How two photojournalists are dealing with the trauma of documenting immigrant detentions at Federal Plaza

 Via AM New York

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."

"The loss to history from the purging of photo morgues is unquantifiable”

Via Columbia Journalism Review

October 28, 2025 

Who’s Going to Save Local Newspaper Archives?

Archivists worry in particular about photographs that have never been digitized

"Frank LoMonte, a University of Georgia law professor who has studied the loss of photo archives from local newspapers, estimates that only a small minority of papers have the financial resources and foresight to proactively safeguard their archives. LoMonte especially worries about unpublished photographs, because they provide an unfiltered perspective on what life was like—and offer a window into how editors at the time chose to portray major news events, and what they chose not to include. “The loss to history from the purging of photo morgues is unquantifiable,” he said. " - click for full article

Work In Progress Podcast Conversations With Creators Features Ed Kashi

 Via Work In Progress 

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

Images from Sanjay Suchak's work documenting the removal of Confederate iconography across the South have been selected to be part of the major new exhibit "Monuments" at the Museum of Contemporary Art Los Angeles (MOCA)

 Via MOCA

Sanjay Suchak

The seated statue of Matthew Fontaine Maury from behind 

MONUMENTS

Co-organized and co-presented by MOCA and The Brick, MONUMENTS marks the recent wave of monument removals as a historic moment. The exhibition reflects on the histories and legacies of post-Civil War America as they continue to resonate today, bringing together a selection of decommissioned monuments, many of which are Confederate, with contemporary artworks borrowed and newly created for the occasion. Removed from their original outdoor public context, the monuments in the exhibition will be shown in their varying states of transformation, from unmarred to heavily vandalized.

Co-curated by Hamza Walker, Director of The Brick; Bennett Simpson, Senior Curator at MOCA; and Kara Walker, artist; with Hannah Burstein, Curatorial Associate at The Brick; and Paula Kroll, Curatorial Assistant at MOCA, MONUMENTS considers the ways public monuments have shaped national identity, historical memory, and current events.   

Following the racially motivated mass shooting at Mother Emanuel AME Church in Charleston, SC (2015) and the deadly 'Unite the Right' rally organized by white nationalists in Charlottesville, VA (2017), alongside Bree Newsome’s powerful removal of the Confederate flag at the South Carolina Statehouse (2015), the United States witnessed the decommissioning of nearly 200 monuments. These removals prompted a national debate that remains ongoing. MONUMENTS aims to historicize these discussions in our current moment and provide a space for crucial discourse and active engagements about challenging topics.  

MONUMENTS features newly commissioned artworks by contemporary artists Bethany Collins, Abigail DeVille, Karon Davis, Stan Douglas, Kahlil Robert Irving, Cauleen Smith, Kevin Jerome Everson, Walter Price, Monument Lab, Davóne Tines and Julie Dash, and Kara Walker. Additional artworks by Leonardo Drew, Torkwase Dyson, Nona Faustine, Jon Henry, Hugh Mangum, Martin Puryear, Andres Serrano, and Hank Willis Thomas, are borrowed from private collectors and institutions. 

The exhibition presents decommissioned monuments borrowed from the City of Baltimore, Maryland; the City of Montgomery, Alabama; The Jefferson School for African American Heritage, Charlottesville, Virginia; the Black History Museum & Cultural Center of Virginia, Richmond; the Valentine, Richmond, Virginia; and The Daniels Family Charitable Foundation, Raleigh, North Carolina. By juxtaposing these objects with contemporary works, the exhibition expands the context in which they are understood and highlights the gaps and omissions in popular narratives of American history.  

MONUMENTS will be accompanied by a scholarly publication and a robust slate of public and educational programming.

MONUMENTS is co-organized by The Museum of Contemporary Art, Los Angeles (MOCA) and The Brick. MONUMENTS is co-curated by Hamza Walker, Director, The Brick; artist Kara Walker; and Bennett Simpson, Senior Curator, MOCA; with Hannah Burstein, Curatorial Associate, The Brick; and Paula Kroll, Assistant Curator, MOCA.

