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Astronauts Snag Dramatic Photographs of Alaska’s Erupting Volcano
Images of volcanoes from space are often kind of dull. These, we assure you,...
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Melville B. Grosvenor, Editor of the Magazine and President of the Society, admires new globes on a conveyor belt in a Chicago plant, December 1961.
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Photojournalist Sharing the World through Instagram
Photojournalists from around the globe have begun using Instagram as an...
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New portfolio books for @brinsonbanks came in yesterday. Excited to get these out in the world.
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Time flies when you’re having fun! Open Show New York City launched at the BDC last year and it’s great to welcome them back to...
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Burma: Ethnic Cleansing of Rohingya Muslims in Arakan State
Burmese authorities and members of Arakanese groups have committed crimes against...
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“Be a human first and a journalist second,” Donna De Cesare once told me.
Even before she became my professor at the University of Texas, Austin, I...
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“I am at war with the obvious,” the photographer William Eggleston said in a conversation with the author Mark Holborn, which became the afterward...
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If you’re in New Orleans, do not miss the screening of Steve Pyke’s Moonbug on April 13.
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Afghanistan’s Wakhan Corridor
Afghanistan’s Kyrgyz nomads survive in one of the most remote, high-altitude, bewitching...
Since 2004, the Getty Images Grants for Editorial Photography have provided funding to photojournalists working on stories all over the world. This year, five more grants will be awarded, and entries are now being accepted.
Images from previous winners shown (clockwise from top): The Other War, by Miquel Dewever-Plana; Requiem in Samba, by Alex Majoli; The E-Waste Trail, by Stanley Greene; Upstate Girls, by Brenda Ann Kenneally
![More recognition for Getty Images Grant winner Liz Hingley’s fantastic project The Jones Family. Congrats Liz!
bloodoftheyoung:
British photographer Liz Hingley has been awarded the 2012 Prix Virginia for The Jones Family, a series of photographs depicting poverty and deprivation in the UK
The Prix Virginia is an international award dedicated to women photographers, which recognises the importance of their work in an industry often dominated by men.
“I generally feel lucky as a woman photographer to be appreciated as the minority,” Liz Hingley tells BJP. “[Women are] under-represented, yes – but we are strong. I never feel hindered as a woman photographer.”
The young photographer was selected almost unanimously – receiving seven out of eight votes – by a jury that included, among others, The Sunday Times Magazine’s photo editor, Monica Allende, curator Christian Caujolle, Agnès Sire of the Henri Cartier-Bresson Foundation, and Lucy Conticello of Le Monde’s magazine M.
“It is particularly exciting to be the first to win the prize. This is a new body of work for me, which has yet to be published, and I am still unsure about the final editing, so it is wonderful and inspiring to have such positive feedback.”](http://24.media.tumblr.com/17749532399eb3358c7cd8be02b9174d/tumblr_metaljxBgE1qbluuho1_500.jpg)
More recognition for Getty Images Grant winner Liz Hingley’s fantastic project The Jones Family. Congrats Liz!
British photographer Liz Hingley has been awarded the 2012 Prix Virginia for The Jones Family, a series of photographs depicting poverty and deprivation in the UK
The Prix Virginia is an international award dedicated to women photographers, which recognises the importance of their work in an industry often dominated by men.
“I generally feel lucky as a woman photographer to be appreciated as the minority,” Liz Hingley tells BJP. “[Women are] under-represented, yes – but we are strong. I never feel hindered as a woman photographer.”
The young photographer was selected almost unanimously – receiving seven out of eight votes – by a jury that included, among others, The Sunday Times Magazine’s photo editor, Monica Allende, curator Christian Caujolle, Agnès Sire of the Henri Cartier-Bresson Foundation, and Lucy Conticello of Le Monde’s magazine M.
“It is particularly exciting to be the first to win the prize. This is a new body of work for me, which has yet to be published, and I am still unsure about the final editing, so it is wonderful and inspiring to have such positive feedback.”
(via photographsonthebrain)
“Inside the Flock”
Getty Images Editorial Grant winner Paolo Marchetti has been documenting the rise of fascist groups in Europe, an inherently difficult subject to penetrate. Gaining access to the groups required patience and trust.
