conversation and reflection as photographers Ashley Gilbertson and Ben Brody explore the role of images in shaping memory, documenting conflict, and capturing fleeting moments in time. Presented as part of our new exhibition Fragments in Time, this event invites audiences into a dialogue on storytelling, truth, and the emotional weight of visual history.
Saturday, October 11, 2025
6:00 PM 7:30 PM
Stanley
494 Commercial Street
Provincetown, MA, 02657
Thursday, October 2, 2025
American photojournalist urges Kurds to honor past while embracing future
Photojournalist Ed Kashi will be at the Gallery tomorrow, Friday, Oct. 3 for a book signing and conversation with Don Carleton, Executive Director of the Briscoe Center For American History.
Conversation begins at 5:30, book signing followsSeating is limited RSVP essential
Exhibition continues through November 16, 2025
October 2, 2025
ERBIL, Kurdistan Region - An American photojournalist who has documented Kurdish struggles for more than three decades urged Kurds to honor their history while also embracing their cultural identity and future role in the world.
“It’s important to hold on and remember the past, but it’s so important to move forward… not to forget the past, but not to dwell on it,” Ed Kashi told Rudaw earlier this week.
Kashi said that he first arrived in what is now Kurdistan Region in 1991 during the refugee crisis that followed the Kurdish uprising against Saddam Hussein, which was then brutally suppressed and led to a massive refugee crisis as over a million Kurds fled to the mountains along the Turkish and Iranian borders, fearing renewed genocide. In response, a US-led Coalition launched Operation Provide Comfort to deliver aid and enforce a No-Fly Zone, which led to a de facto safe haven where Kurds began to establish their own autonomous administration in 1992.
“I was with [Kurdistan Democratic Party President Masoud] Barzani and [late Patriotic Union of Kurdistan leader Jalal] Talabani in the mountains,” he recalled. “They were trying to figure out what to do… reclaiming their authority for good and bad, establishing political structures, economic structures, [and] trying to figure out how to reclaim this land.”
“There is so many reasons now for Kurdish people, especially in Iraq… [where] you actually have a chance to move forward, you know, to teach new generations about your amazing, glorious history and past, and to talk about good things that are happening,” Kashi said
Reflecting on the aftermath of the Anfal campaign in 1988, which killed an estimated 50,000 to 100,000 Kurds and destroyed more than 4,000 villages, he said, “I had never seen anything like that before: all the destroyed villages, towns and communities.”
Kashi, who spoke to Rudaw on the sidelines of the inaugural Kurdish Studies Forum at the American University of Iraq, Sulaimani (AUIS) on Saturday, echoed an AUIS graduate Lana Salim, who last week, during an episode of Rudaw’s Legel Ranj program, said Kurds should not only look back on tragedy but also celebrate their cultural and artistic contributions. “It is time for us as Kurds… to remind ourselves of the cultural and artistic essence we have, [and] act based on the premise that we should be a player in the world,” she said.
His 1994 book When the Borders Bleed: Struggle of the Kurd, which he published with the late British journalist Christopher Hitchens, had lasting resonance.
“A Kurd I met in Europe told me that book taught them about their history,” Kashi said. “One of the beautiful things about doing something for so long is when you meet people and realize your work had an impact on their lives.”
“I truly believe if we can change one mind, that is when change begins,” the photojournalist said. “If you can change one young person to maybe become a historian or a Kurdish scholar or a journalist to tell the stories of their own people, that is a beautiful thing.”
Wednesday, September 24, 2025
Beyond Extraction: Nina Berman
Via The SNF Rendez-Vous de l’Institut
October 2, 2025
Beyond Extraction
Nina Berman
SNF RENDEZ-VOUS
7 p.m.
Reid Hall | 4, rue de Chevreuse, 75006 Paris
Free, registration required
Beyond Extraction: Climate Futures and a Photography of Ecology
Proof of registration, via a QR code on your phone or on paper, will be required to enter Reid Hall. Entry will be refused to those who are not registered.
Please note that access will not be permitted 15 minutes after the start of the event.
This event will be held in English.
To be notified of upcoming Institute for Ideas and Imagination events, we invite you to sign up for our monthly newsletter.
