TIME On Our Radar

See Photos of a World in Motion

News photographers are regularly using slow shutter speeds, emulating the early days of the small format camera

—The advent of the 35mm Leica compact camera, almost 90 years ago, gave photographers mobility — freeing them from the limitations of larger format cameras. In the hands of photographers such Robert Frank, the 35mm camera literally blurred the lines of what a great photograph could be. Robert Capa’s emotive, raw and Slightly Out of Focus images of war held a potency and conveyed an urgency.

For others, such as Alexi Brodovitch, it resulted in images that imbued a visual poetry through motion, with a propensity for painterly photographic expression.

In today’s ever accelerating culture—and proliferation of homogenized imagery—news photographers are increasingly utilizing slow shutter speeds, pushing the limits in low-light conditions and emulating the early days of the small format camera to find a more distinctive, creative, fitting and abstract aesthetic to document our world in constant motion.

From sporting events including last year’s Winter Olympics Games and the FIFA World Cup, where speed was inherent, came the somewhat expected abundance of blurred and motion images.

Elsewhere Stuart Palley’s beautiful painterly and poetic long exposure photographs of wildfires gave us a new and refreshing perspective on a much documented subject, while Bulent Kilic captured the raw emotion and desperation in the immediate aftermath of a Turkish mining disaster through blurred images. Kilic is just one among many other news photographers that chose to apply such abstract aesthetics to document the speed and energy of life moving before them.

Here TIME presents a selection of photographs—from the Ferguson protests and the withdrawal from Afghanistan, to fireworks streaking past the super Moon and lightning striking One World Trade Center—that capture our world in motion.

Phil Bicker is a Senior Photo Editor at TIME

TIME On Our Radar

Go Inside the Unexpected Lives of Contemporary Photographers

In Reely and Truly, Tyrone Lebon offers an unorthodox, behind-the-scenes take on photography

Tyrone Lebon‘s short documentary film Reely and Truly succinctly describes itself as a “visual poem on contemporary photographers and their practices.” Shot on all the available analogue, celluloid formats (65mm, 35mm, Super 16mm and Super 8mm) the film’s cinéma-vérité approach reveals as much about the individual, independent photographers it features, as it does about their distinct and disparate work.

The son of an unorthodox and ground-breaking fashion photographer and filmmaker, Lebon grew up in London—during the 1990s—within a creatively stimulating environment of collaboratively-minded practitioners and independent publications. His father Mark Lebon (an early and regular contributor to i-D magazine and a member of the influential West London collective, Buffalo) has clearly been a massive influence, and fittingly the documentary is, playfully and somewhat unconventionally, introduced by him—as the younger Lebon states, from his personal perspective, “if this is a film about photography it should start with him.”

The film features candid vignettes of 20 photographers, including Nobuyoshi Araki, Nigel Shafran, Sean Vegezzi and a number of segments on Juergen Teller—a photographer who, Lebon says, stood out for him in his formative years. “Through my teens I would pick up magazines when the most successful photography was the shiny school of fashion photography—which to me couldn’t be more soul-less and uninteresting—so Juergen’s work stood out as honest. I felt emotion and stories in his pictures and was drawn to that.”

Lebon orginally planned to make a full-length film piece dedicated to Teller, who—although initially reticent to being filmed—ultimately gave Lebon incredible access. The two met regularly over a six-month period, filming in London and traveling together to Germany and India—to document the photographer both at work, and play.

The results, as with the other featured photographers, are often unexpected and revealing—and give insight to the process and personalities of those involved.

The 29 minutes and 17 seconds of Reely and Truly serve as a brief socio-anthropological study of contemporary independent photography, which informed by Lebon’s own influences and experiences—his family and upbringing, his education (he has an MA in social anthropology) and his own perspective as a photographer—produce an intimate and raw mash up of material, that ultimately feels like a sketch for a bigger piece. Which is exactly what it is. Lebon’s ambitions for the project are many-fold and include plans to make a book of photographs with an accompanying series of short portrait films for each of his subjects.

In the meantime, Reely and Truly is being screened within the context of a traveling exhibition, “a lie about a lie; a truth about The truth”, that includes work from the photographers featured in the film and extends to a wider community of image makers —both established and emerging—who contribute to Lebon’s online platform DoBeDo.

The documentary film, Reely and Truly and accompanying exhibition “a lie about a lie; a truth about The truth” will be on show at the Gladstone Hotel in Toronto, Canada until Feb. 28.

Phil Bicker is a senior photo editor at TIME.

