Inauguration of Mark Peterson's White Noise photographic exhibition on American white supremacism

 Via Babel Festival

September 17, 2026

Inauguration of Mark Peterson's White Noise photographic exhibition on American white supremacism, in the presence of writer Claudia Rankine.

White Noise is a series of photos initially conceived as a tool to investigate the divisive climate that had settled in the country in the aftermath of Donald Trump's election and captured the crescendo of white nationalism and autocracy that developed during his presidency. Peterson explored the White House's rhetoric on immigration and Islam and how it echoes nationalism, Western chauvinism, neo-Nazism and the ideas of all those who call for the creation of an ethnic state in America. Rankine founded the Racial Imagery Institute, where the exhibition was exhibited along with others on the dramatic effects of associating "whiteness" with the idea of universality and normality, even humanity.

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LIFE’s Everson Museum exhibit spotlights power of print media

Via The Daily Orange

September 16, 2026

For decades, Life Magazine’s mission was to give Americans a way to see the world through photographs, from notable political affairs and wartime scenes to family life and everyday moments.

Now, “LIFE: Six Women Photographers” brings that history to the Everson Museum of Art in Syracuse, displaying photographs and issue snippets of Life Magazine, from six women who documented American life throughout the 20th century.

“It’s an interesting reminder that images have always been really powerful,” said Steffi Chappell, Everson’s Director of Curatorial Affairs and a Syracuse University alum. “Back when Life was first introduced, because of the way that it used images was so new, it blew everybody’s mind.”

The exhibition, organized by the New York Historical, is on display at the Everson until Sept. 27. It features the work of Life’s earliest female photographers: Margaret Bourke-White, Hansel Mieth, Marie Hansen, Nina Leen, Lisa Larsen and Martha Holmes, placing their photographs alongside the original Life issues where their work appeared. The black and white photos document both major historical events and ordinary American life from 1936-56. From photos of garment workers socializing and crowds surrounding a Yugoslavian president’s visit to the Soviet Union, the exhibit’s images capture a range of historical moments from the Great Depression to the Cold War.

Before the exhibit arrived at the Everson, Chappell knew Life’s role in shaping American society, but after research, she knew the magazine’s photographs would make a great addition to the museum.

For Chappell, the exhibition also provides an opportunity to consider what’s changed since Life’s popularity — and what hasn’t. It’s a reminder of the power of images and what print media “used to be,” making it suitable for the Everson, Chappell said.

When Life was established in 1936, its heavy reliance on photography distinguished it from other publications, Chappell said. The exhibition includes a prospectus that described the magazine’s mission as seeing and showing the world through images.

“It was all about the photos,” Chappell said. “And that was the first time that the American public has seen a publication like that. And so it was really, really impactful.”

Nina Leen’s 1947 photo essay, “American Woman’s Dilemma,” turned to the competing expectations placed on women in postwar and depression America. The photo essay presented three options for women with children: motherhood on top of a full-time career, full-time housework or part-time work alongside housekeeping.

Nearly 80 years later, Chappell said the questions raised by Leen’s photographs remain surprisingly familiar.

“It’s 2026 and we’re still having this discussion about working parents and should someone be staying home with the kids and is it OK for kids to go to daycare?” Chappell said. “Even though that’s from the 1940s, it still is shockingly current.”

Desi Drake of Liverpool was drawn to the Everson’s exhibit particularly because of Bourke-White’s work. Of all of the images on display, Drake’s favorite was Bourke-White’s shot of the Fort Peck Dam in Montana that appeared on the cover of Life’s inaugural issue in 1936.

Drake said she found it “amazing” that the photographs were taken by female photographers in the 1930s and noted the significance of a woman’s work being featured so prominently at the beginning of the magazine’s history.

Other photographers documented women entering traditionally male-dominated spaces. Hansen’s 1942 “The WAACs,” a series of photographs that showed the Women’s Army Auxiliary Corps preparing for military support roles while also emphasizing expectations of femininity.

Similarly, Mieth’s series “Garment Workers at Play” documented women at work while capturing their relationships and social lives outside the factory, giving the series a playful and intimate quality.

“Every artist, photographer, painter, sculptor, always brings their own unique perspective, which is influenced by their background, their life experiences, where they grew up, who their family members were,” Chappell said.

The exhibition also draws attention to another person behind every published image: the editor.

While photographers controlled their subjects and which images they submitted, Life’s editors ultimately decided which photographs appeared in the magazine. Several photos in the exhibition didn’t actually end up in an issue of Life.

For Chappell, understanding the editorial process changes how visitors interpret the exhibition.

“If you go into the show and you don’t read any of the text and you just are looking at the images, you might not pick up on that idea that the photographers took the photos, but the editors were the ones that actually got to choose which photos were printed and which photos the public saw,” Chappell said.

The original Life issues displayed in the exhibition make that editorial process visible. Visitors can see the photographs in the context in which millions of Americans encountered them when the issues were first published.

For some visitors, the exhibition brought back memories of Life as a physical part of American society.

Loey Rotchforde, who lives in Syracuse, was reminded of the Life issues she used to see in thrift stores after attending the exhibit. She described Life as a “big cultural setter” and said the exhibit was a testament to “the power of print publications.”

Since Life’s establishment in 1936, society’s relationship with photographs has changed drastically, with images now dominating digital platforms and advertising, Chappell said.

The difference, Chappell said, is that photography was once a much newer and more concentrated form of storytelling. For Life’s first issue, founder and former Life editor-in-chief Henry Luce made the decision to put Bourke-White’s photograph on the cover. Bourke-White became not only the first female photographer at Life, but one of the first-ever photographers to capture numerous significant events.