“It wasn’t easy to build a relationship with them,” he says of his subjects. “I started to meet them without my camera for more or less two months, to let them to know me, to understand my intentions, to smell me, to test my targets, my personality.”
This, he says, was the key to allow him to go “inside the flock.”
“I learned a lot,” he says. “The distance. The human, the mental distance, and the photographic as well … It is a huge lesson about an anthropologic factor that we need to mind.”
Read more, and see the full video of the grants being presented, on the Getty Images Blog
Bharat Choudharay, Kosuke Okahara, Sebastian Liste, and Paolo Marchetti have each won a $20,000 Getty Images Grant for Editorial Photography. Congratulations to all! To see more images and read about their projects please visit our Grants website.
Please also see Time Lightbox and British Journal of Photography for some great articles and interviews with the winners.
![Getty Images Grant winner Edwin Koo is screening his project, Paradise Lost, at Visa Pour l’Image tonight. Last year, as he was working on the project, he shared with us some of his experiences in Pakistan’s Swat Valley:
‘The Taliban’s stranglehold over Swat was only possible only because Swatis are such nice tolerant folks. For example, when Taliban militants came in the darkness of night to desecrate an ancient Buddha carving in Jahanabdal, 60-year-old Tooti Gul could only cower in his home. Gul, himself a Muslim, couldn’t understand the intolerance the Taliban bore for universal cultural heritage. His family had lived at the foot of the Buddha carving for generations. On countless summer evenings, he would sit there admiring the craftsmanship, as his cattle roamed in the surrounding valley.
Now, although the Taliban is gone, the scar on the now-faceless Buddha reminds Gul that “Udyana” (“The Garden” in Sanskrit) is lost. Today, the omnipresence of armed men and sentry posts cast a long shadow on the once idyllic valley.
Rashid [one of Koo’s subjects] spoke about this recently on Facebook. “Kids of Swat in streets are playing militant and military,” Rashid wrote. “… Even my niece Usra (8) and Liyba (6) frequently use (words like) curfew, operation … in their games, which is really shocking for me. That’s the reason why I am trying my best to play cricket and other cultural games with them to wash such things from their brains, but it’s not an easy task.”’
Please read more on the Getty Images blog.](http://25.media.tumblr.com/tumblr_m9w4vsAMuj1r40y78o1_500.jpg)
Getty Images Grant winner Edwin Koo is screening his project, Paradise Lost, at Visa Pour l’Image tonight. Last year, as he was working on the project, he shared with us some of his experiences in Pakistan’s Swat Valley:
‘The Taliban’s stranglehold over Swat was only possible only because Swatis are such nice tolerant folks. For example, when Taliban militants came in the darkness of night to desecrate an ancient Buddha carving in Jahanabdal, 60-year-old Tooti Gul could only cower in his home. Gul, himself a Muslim, couldn’t understand the intolerance the Taliban bore for universal cultural heritage. His family had lived at the foot of the Buddha carving for generations. On countless summer evenings, he would sit there admiring the craftsmanship, as his cattle roamed in the surrounding valley.
Now, although the Taliban is gone, the scar on the now-faceless Buddha reminds Gul that “Udyana” (“The Garden” in Sanskrit) is lost. Today, the omnipresence of armed men and sentry posts cast a long shadow on the once idyllic valley.
Rashid [one of Koo’s subjects] spoke about this recently on Facebook. “Kids of Swat in streets are playing militant and military,” Rashid wrote. “… Even my niece Usra (8) and Liyba (6) frequently use (words like) curfew, operation … in their games, which is really shocking for me. That’s the reason why I am trying my best to play cricket and other cultural games with them to wash such things from their brains, but it’s not an easy task.”’
Please read more on the Getty Images blog.
Walter Astrada, winner of a 2011 Getty Images Editorial Grant, has been documenting violence against women since 2006. In his latest set of photos he turns his eye to Norway, a wealthy and generally peaceful country that nonetheless has many of the same problems as his previous subjects (Guatemala, Congo, & India).
Please see more on New York Times Lens Blog.
Getty Images Senior Photo Editor Jamie Penney talks about what it’s like managing the Getty Images Grants for Editorial Photography, and what winners usually have in common.