Nina Berman will present work on communities trapped amid extractive violence as a launching point for a larger discussion about trends in both journalism and photography and the importance of centering radical climate futures as a topic of inquiry.
Nina Berman is a documentary photographer, filmmaker, journalist, and professor at Columbia University’s Graduate School of Journalism. Her work looks at war, militarism, trauma, and environmental justice. She is a 2025 Guggenheim fellow, the author of three books, and is represented in numerous public collections including the Bibliothèque Nationale de France and the Smithsonian.
The Rendez-Vous de l’Institut Series is generously supported by the Stavros Niarchos Foundation.
Tuesday, September 9, 2025
Panel Discussion With Nina Berman: The Personal and Collaborative: Women Photographers on Relationship–Focused Modes of Representation
Via Ballarat International Foto Biennale
September 9, 2025
Panel Discussion: The Personal and Collaborative: Women Photographers on Relationship–Focused Modes of Representation
Nina Berman and Raphaella Rosella in conversation with Fiona Morris and Gemma Turnbull
Online Event - Book here
Contemporary documentary photographers and photomedia artists seek to address issues of representation and testimony by utilising new storytelling approaches, including nonlinear narratives, repurposing archival footage and collaborative practices. There has been a move from photographers recording ‘the other’ to working with non-artist individuals to share their own lived experiences. This turn towards the personal and collaborative has been led by women, rejecting the selective history which has been represented by the dominantly white, male, heteronormative gaze of the documentary mode. The work still questions and highlights social issues, including gender, representation and displacement, but from personal perspectives.
This online panel exploring the ethics, benefits and challenges of a collaborative documentary approach will focus on two women photographers: American documentary photographer Nina Berman’s whose work An Autobiography of Miss Wish (2017) is the product of a 25–year exchange between her and friend and collaborator Kimberly Stevens and Australian artist Raphaela Rosella who has spent decades co-creating photo-based projects alongside significant women in her life––low socio-economic communities with limited access to adequate support and opportunities. It will be led by Dr Gemma Turnbull and Fiona Morris, both Australian photographers and academics.
Participants will be emailed a Zoom link prior to the panel.
Please note: parental guidance may be needed for participants under the age of 18.
About the Panel
Nina Berman is a documentary photographer, filmmaker, journalist and educator. Her work explores American politics, militarism, environmental issues and post violence trauma. She is the author of Purple Hearts – Back from Iraq, (Trolley, 2004) portraits and interviews with wounded American veterans, Homeland, (Trolley, 2008) an examination of the militarization of American life post September 11, and An autobiography of Miss Wish (Kehrer, 2017) a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes. Her work has been exhibited at more than 100 international venues from the Whitney Museum Biennial to the concrete security walls at the Za’atari refugee camp. Public collections include the Smithsonian National Museum of American History, the Museum of Fine Arts, Houston, the Museum of the City of New York, the Harvard Art Museums and the Bibliothèque nationale de France among others. She has participated in workshops around the world for young photographers and writes frequently on photojournalism for the Columbia Journalism Review. She is a professor at Columbia University’s Graduate School of Journalism in New York City.
Fiona Morris is an Associate Lecturer in Visual Arts and Photography at the University of Wollongong where she is also a PhD candidate. Her photographic practice and research explore representation and personal narratives in the expanding field of documentary photography. With over 15 years of experience, Fiona has worked extensively across media and non-governmental organisations, including as a photographer for Fairfax Media, Getty Images, Greenpeace Australia, and Médecins Sans Frontières (MSF). Her work has been exhibited in galleries and festivals both nationally and internationally, with shows in the United States, France, Lithuania, and Hong Kong.
Raphaela (Rosie) Rosella is an Italian Australian artist from Nimbin – an over-policed, low socio-economic community in New South Wales. For over fifteen years, she has worked at the intersection of socially engaged art and documentary practice, co-creating lens-based works alongside her sisters, friends, and family – women directly impacted by the Prison Industrial Complex (PIC). Together, they have built a co-created archive spanning photography, moving image, audio, and the collection of ephemera and state-issued documents, to resist bureaucratic representations of their lived experiences. Beyond the gallery, their work plays a critical role in legal and personal spaces – appearing in family albums, memorials, custody disputes, and courtrooms. It has supported successful bail and parole applications and contributed to reduced custodial sentences. Rosella holds a PhD from RMIT’s School of Art (2025). From an abolition feminist standpoint, her research offers a relational framework for decarcerating archives within long-form and collaborative documentary photography projects.