TIME On Our Radar

Coming of Age in Skatopia, Ohio’s 88-Acre Skatepark

In rural Ohio, Skatopia provides a refuge for the disaffected youth

Stacy Krantiz’s photographic series From the Study on Post-Pubescent Manhood is an intense, visceral and unglamorized engagement with a raw and elementary, almost primeval, world of adolescence—where young testosterone, adrenaline, and substance-fueled males partake in the recreational rituals of coming of age, while living life on the edge.

Kranitz was initially drawn to her subject matter through her desire to explore “a hypothesis connecting violence and catharsis.” Yet, beneath the surface, the work allows Kranitz to channel issues related to domestic violence evidenced in her own childhood and reconcile the passing of her youth with her perception of the associated physical and psychological risks and fears.

“Those formative years you build relationships with things. I have that with violence and I’m looking for the redemptive qualities where violence can surpass its darkest aspects” Kranitz told TIME.

At Skatopia—rural Ohio’s sprawling, 88-acre skatepark, known for its nihilistic environment and annual music festivals—Kranitz found, “the place she had been looking for, [with] young kids who were attempting to do violent activities for some sort of emotional release.”

In rural Ohio, where things are pretty spread out, Skatopia provides a focus for community; a refuge and shelter for the disaffected youth who congregate there. “It’s organized as a place where people can come anytime they want 24/7. It attracts people who are close to the edge, whether its drug addition or running from the law.” The complex also provides full-time residence for some.

Although skateboarding is central to Skatopia’s culture, Kranitz—”not wishing to get lost in the language of skate photography”—avoided it as a focus of her work. Instead, she chose to explore—a more extreme iteration of—the universal notion of coming of age, that addresses, “reconciliation with limitations and extremes,” she said. “You can’t draw those lines in your future life without testing the boundaries and there exists this place, built for that purpose, where these kids can have that experience and behave as they choose in a fairly lawless land.”

Kranitz’s images of a dysfunctional brotherhood of unruly, unkempt (and often bare-chested) young men—reflect the immersive perspective of a photographer who takes a participatory role (rather than a voyeuristic approach) in documenting her subjects, which has now spilled over to Kranitz’s personal life. She says it’s been difficult to discern the work from the friendships,which extend to a boyfriend she met while working on the project. “There’s isn’t a public verses private relationship with the people I’ve met there.”

Kranitz has been working on the project since 2009, and she can’t escape the story. “It’s very hard, once you start to build those relationships, to exit something,” she said. “This year will be the 20th anniversary of Skatopia, I think it’s important to go this year and continue the work.”

Now that she has outgrown the cathartic nature of the place, Kranitz has turned to filmmaking to cover new ground. Her full-length feature film not only offsets the intensity and chaos of her still photographs, but simultaneously acknowledges her role in the image-making process.

The intimate film portrayal of young man named Jerimy—who Kranitz met while working on the larger body of work—slows things down and shows her subject wrestling with the anxieties of coming of age and the desire for independence, within the limitations of relative poverty.

At times awkward and embarrassing it reveals a complex relationship between filmmaker and subject, that sees Kranitz walking a fine line between intimacy and exploitation. It’s an approach that she explains “not as documentation but rather as an exploration of the ethical boundaries of representation and the subversion of the photographer’s ‘role.’ I willingly cross those boundaries to insert myself into the experience.”

Kranitz continues to take risks and test her own boundaries, exploring and finding methodologies to build new ways of working in a postmodern documentary environment. She’s unafraid and learns from her failures and pushing to the next thing. “I hit a certain point when my work really changed and became not just about the subject of my investigations but about my relationship to making documentary work and pushing at some of the constructs of building these alter realities—that are built in reality. I’m trying to reveal, in different ways, where my hand is in the process.”

From the Study on Post-Pubescent Manhood is on show at Little Big Man Gallery in Los Angeles until March 14.

TIME portfolio

The 32 Most Surprising Photos of the Month

From fireworks in Munich to tiger cubs in London, TIME shares the most outrageous images from January 2015

Phil Bicker, who edited this photo essay, is a Senior Photo Editor at TIME

TIME On Our Radar

A New Record of Small Town America

In his fourth monograph, photographer Alec Soth takes a different approach to his work

It is little more than a decade since Alec Soth’s first book Sleeping by the Mississippi—and his sophomore publication Niagara—established him as one of contemporary photography’s leading lights. In the intervening years Soth has traversed the U.S., in the distinctly American photographic tradition, of Robert Frank and Walker Evans, in pursuit of his art—while consistently experimenting and pushing the boundaries of his work.

Soth’s book Broken Manual published in 2013 focused on withdrawal from society—as Soth describes it, “the desire to runaway from the world”. His latest tome, Songbook, stems from the photographer’s desire to reengage. “[After Broken Manual] I wanted to be an out-in-the-world photographer and engage in social activities,” Soth told TIME. “I took this new photographic approach, for me, that is more journalistic.”

