You are considered a professional photographer if you earn more than 50% of your income from photography. But don't worry, no need to be a full time photographer to buy a professional camera! If you want something very sturdy, with all the manual options possible and top of the notch accessories, this selection is for you.
The San Quentin Project collects a largely unseen visual record of daily life inside one of America's oldest and largest prisons, demonstrating how this archive of the state is now being used to teach visual literacy and process the experience of incarceration.
In 2011, Nigel Poor - artist, educator, and cocreator of the acclaimed podcast Ear Hustle―began teaching a history of photography class through the Prison University Project at San Quentin State Prison. Neither books nor cameras were allowed into the facility, so an unorthodox course with a range of inventivemapping exercises ensued: students crafted "verbal photographs" of memories for which they had no visual documentation, and annotated iconic images from different artists. After the first semester, Poor says, "one student told me he could now see fascination everywhere in San Quentin."
When Poor received access to thousands of negatives in the prison's archive, made by corrections officers of a former era, these images of San Quentin's everyday occurrences soon became launchpads for her students' keen observations. From the banal to the brutal, to distinct moments of respite, the pictures in this archive gave those who were involved in the project the opportunity to share their stories and reflections on incarceration.
With a rising number of women throughout the world picking up their cameras and capturing their surroundings, this book explores the work of 100 women and the experiences behind their greatest images.
Traditionally a male-dominated field, street photography is increasingly becoming the domain of women. This fantastic collection of images reflects that shift, showcasing 100 contemporary women street photographers working around the world today, accompanied by personal statements about their work. Variously joyful, unsettling and unexpected, the photographs capture a wide range of extraordinary moments. The volume is curated by Gulnara Samoilova, founder of the Women Street Photographers project: a website, social media platform and annual exhibition. Photographer Melissa Breyer's introductory essay explores how the genre has intersected with gender throughout history, looking at how cultural changes in gender roles have overlapped with technological developments in the camera to allow key historical figures to emerge. Her text is complemented by a foreword by renowned photojournalist Ami Vitale, whose career as a war photographer and, later, global travels with National Geographic have allowed a unique insight into the realities of working as a woman photographer in different countries. In turns intimate and candid, the photographs featured in this book offer a kaleidoscopic glimpse of what happens when women across the world are behind the camera.
Natalie Christensen has shown her work in exhibitions around the world, including London, Berlin, New York and Los Angeles. She was recently named one of "ten photographers to watch" at the Los Angeles Center for Digital Art. Her photographs are in the permanent collections of museums and institutions as well as numerous private collections. When natalie isn’t looking for photos behind forgotten shopping centers you can find her checking her instagram feed while hiking the mountains around Santa Fe.
UNPERSON is one of the first photo books of North Korean Defectors. In George Orwell’s 1984, an unperson is someone who has been vaporized, whose record has been erased. As each defector begins their new life, they all start out as an UNPERSON. The 15 intimate portraits tell the stories of the brave people who decided to take the chance to flee to South Korea.
The road to South Korea is dangerous and can take years with the many different borders of Mongolia, Laos, Thailand and China. The people fleeing are filled with the fear of being arrested and sent back to labour camps. Once they arrive in South Korea, they often struggle to find a new identity: Lost between their North Korean past and South Korean future.