Photojournalists
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Famous Photogs Pose With Their Most Iconic Images | Raw File | Wired.com
Jeff Widener holds his photo of Tank Man in Tienanmen Square from 1989. Photo: Tim Mantoani The Tank Man of Tienanmen Square. Muhammad Ali standing over Sonny Liston in victory. The portrait of the Afghan Girl on the cover of National Geographic. Many of us can automatically recall these photos in our heads, but far fewer can name the photographers who took them.
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The Bob Carlos Clarke Foundation are working with the award-winning female directing duo Bert&Bertie, and acclaimed producer Amy Gilliam, to make a film about Bob. Would you like to be part of this exciting project?
Bob Carlos Clarke: Home Page
(Paris) - C’est au Jeu de paume, à l’ombre de l’obélisque de la place de la Concorde, à Paris, que l’on peut plonger, pour la première en France, aussi profondément dans l’œuvre de Santu Mofokeng. Une rétrospective de trente années de photographie, d’essais imagés voire imaginés, essentiellement en noir et blanc, découvrant aux visiteurs une vision sensible de l’austral du continent africain et bien au-delà. Car Santu Mofokeng est sud-africain, noir, né à Soweto (South West Township) en 1956, près de Johannesburg, banlieue emblématique de la lutte anti-apartheid, marquée notamment dans sa chair par les émeutes du 16 juin 1976 violemment réprimées par la police afrikaner. Le bilan fut terrible : des centaines de victimes adolescentes, dont de nombreuses tuées à coup de balles reçues dans le dos. Les images exposées ne montrent pas cette violence barbare et drue de l’apartheid.
Les ombres photographiques de Santu Mofokeng éclairent le Jeu de paume à Paris | africamix
PIETER HUGO
For the past year Hugo has been photographing the people and landscape of an expansive dump of obsolete technology in Ghana. The area, on the outskirts of a slum known as Agbogbloshie, is referred to by local inhabitants as Sodom and Gomorrah, a vivid acknowledgment of the profound inhumanity of the place. When Hugo asked the inhabitants what they called the pit where the burning takes place, they repeatedly responded: ‘For this place, we have no name’. Their response is a reminder of the alien circumstances that are imposed on marginal communities of the world by the West’s obsession with consumption and obsolesce.