The large majority of Songbook, which Soth, constructed in a lyrical manner, is comprised of images originally made in conjunction with writer Brad Zellar and self published in the LBM Dispatch collection—a series of seven broadsheet newspapers dedicated to different regions across the country: Georgia, Texas, Colorado, California’s Three Valleys, Ohio, Michigan and Upstate New York—alongside work that Soth was doing for the New York Times and as part of various collaborative Postcards from America projects with Magnum. “All these travels around the U.S. were somewhat under the umbrella of social life and social connection,” says Soth.

“I was interested in the newspaper, in part, [because] it used to exist as this vehicle of social interaction,” he says. “It’s a place where, [especially in] small towns, you would not only have the news but you would have notification that someone had passed away or there was going to be a public dinner at the church— it connected events to each other.”

Soth and Zellar started out three years ago with their first experiments in Minnesota—initially covering news, which included a suburban murder scene. As they moved to Ohio and onward the focus of the project became less “newsy” and much broader. “Every now and again we would encounter something—an execution in Texas, [the aftermath of] a shooting on a freeway in Michigan—but it’s more like a small town newspaper [mentality], where going to the local county fair is a news story,” Soth says.

In 2012, fellow Magnum photographer Jonas Bendiksen had taken a job at Bladet Vesterålen, a local Norwegian newspaper, in an effort to try to find the local news. Soth’s approach was less literal—working independently, he took on the role, rather than the responsibilities of being a local newspaper photographer. “It was like how a novelist might use the protagonist as a small town journalist to write a story.”

The three-year period over which Soth made his work coincided with mass job cuts in local newsrooms across the country with staff photographers often being those most affected.

From the start, however, Soth had another non-news plan for the black-and-white photographs he had been making. While he and Zellar were equal partners on the LBM Dispatch, Soth always had the intention to publish a selection of the pictures without Zellar’s stories. “That’s where the title Songbook comes from: I wanted to be less informational and more musical or lyrical in nature and more mysterious in that way too.” Consequently, in order to leave the images more open to interpretation, “the caption information for the images is tucked away in the back of the book, still somewhat available, but not there next to the pictures.” [Similarly, the captions to this online slideshow have been moved to the bottom of this article]

Songbook channels the spirit of Larry Sultan and Mike Mandel’s groundbreaking 1970s postmodernist work Evidence—a conceptual book of decontextualized vernacular photographs, mined from government agencies, educational institutions and corporate archives.

There’s no doubt that Evidence was a big influence, but Soth’s own formative photographic experience also informed his concept for the book. “Years ago, I worked as a small town newspaper photographer in Minnesota [for the Lillie Suburban Newspaper chain] and did that work with a limited amount of motivation. Years later, I thought how those pictures out of context are interesting, and that’s the great lesson of Evidence: lack of context, plus time, equals mystery,” says Soth. “And this work was inspired by that and other vernacular photographic approaches, [as well as] press photography in general and this weird intermingling of time—there’s this element of nostalgia in the work, both in subject matter and photographic technique, playing off the history of photography.”

While Songbook is one of more than 20 books and magazines that Soth has published or self-published, he considers this latest opus his fourth “serious” book, he says. “It’s the difference between publishing a short story in a magazine and a publishing a novel—Songbook is a novel,” which informs his decision to turn to MACK to publish it. “I wanted it to be treated professionally. I wanted this [book inspired by small town America to have a] larger audience.”

Captions: 1. Bil. Sandusky, Ohio. 2. Woodville Farm Labor Camp. San Joaquin Valley, California. 3. Hewlett-Packard. Palo Alto, California. 4. Bill, Antlers, Oklahoma. 5. Near Kaaterskill Falls, New York. 6. Dover, Ohio. 7. Magic Forest. Lake George, New York. 8. Home Suite Home, Kissimmee, Florida. 9. Rochester, New York. 10. Miss Model contestants. Cleveland, Ohio. 11. Sue. Sierra Sky Park. Fresno, California. 12. Round Rock, Texas. 13. Brian. Williston, North Dakota. 14. Execution. Huntsville Prison. Huntsville, Texas. 15. Bree. Liberty Cheer All-Stars. Corsicana, Texas.

Songbook by Alec Soth is published by MACK. Songbook will also be on show in three concurrent exhibitions—each with slight content variations—the first at Sean Kelly, NY opening Jan. 30, the second at Fraenkel Gallery, in San Francisco, on Feb. 5 and the third at Weinstein Gallery, in Minneapolis, on Feb. 20.

For the duration of the New York presentation, Soth will take over Sean Kelly’s official Instagram account. Follow @SeanKellyNY and search the hashtag #SKNYtakeover to see the images.

