Mark Steinmetz’s Time of Being in Love

Ordinarily, seeing photographs described as “timeless” makes me uncomfortable. Often, I am made to feel someone is trying to get away with not getting (or wanting to get) closer to the pictures in question. For example, photographers will justify their choice of black and white…

Review: The Wrong Side by Jérôme Sessini

Kevin Mertens’ Hurtland

Review: New York Arbor by Mitch Epstein

Hanna Fuhrmann’s Postindustrial Blues

Review: Berlin, Fruchtstraße am 27. März 1952/on March 27, 1952

Mayumi Hosokura and Beauty

A Conversation with Gerry Johansson

Review: Muge’s Ash

Birte Kaufmann’s Irish Travellers

Review: Occupy São Paulo by Carlos Cazalis

A Conversation with Adam Broomberg & Oliver Chanarin

Guillaume Simoneau’s Love and War

Petros Koublis’ Minor Landscapes

Photobook Reviews (Week 28/2013)

Photography’s Existential Dread

Vanessa Winship: She Dances on Jackson

Visualizing the past: Ulrike Schmitz

Oliver Kern’s German View

A Conversation with Joachim Brohm

Why Mister, Why? by Geert van Kesteren

Looking at Nelli Palomäki’s Portraits

David Moore’s Pictures from the Real World

Edmund Clark and the National Security State

Paul Walsh’ Isolated Coastline

Review: Martin Boyce’s A Partial Eclipse

Amani Willett’s Disquiet

The Second Life of Andrew Miksys’ Photographs

Shinji Otani’s The Country of the Rising Sun

Sibylle Fendt and the inner life of Elke Gärtner

Massimo Sordi’s Changing India

Photobook Reviews (Week 21/2013)

A ride to Rockaway Beach with Rob Stephenson

Looking at Dorothea Lange’s Migrant Mother

Photobook Review: Vers l’Orient by Marc Riboud

Jens Sundheim & Bernhard Reuss – The Traveller

A New Site

A Conversation with Christian Patterson

A Conversation with CPC 2012 Winner Hye-Ryoung Min

Riverfront by Curran Hatleberg