“I don’t think he went into it thinking, ‘I’m going to put a woman photographer on the cover of Life Magazine. I’m just going to put the best photograph on the cover of Life Magazine,’” Chappell said.

Related: Margaret Bourke-White exhibit February 6 - April 26, 2026

The Monuments: Who Should Shape Public Space New exhibit features photographs by Sanjay Suchak

 

Now open on the third floor of Shannon Library at The University of Virginia:

Who decides what belongs in public space, and what do those choices say about our democracy?

"The Monuments: Who Should Shape Public Space?," a new exhibit from the Karsh Institute of Democracy and the University of Virginia Library, explores these questions through photographer and former Karsh Institute Practitioner Fellow Sanjay Suchak's images documenting the removal and current status of Confederate monuments across Virginia.

UVA Shannon Library

University of Virginia

Charlottesville, VA

 

Robert E. Lee Monument Overhead, Richmond, Virginia, July 2, 2020

Foundry workers prepare to melt down the face of the Robert E. Lee statue for repurporsing, October, 2023

Mark Peterson Photographed "Trumpapalooza" for Vanity Fair

 Via Vanity Fair

September 11, 2026

Trumpapalooza: The Best Photos from the Republican Midterm Convention | Vanity Fair  click for full article

31 Extraordinary Photos From Trumpapalooza

President Trump demanded that Republicans hold a midterm convention in his honor, and that’s exactly what they delivered. Mark Peterson and Aidan McLaughlin traveled to Dallas, Texas, to capture the scenes.

Photographer Mark Peterson

9/11 In remembrance

 Via Pasatiempo

The Santa Fe New Mexican

September 11, 2026

 Tony Vaccaro, Minoru Yamasaki, World Trade Center Architect, 1969

Friday, September 11, marks the 25th anniversary of the attacks on the World Trade Center and the Pentagon, changing the United States forever and shuffling the world’s geopolitical makeup.

Before you get into the political fallout of the attack, I suggest you sit for a moment with the people who were in Lower Manhattan that morning and during the days that followed. They are people who lost their lives, witnessed the horror and survived, documented the tragedy, saved lives, attempted to save lives, and, years later, suffered from illnesses caused by hazardous dust.

One way to sit with these humans is to visit a virtual project on the Monroe Gallery of Photography website titled “9/11 In Remembrance.”

Gallery co-owners Sid and Michelle Monroe curated a Pop Up and online exhibition for the 20th anniversary of 9/11 in 2021, near the end of the height of the pandemic, by choosing 25 photographs that speak to the history of the World Trade Center: the before, the pride of the Twin Towers, the day of the attack, and the days that followed.

The photographers whose work is featured in “9/11 in Remembrance” are Tony Vaccaro, Eddie Adams, Carolyn Schaefer, Neil Leifer, Eric Draper, Eric O’Connell, Stephen Wilkes, Shepard Sherbell, Joe Blake, Joe McNally, Thomas E. Franklin, Nina Berman, and David Butow. — Ania Hull


See It: “9/11 In Remembrance,” Virtual Project, 2021, at monroegallery.com/gallery/virtual-projects.

9/11 25 Years Later: Photojournalist Eric O’Connell recalls being thrust into horror and history after living just a week in NYC

 Via AM New York

September 10, 2026

Eric O’Connell had been living in his apartment on Pearl Street in Lower Manhattan, next to historic Fraunces Tavern, for less than a week when the Sept. 11, 2001, terrorist attacks struck the city. 

As a 33-year-old photojournalist and commercial photographer at that time, he had been working in various parts of the country, teaching and photographing for magazines and advertising stock. Because New York City is the American center of photojournalism, it was only natural for O’Connell to make a new home here. 

Like many others, O’Connell recalls hearing about the first attack on the World Trade Center that day while watching television.

“When the first plane hit the World Trade Center, I saw it on the news – Matt Lauer and Katic Couric were preempted and they showed a picture of the building on fire (the north tower) – may be a Cessna hit it and I said, ‘ok, this is not an accident and my training kicked in,’” O’Connell said from his current home in San Antonio in an interview with this reporter, who had spoken to him for the first time in 25 years. “I grabbed my cameras and ran out the door.”

That’s when he said the metal doors on the building shook; he didn’t realize it at that moment, but that was when the second plane had hit the south tower. “It felt like an earthquake,” he recalled.

Despite having moved to NYC in July, O’Connell was not too familiar with the city. He had just spent July teaching in Italy and all of August in New Mexico teaching art. Nevertheless, he made his way to the World Trade Center, running down Broadway to Liberty Street, passing the black tombstone-like Deutsche Bank building.

Then O’Connell came upon the grotesque scene of horror: A piece of plane fuselage on a parking lot across from the south tower. A chunk of steel from the plane pierced the hood of a car. Gruesome body parts were scattered.

Then came the unthinkable: Jumpers.

“They (firefighters) were coming across the parking lot, and then I heard it. I saw something out of corner of eye; it finally registered that a body was falling,” O’Connell recalled. “Then I saw these guys running. Firefighters were dragging him, a firefighter hit by debris. I didn’t know at the time that a body had hit him.”

O’Connell had witnessed what this reporter had seen while covering that fateful morning: Firefighter Danny Suhr struck by a jumper. He ran around the corner and snapped a picture of him being removed in front of 90 West St. He then shot a few frames of St. Nicholas Greek Orthodox Church.

