It’s called Utqiaġvik, the northernmost city in Alaska – and therefore the United States – and is 320 miles north of the Arctic Circle. Here, every year for 65 days, the sun never rises, bringing down the earth, the houses, the roads, the cars under a cold blanket of snow, as well as darkness. This phenomenon leads to an increase in the suicide rate and in the use of drugs and antidepressants. Here the solastalgia, that feeling of malaise linked to the sudden changes that take place in the place where you live, is real, is palpable. Photographer Mark Mahaney was fascinated by this place and this period of perpetual darkness, so much so that he dedicated an entire photographic project to it: Polar Night. His shots are a journey to a place that is periodically frozen under meters of snow and with it even life stops, changes, slows down.
In our gallery, you can find a selection of the shots of Polar Night by Mark Mahaney.
The question that arises more and more spontaneously within the circuit of contemporary photography is whether to make convincing images you need to use a camera.
The answer seems almost obvious looking at Eric Van Nynatten‘s images and, even more interesting, it could be that of those who in the future will think of an iPhone 8 Plus as an obsolete device.
In his series New York Observations, we find a cinematic NY that sometimes makes us think of the famous cult Once Upon a Time in America by Sergio Leone. All the images were taken exclusively with an iPhone 8 Plus; then they were post-produced.
Knowing and knowing how to use both film and digital cameras is important to get to know what you are doing, but even more important is the design, the storytelling, the look. Eric offers us a nostalgic look, capturing moments, places and atmospheres of his New York, telling us a street story that must be kept in memory, both ours and the digital one.
Polina Washington does not define herself as a photographer, but as a visual explorer who seeks to experiment with new possible worlds through the art of photography. Her ethereal and fragile universe sees the female figure at the center of her research, often represented as an evanescent muse.
After graduating with a degree in photography from the University of Cinema and Television, Polina never stopped, shooting and drawing inspiration from both the world of nature and her everyday life.
Forests blend with the sinuous bodies of women, indefinite faces, neon lights, and daydreams are part of the surreal and intimate universe to which Polina gives a life.
Take a look at the artist’s Instagram profile here.
For more than two weeks now, Chile has been at the center of the news, the front pages of newspapers and the homes of our social networks. The words “El pueblo unico jamas sarà vencido” (The united people will never be defeated) resonate in the air and the images of the millions of people in the streets of the capital Santiago – but also of cities like Concepción and Valparaíso – to protest are a testimony that what is happening is much more than just a protest.
It all began with the increase in the price of Santiago’s metro ticket at peak times, generating mass entrances with no metro ticket, which inexorably turned into marches, clashes with the police, fires, and looting of shops. So, in the end, the price of the ticket became the straw that broke the camel’s back, the opportunity for the Chilean people to claim their rights.
It can be said that the situation in Chile was one of apparent calm, but under the surface there were problems and flaws linked to the education, health and tax system, privatization of water and the growing inequality between the rich and middle classes.
The response of President Sebastián Piñera did not satisfy the people, on the contrary, to feel advised not to take the metro at rush hour, to define the social crisis as a war and to feel called “a powerful and implacable enemy that respects nothing and nobody” seems to have ignited even more the minds.
The streets of Santiago have become the stage of a real war that takes place with the eyes of the world pointed at it and there are those who join the demonstrators also manage to restore and show the reality of the situation. I’m talking about Sebastián González, Chilean advertiser, and photographer, who is always looking for new perspectives, new ways to show what surrounds us. We can’t help but look at the shots he publishes on his Instagram profile, which capture the soul of Santiago plunging into the fumes of tear gas, into the carcasses of burnt vehicles, where blue, grey and black seem not to let the sun’s rays through. The darkness, the fear, the army on the street, the insecurity, everything we see in Sebastián’s photographs reopens a wound that has not yet healed, bringing us back to that distant 1973 that changed the history of Chile and beyond.
“Nosotros no estamos en guerra, solo estamos manifestando por nuestros derechos.”
Below is a selection of Sebastián González’s shots.
Each photograph tells a story and hides another. Kate Peters‘ pictures tell of beautiful ones.
Born in the Midlands, Kate became passionate about photography when she was young, following specialized studies in the field. Today she lives and works in London and her work ranges from portraits of people, such as the 32 Olympic promises photographed for the Guardian Weekend Magazine or Julian Assange for the TIME, to the documentation of landscapes.
Among the works that belong to the latter category is the photographic series Stranger Than Fiction, in which the American landscape is the absolute protagonist. As you can see from the title, Kate Peters pursues those landscapes and places that are part of our imagination when we think of America: dirt roads, motels, police cars, and cafes.
Discover the shots of Stranger Than Fiction in our gallery.