Gemma Turnbull is an Australian artist, researcher, and educator whose work exposes and challenges the historical weaponisation of photography against marginalised communities. She positions collaborative practice as a reparative approach to documentary storytelling, focusing on amplifying images made by and with people typically excluded from mainstream art spaces.
Monday, September 8, 2025
George Eastman Museum acquires prints by Mark Peterson and Bing Guan
September 8, 2025
The George Eastman Museum has acquired prints by Mark Peterson and Bing Guan for their permanent collection.
Mark Peterson: Waiting for election results at a Trump watch party at the Palm Beach Convention Center, November, 2024
Bing Guan: New York Police officers in riot gear enter Hamilton Hall at Columbia University, New York, April 30, 2024
Mark Peterson is a photographer based in New York City. His work has been published in the New York Times Magazine, New York Magazine, The New Yorker, Time, Fortune, National Geographic, Geo Magazine and other national and international publications. In 2018 he was awarded the W. Eugene Smith grant for his work on White Nationalism. This photograph was published in The New York Times and selected as one of the "photos that defined 2024."
Bing Guan 管秉宸 is a Chinese American photographer and journalist. He is based between New York City and Southern California. He is currently an adjunct professor of photography at the Columbia Graduate School of Journalism. Bing is a regular contributor to Reuters, Bloomberg, and The New York Times.
The George Eastman Museum is located in Rochester, New York, on the estate of George Eastman, the pioneer of popular photography and motion picture film. Founded in 1947 as an independent nonprofit institution, it is the world’s oldest photography museum and one of the oldest film archives. The museum holds unparalleled collections—encompassing several million objects—in the fields of photography, cinema, and photographic and cinematographic technology, and photographically illustrated books. The institution is also a longtime leader in film preservation and photographic conservation.
"Throughout its history, our institution has collected and exhibited photographs and films that address timely and timeless topics."
In an era dominated by misinformation and digital manipulation, photojournalism plays a vital role in restoring trust and authenticity in media. Verified images serve as undeniable evidence of events, countering false narratives and providing clarity in a world overwhelmed by conflicting information. This power makes photojournalism an indispensable tool in the fight against fake news.
Thursday, September 4, 2025
Watch Refractions: A Conversation with Sidney S. Monroe and Michelle A. Monroe
September 4, 2025
About Stephen Mallon
Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles.
Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including Smithsonian Magazine, The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, PBS, GQ, CBS, the London Times and Vanity Fair. Mallon has exhibited in cities including Miami, Los Angeles, Philadelphia, St. Louis and New York, as well as in England and Italy.
Stephen’s project following the MTA’a artificial reef project where over 2000 subway cars were placed in the Atlantic was shown at The New York Transit Museum’s Grand Central Terminal Gallery. Over 60,000 people experienced the exhibition and was featured by Gothamist, Artnet, Yahoo, Fox News, and numerous other outlets.
As David Schonauer wrote in Pro Photo Daily, “Mallon’s word harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression.” He has also been compared to photographers including Edward Burtynsky, Thomas Struth and Chris Jordan.
Mallon served as a board member of the New York chapter of the American Society of Media Photographers from 2002 until 2020 and served as president from 2006 to 2009. He is represented by Front Room Gallery in New York.
Tuesday, August 26, 2025
Tracy Barbutes Photographs Yosemite Protest Rally For The SF Standard
Via The San Francisco Standard
August 25, 2025
At the rally on Sunday, people sign the same trans pride flag that Joslin and others helped hang on El Cap earlier this year. | Source:Tracy Barbutes for The Standard
Protesters rally in Yosemite for ranger fired over hanging trans pride flag
The Yosemite community has been reeling since Shannon "SJ" Joslin’s firing. --Click to read full article
"...then an upside-down U.S. flag in February to protest the NPS budget cuts. None of the people who hung those flags faced consequences. That upside-down flag garnered international attention and showed the power of El Capitan as a symbol"
©Tracy Barbutes
Monday, August 25, 2025
Remembering Hurricane 20 Years Later: Photographs By Stephen Wilkes
Katrina formed on August 23, 2005. It entered the Gulf of Mexico on August 26 and rapidly intensified to a Category 5 hurricane before weakening to a Category 3 at its landfall on August 29 near Buras-Triumph, Louisiana.