“I was standing on the corner (of Liberty Street) where there was scaffolding and I thought, ‘Okay, this is barely safe – things were falling out of the sky,’” he recalled. “I took a picture of the church from the corner, and my instinct was that there was extreme danger. There were two cops there, one a female, and we didn’t know where to go.”

O’Connell had witnessed what this reporter had seen while covering that fateful morning: Firefighter Danny Suhr struck by a jumper. He ran around the corner and snapped a picture of him being removed in front of 90 West St. He then shot a few frames of St. Nicholas Greek Orthodox Church.

“I was standing on the corner (of Liberty Street) where there was scaffolding and I thought, ‘Okay, this is barely safe – things were falling out of the sky,’” he recalled. “I took a picture of the church from the corner, and my instinct was that there was extreme danger. There were two cops there, one a female, and we didn’t know where to go.”

Eric O'Connell: Greek Orthodox Church and Towers, September 11, 2001

“Then we heard the rumble; we knew the building was falling and someone yelled, ‘Run!’” O’Connell recalled. “The female cop screamed, ‘In here!’ I chose to dive in, turned left and curled up in a ball.”

O’Connell had grown up in the southwest U.S., where his community sometimes suffered tornadoes. As the south tower fell, he remembered the advice his mother gave him when a twister approached: Get into the corner. 

“I headed to the wall, and the impact threw me in the air,” he recalled. “I remember thinking to myself, ‘Please let it be quick.'”

As soon as the rumble of the collapse stopped, “only 10 seconds, I was sitting on my ankles with knees bent thinking maybe the building is on fire and I might die from the smoke,” he said. “I felt like I had three inches of talcum powder on my face. Then I heard a woman’s voice say, “We can get out here.’ I also heard another voice say, ‘Over here.’”

He could not tell where the doorway was at first, the entrance to Liberty Street completely blocked by debris. Instinctively, he unscrewed the dust-filled filter from his camera and took a few photos, capturing a female police officer and in the background with this reporter.”

Eric O'Connell: The crowd, September 11, 2001

Once outside of the building, the street was dark and filled with dust. He made an important life choice.

“My early influences were all those journalism guys, like James Nachway and Anthony Suau (both famed war photographers), and I thought, ‘I’m not a Nachway or a Suau – I’m not a war photog,’” he said. “So I had a choice to turn right or left, and I turned left. I didn’t want to be one of those people.”

O’Connell then photographed a man in a dust-coated business suit. He took a picture of O’Connell with an instant camera next to an MTA bus. Then he made a joke that “disgusted” O’Connell. “Who do we sue?” the man had quipped.

O’Connell kept walking south and ran into an abandoned hot dog cart.

“I grabbed a water and as soon as I did, a different female cop put her hand on my shoulder, pulled me towards her and said, ‘you need to wash your face,’ so she dragged me to a water fountain, and she pressed the button for me. She then disappeared and I kept walking.”

He said a few guys had a transistor radio on top of car, listening to the news. He said he thought about the movie “Red Dawn,” and thought about the country being under attack as happened in the film.

By the time he made it to Battery Park, he turned back when he heard another rumble, and “I saw an enormous cloud of dust and smoke,” the collapse of the north tower.

“I started to understand what may have happened, but I just didn’t know what to do so I went home, (to his apartment on Pearl Street) and I saw the pictures on television. I took my clothes off. I knew my life had changed forever,” he said.

After cleaning up, he went back out and walked a woman across the Brooklyn Bridge; “she was terrified to walk across,” O’Connell recalled. He went to a friend’s house in Brooklyn to get food and some sleep.

“I tried to sleep but I kept waking up because I was having a nightmare of falling – I’d He brought his processed film to Time Magazine the next day, but because he had shot it on black-and-white film, they weren’t interested. He later sold the images to CNN and “60 Minutes” and gave and St. Nicholas Greek Orthodox Church — which had been destroyed in the Twin Towers’ collapse — a photo to help them raise money to rebuild.

Eric O’Connell showing photos in an exhibit in 2021 at Monroe Gallery of Photography for the 20th anniversary of 9/11. Photo shows last picture of the Greek Orthodox Church crushed in the collapse.

(Photo Courtesy of Eric O’Connell)

O’Connell said he sometimes regrets not having done more on that “historic moment.” But he was also suffering from post-traumatic stress disorder that so many also experienced. He never returned to the site: “I couldn’t even go down there.” He said he didn’t leave Manhattan for a year.

“I was scared to leave – didn’t think I could come back – I was in a red zone, and so when I finally did leave, I’d make sure to take my insurance card, or utility bill, to show where I lived. I was just angry about stuff – I had just moved to New York City,” he said. “I chose to turn my back on it; I didn’t have that connection to all those people – I only had a few friends.” 

Now living in San Antonio, he continues to work as a photographer, but also works part-time for Parks and Recreation and rides his bike on the greenways, “like the West Side Highway along the river.”

One of the guys he rides with is a retired NYPD officer, “the only person he knows who speaks about 9/11.”

Exhibit: 9/11 In Remembrance

Stanley Forman and his Pulitzer Winning Photographs

 1976, Part 14: Stanley Forman … - The Georgia Politics Podcast - Apple Podcasts

Via Georgia Politics Podcast

August 14, 2026

Welcome to The Georgia Politics Podcast! In this episode, we take a fascinating detour into the world of photojournalism with legendary photographer Stanley Forman.

Forman sits down to discuss his remarkable career, the photographs that shaped his legacy and the stories behind some of his most iconic images. From his early days as a young photographer to the moments that earned him national recognition and Pulitzer Prizes, Forman offers a firsthand look at the people, places and events he captured through his lens.