Presenting support is provided by the Mellon Foundation.

Images from Sanjay Suchak's work documenting the removal of Confederate iconography across the South have been selected to be part of the major new exhibit "Monuments" at the Museum of Contemporary Art Los Angeles (MOCA) which is co-curated by The Brick. In addition to being a part of the exhibit, Suchak's photo featuring the seated statue of Matthew Fontaine Maury from behind was selected to be the exhibition poster and the cover of the exhibition catalog book.

NY Times: "The year’s most audacious and contentious new show brings out — after years of wrangling, and with heightened security — nearly a dozen Confederate memorials removed from view in the last decade."

NY Times: Kara Walker Deconstructs a Statue, and a Myth

As part of the group exhibition “Monuments,” the artist took a Stonewall Jackson bronze and transformed it into a radically new, unsettled thing.

The Guardian: Breathtaking, unsettling, healing: how US artist Kara Walker transformed a Confederate monument; The sweeping exhibition Monuments, which features 19 contemporary artists, opens in LA on 23 October

Sanjay Suchak

A worker stands with downed statue of Stonewall Jackson

Photojournalist Ed Kashi on his career-spanning exhibition at Monroe Gallery

 Via The Albuquerque Journal

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

By Logan Beitman

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.

How we captured the photo of federal immigration agents pointing a crowd control weapon at a protester

 Via The Chicago Sun Times

October 18, 2025

"Our photographers will continue to document these stories and more as they unfold. We couldn’t be prouder of their work. Here are 18 more photos from the Sun-Times."

Ron Haviv Exhibition Featured At FOTOIST - International Photography Festival - Edition 3

Via Fotoist International Photography Festival

October 17, 2025 

Program – FOTOIST

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

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.

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.

Jesse L. Douglas, Aide to King in Marches From Selma, Is Dead at 90

Via The New York Times

Oct. 11, 2025 

A lieutenant to Martin Luther King Jr. and a fellow preacher, he played a vital role in organizing voting-rights protests in 1965 that began with “Bloody Sunday.”

Steve Schapiro: The Rev. Jesse L. Douglas, second from right, joined an Alabama voting-rights march in 1965. With him were, from left, the Rev. Ralph D. Abernathy, James Forman, the Rev. Dr. Martin Luther King Jr. and John Lewis

"But Mr. Douglas, an albino with fair skin, blue eyes and blond hair, was perhaps best remembered for a widely circulated photograph by Steve Schapiro in which he is the lone pale figure among a group of Black Americans walking arm in arm as they marched in Alabama."

Full obituary

Christie's Photographs Sale in New York Achieves World Auction Record Price For Gordon Parks American Gothic, Washington D.C., 1942

Via Christie's

October 10, 2025

NEW YORK – Christie's is pleased to announce the results of its Photographs sale, which concluded in New York on October 10. The online-only auction totaled $3.6 million, with a strong sell-through rate of 83% by lot and 115% against low estimate. The sale attracted robust global participation, including 24% of bidders and buyers new to Christie's. 

Spanning the history of the medium, the sale was led by Ansel Adams (1902–1984) with Aspens, Northern New Mexico, 1958, which realized $330,200. This was followed by Edward Weston (1886–1958) with Wind Erosion, Dunes at Oceano, 1936, selling for $190,500. 

The sale achieved a world auction record price an important work by Gordon Parks (1912–2006), American Gothic, Washington D.C., 1942, which realized $38,100 against a low estimate of $7,000. 

Additional highlights included: Helmut Newton (1920–2004), Fifteen Photographs, 1980, which achieved $120,650, nearly double its low estimate and an Irving Penn (1917–2009), Café in Lima, 'Vogue' fashion photograph (Jean Patchett), 1948, which sold for $95,250, surpassing its high estimate.  

The sale underscored continued demand for iconic photographic works and reaffirmed Christie's leadership in the category.