Katrina was one of the most devastating hurricanes in the history of the United States. It is the deadliest hurricane to strike the United States since the Palm Beach-Lake Okeechobee hurricane of September 1928. It produced catastrophic damage - estimated at $75 billion in the New Orleans area and along the Mississippi coast - and is the costliest U. S. hurricane on record. Stephen Wilkes photographed the aftermath of Hurricane Katrina. Have we forgotten Katrina's lessons?
Thursday, August 21, 2025
The Alabaster Grave: Book Signing and Artist Talk With Cengiz Yar August 23
We are delighted to welcome Cengiz Yar for a book signing and talk this Saturday, August 23 at 5 PM - free!
This Alabaster Grave is Cengiz Yar’s first monograph exploring the overwhelming destruction and pain faced by the Iraqi city of Mosul, within the context of its history and unique, now largely ruined, architecture. The book questions the cost of the fight against ISIS and global war on terror as told through the lives and city that bore the brunt of its destructive force.
Cengiz is a documentary photographer and editor based in El Paso, Texas who has worked in visual journalism for over a decade, from reporting in the field to building groundbreaking online packages. He is currently a visuals editor at ProPublica, where he edits, photographs, and art-directs stories across the site.
Monday, August 18, 2025
A Period in Time by Ed Kashi: A Legacy of Photography Shaping How We See the World
August 16, 2025
"A Period in Time by Ed Kashi” arrives less as a conventional retrospective and more as a living dossier: over 200 photographs spanning 1977–2022, paired with essays and field dispatches that place the photographer’s eye directly within history. Published by the Dolph Briscoe Center for American History, the book consolidates a career-long commitment to bearing witness — a clear reminder that archives and books can do more than preserve images; they can teach, provoke, and inspire future photo storytellers.
Save the Date: October 3, 2025 Ed Kashi A Period in Time Gallery talk and book signing 5-7 pm at Monroe Gallery of Photography. Exhibit continues through November 16, 2025.
Wednesday, August 13, 2025
Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.
August 13, 2025
Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.
Protests in LA began in early June in response to federal raids of workplaces and areas in and around the city where immigrant day laborers gather, amid the Trump administration’s larger immigration crackdown. Raids at Home Depots in early August took place seemingly in defiance of a July 11 court order temporarily prohibiting federal agents from using discriminatory profiling.
On Aug. 8, two days after an immigration raid in the parking lot of a Home Depot in LA’s Westlake neighborhood, protesters gathered at the store and marched to the Metropolitan Detention Center downtown. The demonstrators and the journalists covering them encountered a violent response from Los Angeles Police Department officers, violating a court order protecting the press from arrest, assault or other interference.
Gowdy, who was visiting from Seattle, Washington, said he had been photographing the Aug. 8 protest with his partner, fellow journalist Carrie Schreck. The two began documenting the demonstration as protesters started to march. The protest remained peaceful, Gowdy said, until the LAPD arrived.
“They basically lined up and without any provocation, in order to move people, started just swinging their batons indiscriminately,” he told the U.S. Press Freedom Tracker.
Gowdy watched as one journalist, Nick Stern, waving his press badge to officers, was struck in the face with a police baton. Gowdy himself was thrown to the ground by several officers, scraping his elbow and damaging the metal connectors on the strap holding his spare camera lenses.
“They were so aggressive and wild-eyed and violent,” he said of the LAPD.
After police declared the protest an unlawful assembly, officers pushed demonstrators farther from the detention center. Gowdy and Schreck had stopped photographing and were leaving the area when they were suddenly kettled, or herded by police, along with a handful of journalists and demonstrators, just three blocks from Schreck’s apartment.
Some had press credentials, but Gowdy said officers ignored them.
“They said they didn’t care, and that everyone should have to line up against the wall,” Gowdy recalled.
The journalists’ hands were placed in zip-tie restraints. While some were released, Gowdy and Schreck remained detained for not having physical press badges. Despite carrying camera gear and being vouched for by their colleagues, the officers questioned their legitimacy and denied their requests to speak with a public information officer.