It's a conversation about photography, journalism and history — and a reminder of how a single photograph can capture a moment and define an era.

The detention of photojournalist Trish Brownlee, formerly of Capital Encore Academy in Fayetteville, raises questions about press freedom, transparency and accountability questions for ICE.

 Via The Fayetteville Observer

August 6, 2026

The detention of photojournalist Trish Brownlee, formerly of Capital Encore Academy in Fayetteville, raises questions about press freedom, transparency and accountability questions for ICE.

Trish Brownlee is a U.S. citizen.  

She is an Army veteran. 

She is an artist and served as an arts teacher at Capitol Encore Academy, the charter school in downtown Fayetteville. 

"She was the very first visual arts teacher," said Capitol Encore administrator Brian Adam Kline, who was an arts teacher when Brownlee was here, circa 2014. "And she pretty much founded how we do arts at Capitol." 

Brownlee is also a photojournalist who has shot pictures for The Fayetteville Observer.

It was in her role as an independent photojournalist, reporting on an immigration enforcement action in New Jersey, that Brownlee ran afoul of officers with Immigration and Customs Enforcement.

The men with ICE — the lead agency in the Trump Administration's broad and indiscriminate mass deportation and detention efforts — did not care that she was doing her job. They found a reason to arrest her and detain her. She remained in detention 47 days before she was released from the Warren County Correctional Center in Belvedere, New Jersey, on July 27, according to U.S. Press Freedom Tracker, which documents press freedom violations in the U.S. --continue to full article

Shooting War - Shall we close our eyes?

 Via The Globe and Mail

As the war in Ukraine unfolds in real time, The Globe and Mail presents Shooting War, a documentary featuring nine of the world’s top conflict photographers reflecting on careers spent on the front lines, and the physical and psychological scars they live with now.

Conflict photojournalists capture the brutality of war and its devastating impact. By putting themselves on the front lines they face incredible danger as well as risking their emotional and psychological health. In “Shooting War,” nine internationally renowned photojournalists talk about the most memorable stories they covered, how they have come to terms with what they’ve witnessed and how the concept of moral injury can apply to journalists.

The nine photojournalists interviewed in the film are Ron Haviv, Carol Guzy, Goran Tomasevic, Corinne Dufka, David Guttenfelder, Santiago Lyon, Joao Silva, Laurence Geai and Tim Page, with more than 200 photos and archival news clips to illustrate the news they have covered.

More about the film. 

Ron Haviv: Photojournalism: Witness + Vision

 Via AIPAD

July16, 2026

During The 2026 Photography Show Presented by AIPAD, Photographers Giles Clarke, Ron Haviv and Shelby Lee Adams joined moderator Rick Smolan for a conversation on the evolving role of photojournalism and documentary practice today. Reflecting on the power and responsibility of the image, the panel considered how personal vision, ethics and context shape the stories photographers tell—and how those stories resonate in an age of constant visual exchange.

David Butow: 250 Years USA. A Country in Contradiction

 Via laif

David Butow

January 6, 2021, Washington, DC. Supporters of President Trump battle law enforcement on the West steps of The Capitol during the attack on the day of Joe Biden’s election certification by Congress.

2026 brings two dates that are hard to ignore: 250 years USA. And Donald Trump turns 80 – in the middle of his second term.

What do these anniversaries mean? What do they say about the state of this country? We asked selected photographers from our partner agency Redux.

In the second part of our series, photojournalist David Butow talks about his work and his perspective on the USA.

David, is there a photo you have taken that you feel best represents the United States — either at this moment or at another point in time?

You can’t sum up a country of 350 million people in one photograph, but I’ll choose one that speaks to our politics right now. On January 6, 2021, I was at the U.S. Capitol when a mob of thousands of Trump supporters broke through police lines and into the Capitol to try to disrupt the certification of Joe Biden as the next president. It was Americans fighting against each other over one of the most important things the government does.

And this fight was set up by the sitting president who had engaged in lies to rile up his supporters and help him stay in power. That was the first time that had happened in 250 years. I think, and hope, it will be most significant event in U.S. history that I’ll ever see. Trump left the White House couple of weeks later with his tail behind his legs but of course now he’s president again. This dynamic speaks to widespread distrust in our government and other institutions.

Given the flood of synthetic images, disinformation, and fake news across the internet, how do you view the role and importance of photojournalism and the media?

"The media" is now such a broad term. It can mean big organizations like the New York Times and CNN, or it can be one person with a YouTube channel and millions of followers. I heard a commentator say recently that when it comes to information, much of the public is both cynical and gullible at the same time. That’s a bad combination!

People not only believe stuff that’s fake, they will not believe things that are real. The hope I have is that there will always be some news organizations that will have high standards for truth, for rooting out fakery in images and information and that those standards will be known to their audience who will subscribe and support them.

In other words, that there will always be a place to turn when you need some reality. I fear that traditional, solid media outlets will continue to be a smaller and smaller portion of how people get their information. That’s already happening. However, I am buoyed by the fact that thirty years after easy desktop computer Photoshop-style image manipulation, the wire services and most big, good newspapers and magazines have maintained fairly tight ethnical standards when it comes to the making and content of images.

What do you think Americans can be proud of?

Despite all the problems facing the U.S., there are still things about this country that work very well. While there is a lot of tribal and closed-minded thinking, those ideas often get outsized attention in the current media environment. In reality, I think most Americans are quite progressive when it comes to things like gay rights, ethnic diversity, and religious freedoms. We have the Americans with Disabilities Act which helps to make public spaces easier for people in wheelchairs.

