"Damaso Reyes has been photographing the many changes sweeping over the European Union since 2005 as part of his ambitious project, “The Europeans.” Across the Continent, he has been finding moments large and small that strive for nuance and details of everyday life."

"Experiencing the city can be like a dream; its logic can suddenly bend into contorted shapes that seem to scream out for citation and correction. Everyone around walks on, busy, involved, oblivious to the absurdity that just caught the eye."

"This is an unprecedented moment in the history of photojournalism, and in our understanding of its role in the media. The war in Iraq demonstrates a dramatic change in the way news is gathered: the development of laptop computers, digital cameras, satellite phones, and micro recording devices has enabled the photographer to give viewers immediate, live access to the battlefield."

" I see the children as the ones who suffer repercussions more strongly than the women do. In my experience, women who’ve been abused by their husbands, if they can get away from him, get into a shelter, and start going to support groups, they heal. They are able to make sense out of what happened and go on with their lives. But the children I usually come in contact with, they are like time bombs. In a therapy session, I saw a young boy climb the wall, scale it like a human fly when forced to remember what his father had done to his mother again and again and again."

"Photographer Alex Prager’s high-intensity L.A. melodrama."

"Is it really the role of an artist who is still active to talk about his own motivations? As a source, he is suspect. With a view to an ‘endangered’ future, it is probably preferable that art critics, in particular, should be mistaken.
"

– Marcel Broodthaers, 1975

"IN 1992, when Rineke Dijkstra was an unknown photographer from the Netherlands visiting the United States, she found herself shooting pictures on a beach in South Carolina while being watched intently by an extroverted 14-year-old blond girl."

"Most of the time, we do one import of the all the photos to a particular project. However, there are times when we go back and shoot the same subject more than once and import several times to the same project.

"I was recently asked by a photographer friend if it was possible to sort images based on the import session. My first instinct was that it wasn’t possible. I was thinking of the sort properties in the sort pop-up menu and I knew that wasn’t one of the choices."

“One picture leads to another,” Alec Soth tells the two filmmakers in Somewhere to Disappear (2011), a documentary that follows him around during the last two years that he worked on his photographic book, Broken Manual (2006-11). Later, in the film, he says: “I want to be carried.” Soth yearns for a subject to overwhelm his curiosity, leading him into places and situations that he couldn’t have otherwise foreseen. Photography is his means of discovering both the self and the Other, and where the two meet. It is how he finds “a path through the world.”

THESE AMERICANS is a visual narrative,handcrafted from the archives of American history and pop culture. Born out of an obsessive need to explore the expanse of American visual information,THESE AMERICANS has become the premier destination for highlights from American history and pop culture.

Images from Vivian Maier's Undeveloped Rolls

More than 20 other Tibetans have set themselves ablaze in the past year to protest Chinese government controls

I don’t want to think about technique, because technique blocks your mind. The best way is to be open — to feel the atmosphere of the street or the place where you are; to connect to the people. I saw Bruce Davidson lecturing about “Subway.” Someone asked him, “What do you think about what Capa said, that if your picture is not good enough, you are not close enough?” He said that it’s very important to be close in a mental way. Because if you are close mentally, the pictures are very personal. Many times it’s better to show emotions than beautiful composition.

I want to show things you might not see in normal life. I make normal things appear special. I want people to look at life in a new and different way, but it always has to be based on reality. It's important that you don't pass judgement, and leave space for interpretation. For example, in the Almerisa series, the young Bosnian refugee, whose portrait I took for the first time in the early 1990s, it was important for me not to show any specific details of her surroundings such as the décor of the apartment. If you show too much of a subject's personal life, the viewer will immediately make assumptions. If you leave out the details, the viewer has to look for much subtler hints such as how her shoelaces are tied, or her lipstick or the state of her The same goes for the picture of the boy in Odessa.You could show he is poor by including a trashcan or a stray cat in the picture. But for me it's all about subtlety and the fact that you really have to read the image to get clues about the boy.That makes it equal for everybody.

To me, photography is a simultaneous recognition in a fraction of a second of a significance of an event as well as of a precise organization of form which gives that event its proper expression. I believe that, for reactive living, the discovery of oneself is made concurrently with the discovery of the world around us, which can mold us, but which can also be affected by us. A balance must be established between these two worlds: the one inside us, and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.

L.A. light, that kind of foggy, smoggy, soft light—I miss that. It’s the light of my childhood. There are certain sounds, feelings of the air, and all of that which you can’t photograph but you can find the equivalent of, in light.

Art is both love and friendship, and understanding; the desire to give. It is not charity, which is the giving of Things, it is more than kindness which is the giving of self. It is both the taking and giving of beauty, the turning out to the light the inner folds of the awareness of the spirit. It is the recreation on another plane of the realities of the world; the tragic and wonderful realities of earth and men, and of all the inter-relations of these.

Mr. Larson, a photographer who teaches photography at the Maryland Institute College of Art, has been working with  Marni Shindelman, a Rochester-based photographer, for more than two years on a project using location coordinates to combine Twitter messages with photos from the places where the posts originated. Mr. Larson calls the pairings, many of which have a melancholic feel, “anonymous tributes to anonymous people.”

She was the first woman to become a full member of the storied Magnum Photos cooperative — not quite a feminist, but someone who believed that women saw the world through a different lens. Petite but powerful, she will be remembered for her generous spirit and her compassionate eye.

Along a nearly inaccessible road in Tajikistan, the Greek photographer Myrto Papadopoulos is pursuing a quiet story of growth and change in a small, isolated society.

My understanding – of course, I’m not a philosopher or a scientist – of an aspect of Goethe’s theory of color is that he felt that color came out of tension between light and dark. I think that is very appropriate when you think about the kind of color that I shoot.

What excites me about the medium isn’t pure documentary or pure fiction; I like exploring the murky middle place in hopes of finding what Werner Herzog calls “ecstatic truth.”

quiet moments: most of what happens on any given day, anywhere. #MuhammedMuheisen #FB

I had incredible bad luck that day, but also incredible good luck. The land mine was daisy-chained to a vat containing about 30 pounds of homemade explosives, and for whatever reason, that did not go off. Had that second explosion gone off, there wouldn’t be enough of me to put in a matchbox. It’s just amazing how life works out, you know? Call it the hand of God, call it luck, call it whatever — I’m grateful for it.

As a vicious drug war rages right on the other side of the Mexican border, El Paso quietly prospers. This isn’t illogical. This is just how it works.