Gowdy offered to show digital credentials and suggested a quick online search to verify his work with major news outlets, but was told he’d be cited for failure to disperse. He and Schreck were taken to a nearby police station and eventually released after more than two hours in custody.
Gowdy said such traumatic encounters can discourage journalists from covering protests.
“In this case, the law was on our side,” he said. “But they didn’t seem to know the law, or they willfully disregarded it in order to intimidate and harass us.”
Gowdy said he doesn’t wear a press badge when he covers protests in Seattle, after it made him a police target. Covering the Jan. 6 Capitol insurrection, he saw how press credentials can also attract threats from demonstrators. Still, he said this incident convinced him to carry one just in case.
The LAPD did not respond to a Tracker request for comment about the detained journalists. In a statement posted to the social platform X, the department’s Central Division wrote that an unlawful assembly was declared “due to the aggressive nature of a few demonstrators.”
“The protest went into the late night hours with people refusing to disperse,” it continued. “Central Division will continue to support 1st Amendment rights of all people. However, if violence or criminal activity occurs, laws will be enforced.”
The U.S. Press Freedom Tracker catalogues press freedom violations in the United States. Email tips to tips@pressfreedomtracker.us.
Tuesday, August 5, 2025
September 4 On Refractions: A Conversation with Sidney Monroe and Michelle Monroe
SAVE THE DATE
Thursday Sep 4, 2025 3:00pm - 4:00pm ET
Speakers: Sidney S. Monroe and Michelle A. Monroe - Stephen Mallon
Event Type: Photography
On this episode of Refractions, Stephen is joined by Monroe Gallery of Photography owners, Sidney S. Monroe and Michelle A. Monroe.
Refractions are live videocasts hosted by award-winning photographer and filmmaker Stephen Mallon. Conversations will be with a select group of guests discussing creativity, imagery, business, fine art, and light! Curators discuss working with new and established artists. Photographers talking about their careers. Festival directors sharing what challenges face them. Directors will talk about all aspects of filmmaking. Photo editors will discuss the changing world of editorial and what they need from today’s assignment shooters. The mostly one-on-one conversations will have a diverse group of image makers and the people that work with them.
Monday, August 4, 2025
Andrew Harper: "Art in Santa Fe - a few favorite discoveries from my last trip"
"The idea I had for this newsletter back in 1979 – to share information about peaceful and unspoiled sanctuaries with a limited and compatible group of sophisticated travelers – remains at the core of its identity today. There is no concealing my disdain for crowds, noise, rudeness, fast food, packaged destinations, characterless hotels and copycat resorts.”
August, 2025
While Santa Fe may not be the site of the country’s first art colony (that’s in New York) or the third-largest art market (highly disputed), a fact-challenged tour guide we overheard was right about one thing: The city has a long and rich history as an artist community. Synonymous with Georgia O’Keeffe, Santa Fe became an art-world darling in the 1980s and ’90s, helped along by artist transplants like Judy Chicago, Bruce Nauman and Susan Rothenberg. Visitors today can browse exhibitions in nine museums and more than 250 galleries. These are a few favorite discoveries from my last trip.
Monroe Gallery of Photography
“Ancestral Strength, Teton National Park, Wyoming, Cayuse, Umatilla, Newe Sogobia and Tséstho’e, 2023,” by Eugene Tapahe
Specializing in 20th- and 21st-century photography, this downtown gallery showcases images “embedded in our collective consciousness,” and a visit is eye-opening and deeply moving. The owners, a husband-and-wife team with deep knowledge of the medium, have personal relationships with world-renowned photojournalists. Their gallery documents the highs and lows of our shared history through powerful snapshots in time. In a single visit, you might see how Tony Vaccaro captured the brutality of the battlefield and the beauty of fashion, how Charles Moore and Grey Villet snapped unsettling scenes from the Civil Rights Movement, and other notable photographers caught intimate moments with celebrities, athletes and heads of state. Taken together, the collection provides a chance to reflect on where we’ve been and where we may be going. Co-owner Sidney Monroe indicated that emotional reactions are commonplace here: “It is as it should be,” he deadpanned.
112 Don Gaspar Avenue. Tel. (505) 992-0800
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