I’ll give you couple of other recent examples. There was a small group of Buddhist monks that recently did a "walk for peace" through the deep South, a Trumpy part of the country known as the »Bible Belt.« Thousands of people came out to cheer them on and they had the support of the local governments and police.

Today, I’m seeing news coverage of long lines at airports because of budget disagreements within the Federal Government. Despite our differences and political conflicts, people are calm and not getting into fights. Most Americans are pretty chill and tolerant. Also, when it comes to technological and scientific advancement, obviously, that’s one of our strengths.

What is "typically American" about you?

[…] My mother’s side of the family came to America from England in the 1700’s before there even was a U.S.A. They were Protestant Christians. My father’s parents were immigrants from Russia and Latvia in the early 20th century and they were fleeing persecutions against Jews and were part of the massive wave of immigration at that time as the U.S. was modernizing rapidly and there was economic opportunity and religious freedom. I was born in New York City, grew up in Texas and now live in California. So I feel very lucky to have all this diversity in my background and experience. -full article here

Thank you for your time, David.

David Butow's photographs are featured in the exhibition "America The Beautiful" through August 9, 2026 

On July 2, 2026 Monroe Gallery hosted a Gallery talk with independent photojournalist Ryan Vizzions.

In September of 2016, Ryan Vizzions traveled from Atlanta, Georgia to stand in solidarity with the Standing Rock NoDAPL movement. Bringing his camera with him, but not intending to be a media source, Vizzions soon found himself using social media to reach over half a billion people with his photographic documentation of events unfolding over the months. With viral reach of one photograph in particular, "Defend The Sacred", Vizzions’ photography helped bring awareness around the world to the movement.

In late 2020, in the midst of the Covid-19 Pandemic, Vizzions embarked on a long term, multi-year project traveling and photographing across the United States to create a photography book documenting all 50 states. 

In January, 2026 Vizzions documented "Operation Metro Surge" by ICE in Minneapolis involving roughly 3,000 federal agents, leading to the deaths of Renee Good and Alex Jeffrey Pretti. His photograph of a masked ICE agent appeared as a full-page spread in the Sunday Opinion page of the February 1, 2026 issue of The New York Times. He has contributed considerable time to photographing and archiving the street memorial of Renee Good.

The Stunning Photojournalism That Made Mother Jones; includes feature by Nina Berman

 Via Mother Jones

June 25, 2026

“For decades, Mother Jones has seen photography as an essential component of its reporting,” says longtime contributing photographer Ken Light. “Photographers and their work have had and been an important voice within the magazine to reveal the truth.” The magazine’s photography has served as an uncompromising mirror to the world, evolving from the gritty black-and-white traditions of humanist documentary into an expansive, multiplatform chronicle of our time.

Across five distinct eras, this retrospective highlights a small fraction of great work from that 50-year journey. While the magazine’s editors could never have known at the time what a decade would bring, trends about each time period emerged when recently going through back issues. --Full article here

Nina Berman, “Returning From Iraq, the Damage Done,” March 2004

As the first waves of soldiers returned from Afghanistan and Iraq, frequent contributor Berman turned her camera on the complicated ways in which these veterans processed being back home. One of her subjects, 22-year-old Luis Calderon, was a former Army tank operator who was destroying a mural of Saddam Hussein when part of the wall crashed down, breaking his neck and paralyzing him. (Redux)

Gabriela Campos: A camera, trust and time: Honoring the legacy of borderlands photojournalist Nick Oza

 Via Calo news

Over the next year, Gabriela Campos will document the role of women within the lowrider and artistic culture of the Southwest after becoming the first recipient of the Nick Oza Visual Fellowship

Gabriela Campos has the wide smile and curious gaze of photographers who know how to see people, not just look at them. In the way she approaches and listens, there is something of photojournalist Nick Oza — that ability to move with people and turn fleeting moments into images charged with time, emotion and humanity.

That same sensitivity is what has now made her the first recipient of the “Nick Oza Visual Fellowship,” created by Altavoz Lab in honor of the two-time Pulitzer Prize-winning Arizona photographer.

“It feels incredible,” says Valeria Fernández, founder and director of Altavoz Lab, an organization dedicated to guiding, training and supporting local journalists. “I think that with Gabriela’s selection, the project is going to take on a new life and begin to become the legacy of each of the photojournalists who participate.”

For Valeria, it is no longer only Nick’s fellowship. It becomes Gabriela Campos’ community fellowship, “and of whoever follows in her footsteps, and we want it to last for many years into the future.”

Click for full article

New Exhibit At Griffin Museum Includes Ashley Gilbertson and Mark Peterson

Via The Griffin Museum of Photography

Vision(ary) is the Griffin Museum of Photography’s annual summer public art exhibition dedicated to the art of visual storytelling. This public art installation features individual exhibitions with distinct photographic styles, including banners hung on light standards and art installations around the Griffin Museum.

From the Civil Rights Movement to contemporary struggles for racial equity, gender justice, environmental protection, labor rights, immigration reform, and democratic accountability, protest has shaped the American narrative.

Photography has been central to this history—documenting resistance, amplifying voices, and creating images that define collective memory.

In the light of America’s 250th anniversary, this year’s edition, Raising Our Voices, presents photographic projects that focus on advocacy, social justice, and activism within the United States—past or present.

Vision(ary) is supported by the Winchester Cultural District, Winchester Cultural Council, John & Mary Murphy Foundation, En Ka Society, Winchester Rotary, Winchester Savings Bank, Griffin Museum Directors Circle, and other cultural and private partners. The exhibition concept and Photo Cube structures are designed by our long time producing partner, Photoville.

Ashley Gilbertson

Ashley Gilbertson

An Occupy Wall Street demonstrator is arrested on Broadway and Wall Street on November 17, 2011

On September 14, 2008, financial markets around the world plummeted, heralding the beginning of the current economic crisis, the most severe since the Great Depression of the 1930s. Bear Sterns and Lehmann Bros. went bankrupt overnight, and trillions of dollars were invested by the federal government in bail-outs and loans. The nucleus for the crash was Wall Street, where high risk complex bonds turned into toxic assets and unregulated trading imploded.

Three blocks from the Stock Exchange and almost exactly three years later, the Occupy Wall Street protest movement began.

For two months hundreds of people occupied a small wind swept plaza known as Zuccotti Park, where tents, a kitchen, a library, and a twenty-four hour drum circle were quickly set up. Occupiers represented hundreds of different causes, though their overarching frustrations lay with economic inequality and corporate greed. Their slogan “We are the 99%” referred to the enormous income gap between the wealthiest 1% and the rest of the population.

These pictures depict Wall Street during the crash in 2008 and the Occupy movement of 2011. --Ashley Gilbertson

Mark Peterson

“The Memory Hole is a look at America from November 5, 2024 when President Trump was elected to a second term, till the present, how it has changed America.  I am photographing this time for others to see knowing that in the future these images will be dismissed as fake news . As in The Memory Hole in George Orwell’s book 1984, the truth will be burned: ‘There was a memory hole in the opposite wall. O’Brien lifted the grating. Unseen, the frail slip of paper was whirling away on the current of warm air; it was vanishing in a flash of flame. O’Brien turned away from the wall. ‘Ashes,’ he said. ‘Not even identifiable ashes. Dust. It does not exist. It never existed.'” --Mark Peterson

Ashley Gilbertson and Mark Peterson have photographs included in the current exhibition "America The Beautiful", on view at Monroe Gallery through August 9, 2026.

America The Beautiful - Reception Saturday, May 23 4-6 PM

 Exhibition of compelling and provocative photographs illustrating America, American life, and the American people as the United States prepares to celebrate its 250th birthday amid the erosion of civil rights, human rights, and democratic norms.

On July 4, 2026, our nation will commemorate and celebrate the 250th anniversary of the signing of the Declaration of Independence. “America The Beautiful” confronts the idea that “American” is a uniform, monolithic identity at a critical time when our Democracy is under attack. Threats to free expression are rising, federal civil rights laws have been weakened and the foundations of the country’s racially inclusive democracy are being challenged

Through more than 40 enthralling images, “America The Beautiful” explores the rituals, celebrations, social change, history, and memories of the American nation. Photographs in the exhibit depict major events and everyday life; themes of patriotism, memory, conflict, and identity; and documents Americans struggling for their freedom; their right to live without fear, their right to speak and the right to protest inequities.

View the exhibition here.

Photographer Gabriela Campos is having quite the year

 Via The Santa Fe New Mexican

By Bill Church

May 10, 2026

Gabriela Campos is proof that curiosity can turn into a career. A shy kid into a visual star. No doubt.

The Santa Fe New Mexican photographer’s career has gained a national following, yet no one who knows her is surprised.

Gabriela recently was named the inaugural recipient of the national Nick Oza Visual Fellowship as selected by Altavoz Lab, founded by award-winning journalist Valeria Fernández on the belief that “strong local journalism strengthens democracy.” The fellowship is named after Oza, the Pulitzer-winning photojournalist known for mentoring others and forging important connections in Arizona’s immigrant communities before his death in 2021.

Gabriela will continue to work for The New Mexican during her fellowship while also tackling a 12-month project of documenting the “unsung women of New Mexico’s lowrider culture.”

Gabriela’s project work landed her on the May 2025 cover of High Country News magazine. And National Geographic recently selected her work for inclusion.

For those traveling to Washington, D.C., this summer, spend time at the Smithsonian’s National Museum of American History along the National Mall. You’ll find Gabriela’s images prominently displayed in the Marcia and Frank Carlucci Hall of Culture and the Arts located on 3 West.

If you go online to the Corazón y vida: Lowriding Culture site, you’ll immediately find one of Gabriela’s photos. The exhibit describes lowriding culture as “artistic expression, technological innovations, and storytelling that reflects Mexican American and Chicano culture and identity.” (Educators and anyone curious will find plenty of media-rich resources in the Smithsonian’s Learning Lab tied to the exhibit.)

I recently took a trip to Washington, D.C., where seeing Gabriela’s art was a must-see, must-smile moment. I also sent Gabriela a short list of questions, which she responded to between assignments and everything else going on in her life.

Her answers were so illuminating that I shifted from a typical column about Gabriela and the exhibit to this Q&A format (with some light editing).

Not surprising, Gabriela’s story is best told by Gabriela:

How did you learn your work had been accepted by the Smithsonian?

The process started years ago. I had just gotten home from a shift at the newspaper when my phone buzzed — it was an email from Steve Velasquez, a curator at the Smithsonian. He was interested in talking about my lowrider work in New Mexico. That was June 2021. After a few emails and calls, I submitted a portfolio. From there, everything fell into place.

Why has lowrider culture interested you? Has it influenced how you tell stories through your images?

Growing up in New Mexico, lowrider culture is always there, just at the edges of everyday life. You see cars cruising the Plaza, and it becomes part of your visual memory. I remember in kindergarten, my friend Domino brought in the song “Low Rider” by War for show and tell — that moment stuck with me.

As I got older, especially in high school, I became more drawn to cruise culture. Growing up in Santa Fe, you have to be creative to entertain yourself as a teenager. My friends and I would spend hours driving around town and hanging out in parking lots — not in particularly cool cars, but there was something freeing about it. That sense of movement, community and expression continues to shape how I tell stories through my images.

What was it like for you to see the exhibit in Washington, D.C.?

The exhibit was postponed for a couple of years due to COVID and the complexity of putting a show like that together. For a while, I wasn’t sure it would happen at all. So when the date was finally set, it felt unreal — and being there in person was even more surreal.

Seeing my photos on the wall brought me back to the exact moments they were taken: my first hopping competition in Española, Holy Thursday outside the Santuario de Chimayó, chasing a gold Impala down East San Francisco Street to catch it perfectly framed against the cathedral — while my mom followed behind me to make sure I didn’t get hit by a car.

Looking at the images, I saw friends and familiar faces. I didn’t feel far from home.

One of my favorite moments happened during the rollout after the festivities of opening day at the museum came to a close. A car club from Virginia lined up outside the museum. A rollout is when cars leave together — horns blaring, hopping, riding on three wheels — it’s a moment to show off. I was on the sidewalk taking photos, like I do at home, but this felt different. To my left were Estevan Oriol and Lou Dematteis — legends in lowrider photography. To my right was my 7-year-old nephew, Henry, crouched down, filming the cars weaving down the street. My mom, sister, and best friend were nearby, taking it all in.

The car club had blocked off the street, and the cars performed in front of these grand, pillared buildings. It felt like a collision of worlds — New Mexico lowrider culture meeting Washington, D.C. — and it was beautiful.

As the cars disappeared down the road, Oriol and Dematteis turned to me and asked if I’d take a photo with them. I couldn’t believe it — that they would want a picture with me, a newspaper photographer from New Mexico.

How did you become a photographer? What sparked this passion?

Up until about fifth or sixth grade, the world was a blur. Then I got glasses, and suddenly everything changed. Trees that once looked like green smudges had definition — I could see individual leaves, texture, detail. That shift gave me a deep appreciation for the visual world, and I think it’s part of why I became a photographer.

During my senior year of high school, I took my first photography class, and right away I knew it was something I wanted to pursue. It just felt right. Having a camera felt like being handed a key — a way to open doors and connect with people.

As a shy kid, I was just as curious — and my camera became a way to step into conversations, explore the world around me, and tell stories I otherwise wouldn’t have been part of. After that first class, I never stopped taking pictures.

For years after, I tried to convince myself photography wasn’t a practical path. How would I make it? How could I survive as a photographer? But every road kept leading me back to photojournalism. Eventually, I stopped resisting and accepted that this is what I’m meant to do. I’m grateful it worked out and that I kept going when it wasn’t always easy.

This World Press Freedom Day, American journalists are under attack

Via Freedom Of The Press Foundation

For years, World Press Freedom Day on May 3 has helped spotlight global press freedom violations. It’s a day to demand justice for journalists murdered in Gaza and Lebanon, or to celebrate the release of wrongfully detained reporters like Ahmed Shihab-Eldin.

Holding foreign regimes accountable for press freedom is essential. But this year, the U.S. needs to take a hard look in the mirror, too.

Since last year’s World Press Freedom Day, our U.S. Press Freedom Tracker has documented hundreds of press freedom violations in the United States, the equivalent of more than one per day. Taken together, these incidents are evidence of an unprecedented, coordinated assault on press freedom being led by the highest levels of our government.

From the streets of Minneapolis to the halls of the Pentagon, the Trump administration is dismantling the First Amendment right to gather and report the news.

Criminalizing the messenger

The majority of press freedom incidents cataloged by the Tracker since last May 3 are of journalists being assaulted and arrested while covering protests.

Most reporters arrested at demonstrations have their charges dropped later. But not journalists Don Lemon, Georgia Fort, and Junn Bollman. They now face bogus charges under federal prosecution for engaging in obviously constitutionally protected reporting while covering a protest at a St. Paul, Minnesota, church in January.

They’re not the only journalists being prosecuted for covering anti-immigration enforcement protests in Minnesota. Photographer John Abernathy — who was pictured tossing his camera to another photographer to protect it, while being surrounded and arrested by federal agents at a different protest in a Minneapolis suburb last January — is also facing federal criminal charges.

Targeting routine reporting

Outside the context of protests, multiple federal agencies are also trying to redefine routine journalism as wrong or illegal.

Perhaps most notoriously, Defense Secretary Pete Hegseth tried to ban reporters from the Pentagon unless they signed what amounts to a loyalty pledge promising not to ask sources for information. Even after a court said the ban (and a subsequent rewrite) was unconstitutional, the government continues to fight for the right to exclude reporters who aren’t interested in acting as Pentagon stenographers.

Former Homeland Security Secretary Kristi Noem and former Attorney General Pam Bondi have tried to chill reporting by accusing journalists of “doxxing” or fomenting violence against federal immigration agents by naming them or photographing them in public. They’ve threatened to prosecute CNN for reporting on an ICE-watching app and coerced app stores into removing that software, a clear violation of the Constitution.

At the FBI, Director Kash Patel launched a retaliatory “stalking” investigation into New York Times reporter Elizabeth Williamson because Williamson did her job: reaching out to Patel’s girlfriend Alexis Wilkins to ask for a comment on reporting that Patel was using government resources on Wilkins’ behalf. Even the Department of Justice thought that was too much, concluding there was no legal basis for the investigation of Williamson.

But perhaps no government official has done more to target journalism on Trump’s behalf than Federal Communications Commission Chair Brendan Carr. By threatening to punish broadcasters for reporting and editing news, and encouraging media mergers meant to benefit the Trump administration, Carr has shown he’s willing to trade the First Amendment (and whatever dignity he has left considering he wears a gilded bust of Trump as a lapel pin) for political points.

Waging war on whistleblowers

The Trump administration is also moving aggressively to shut down journalists’ relationships with their sources.

In January, the FBI raided the home of Washington Post journalist Hannah Natanson, the “federal government whisperer” who’d written about the hundreds of her confidential sources from within the government. When the agency asked a court for the search warrant allowing the raid, the government purposefully omitted any mention of the Privacy Protection Act of 1980, a federal law that prohibits such raids in almost all circumstances.

More recently, the DOJ used the Espionage Act to charge Courtney Williams, a former Army employee who spoke to reporter Seth Harp about sexual harassment and discrimination in the military. Like most Espionage Act cases involving reporters and sources, this case doesn’t seem to be about national security. It’s about hiding government misconduct by retaliating against journalists and sources who expose it.
A pattern of persecution

This is only the tip of the iceberg. We haven’t even gotten into the SLAPP lawsuits, the attacks on immigrant journalists, the threats to jail journalists who refuse to burn sources, the yanking of funding from public media, and so much more.

In other words, the U.S. is rapidly joining the ranks of the world’s worst press freedom offenders.

But it’s not too late to fight back.

Newsrooms can sue over press freedom violations and win. Lawmakers can reform the Espionage Act and Privacy Protection Act, and pass a federal shield law protecting journalists and their sources. Journalists can and should write and speak out about press freedom violations. The public can take action to demand that the Trump administration stop treating the First Amendment like a suggestion.

The United States can’t lead the world in defending press freedom on World Press Freedom Day when it’s actively dismantling it at home. It’s time to stop asking the Trump administration to respect the First Amendment. We need to use the courts, Congress, and the power of the people to force it.

See the exhibition Imagine A World Without Photojournalism

Global press freedom falls to lowest level in 25 years, RSF warns

Via France 24

April 30, 2026

Freedom of the press has fallen to its lowest level in a quarter of a century, NGO Reporters without Borders (RSF) warned Thursday as it released its annual global ranking. The group reported a worldwide decline in media freedom, citing factors ranging from US President Donald Trump’s “systematic” attacks on the press to actions in Saudi Arabia, where a journalist was executed in 2025.

The NGO's annual ranking, which was established in 2002, uses a five-point scale to asses the level of press freedom in a country, ranging from "very serious" to "good".

This year's index reveals a global trend towards restricting press freedoms.

"For the first time in the index’s 25-year history, more than half the world’s countries now fall into the 'difficult' or 'very serious' categories for press freedom," RSF said.

The proportion of the population living in a country where the press freedom situation is "good" has plummeted, falling from 20% to "less than 1%", it said.

Only seven countries in northern Europe are ranked "good", with Norway receiving the highest rating. France ranks 25th, with a ‘"satisfactory" score.

“In 25 years, the average score for all the countries studied has never been so low,” the NGO said.

The United States, received a "problematic" rating and has dropped seven places to 64th, between Botswana and Panama.

The organisation said US President Donald Trump's attacks on the press had become “systematic” resulting in such incidents as the detention and subsequent deportation of the Salvadoran journalist Mario Guevara, who was reporting on the arrests of migrants in the United States.

Trump has also overseen a drastic reduction in funding for US international broadcasting.

RSF also highlighted the dramatic falls of El Salvador (143rd), which has dropped 105 places since 2014 following the launch of a war against the Maras criminal gangs, and Georgia(135th), which has fallen 75 places since 2020 due to an “escalation of repression”.

The sharpest decline in 2026 is attributed to Niger (120th, down 37 places) due to the “the deterioration of press freedom in the Sahel over several years”, amid “attacks by armed groups and (the) ruling juntas”, RSF said.

Saudi Arabia (176th, down 14 places), where the columnist Turki al-Jasser was executed by the state in June – “a unique occurrence in the world” – sits alongside Russia, Iran and China at the very bottom of the ranking, which is rounded out by Eritrea (180th).

By contrast, Syria (141st) has leapt 36 places following the fall of Bashar al-Assad’s regime.

Behind the Lens With Ron Haviv

 Via Human Rights Educators USA

Behind the Lens


Go beyond the headlines with our speakers as they share the challenges, risks, and defining moments of documenting ICE and pivotal current events shaping our world today.

Stephanie Heimann – Photo Director at The New Republic, a veteran visual editor specializing in politics, global issues, and the environment.

Ron Haviv – Emmy-nominated filmmaker and award-winning photojournalist, co-founder of VII, whose work on conflict and human rights has shaped global conversations and appeared worldwide.

April 25th, 10am- 11am EDT

Register:

https://docs.google.com/forms/d/e/1FAIpQLSdQOuy4AW0qqDa8QZRqV8yIPGoI2QFXYlC5CGH_mdlnpTmCOQ/viewform

Related: Friday, April 24 at 5:30PM Photojournalism: Witness + Vision   

Photographers Giles Clarke, Ron Haviv and Shelby Lee Adams join moderator Rick Smolan for a conversation on the evolving role of photojournalism and documentary practice today. Reflecting on the power and responsibility of the image, the panel considers how personal vision, ethics and context shape the stories photographers tell—and how those stories resonate in an age of constant visual exchange.

Watch on YouTube here.