TIME On Our Radar

TIME Exclusive: Magnum Emergency Fund Announces 2015 Grantees

11 photographers are set to receive financial help to produce work on under-reported issues

Over the past six years—since announcing its first grants in 2009—the Magnum Foundation Emergency Fund has supported the work of 60 photographers, in 42 countries, to the tune of a total of over $500,000, with the funds helping photographers work on under-reported issues. The Foundation also offers an infrastructure of collaborators, partners, advisers, editors to help evolve and disseminate the anticipatory work they produce, that is both dynamic and effective.

This year’s selection of awardees are Massimo Berruti, Matt Black, Peter DiCampo, Emine Gozde Sevim, Curran Hatleberg, Guy Martin, Pete Muller, Elena Perlino, Nii Obodai Provencal, Asim Rafiqui and Peter van Agtmael. Each will receive a budgeted grant that will enable them to offer new perspectives or to complete “second chapters” of stories they have previously explored. For example, Black will extend the work he has done in California, for his Geography of Poverty project, to the American Southwest.

“The driving factor in every single decision I’ve been part of over the years is a sense of excitement for the excellence and originality and necessity that each photographers’ work conveys,” says Philip Gourevitch, who has served on the Magnum Foundation’s independent Editorial Committee since the first Emergency Fund grants were made. “We haven’t funded a thing in my time there because we liked the idea more than we believed in the photographers’ ability to realize it. But we have always found ourselves funding work that convinced us to take a chance on an unexpected idea. And this feels exactly right — just as it should be for the EF to serve photojournalism today and for the future.”

“These kinds of grants are essential in the creative process as they allow photographers to make the kinds of pictures that he or she feels best suit the experience. Sometimes those pictures are unconventional,” says Muller. “It is to be expected that commercial work occasionally requires modifications to ones personal process for the sake of pleasing a client. The Emergency Fund and other, similar grants provide opportunities to make pictures that truly reflect your vision and perspective on a topic for which you feel great passion.”

While, Magnum Foundation’s president Susan Meiselas notes that “there is still a strong prize culture that recognizes photographers for work already completed rather than seeding new production, [the priority for the Emergency Fund has been] to invest in new production and fund photographers in a way that allows them to take the time they need in the field to produce in-depth work.”

“The 21-day structure of the Emergency Fund grants are a unique and very positive characteristic,” says Muller, referring to the three-week proposals the Foundation sought from its grantees. “I believe that 21 days of consecutive reporting is a judicious window as it allows for immersion but maintains a level of urgency to produce material. As a photographer who often works on assignment, I enjoy working with structure and with deadlines. In some ways the EF grant feels like a perfectly timed assignment on a subject to which the grantee is completely devoted.”

The role of the Magnum EF goes beyond simply providing the means for photographers to investigate stories and make work. Also of equal importance is finding an audience for that work. The Foundation works individually with each photographer to find the most effective partners for distribution through mainstream media channels and NGOs, and to seek other, alternative and creative means of reaching targeted audiences.

The goal is not to circumvent the media, the Foundation says. In fact, it continues to place enormous value on its relationships with media partners to distribute work that is important but has been overlooked or that mainstream media simply does not have the resources to explore. Beyond its partnership agreement with Mother Jones to publish four photo online essays and one photo essay in print annually, work supported by the Magnum Foundation has been published by National Geographic, The New Yorker and TIME among many others. But while the program’s mission remains consistent, shrinking editorial budgets have led the Magnum Foundation to adopted new models for partnerships and expanded its range of approaches for supporting photographers.

Conscious of today’s rapidly changing media distribution landscape, that tends to favor singular images, video and interactivity over long-form linear storytelling, the Magnum EF has embraced photographers, including Benjamin Lowy and Matt Black, who articulate plans to use emerging social platforms strategically and creatively to draw attention to under-reported issues and to build their audiences over time. While, through its related Photography Expanded program of talks and seminars, the Magnum Foundation also encourages photographers to use emerging platforms for storytelling and to collaborate with developers and designers to adopt new tools for distribution, it still remains cautious about the future.

“We initiated the Emergency Fund seeing the disruption in the media landscape, feeling the reality of the funding gap, and fully understanding that we needed to find ways to sustain high quality, in-depth work that could no longer be produced through the media alone,” says Meiselas. “Over these last years we hoped to see innovative funding strategies emerge, instead we see more free exchange models, creating traffic and ‘followers’, but not significant income for photographers. This continues to be the challenge that needs to be addressed today”.

The Foundation is also cognizant of emerging markets across the world. In recent years and months, it has partnered with New York University’s Tisch School of the Arts to provide the next generation of young, non-Western photographers and human rights activists with scholarships and training in the ethical use of photography in the advancement of social justice – this year’s fellows, all between the ages of 18 and 33, are Anastasia Vlasova (Ukraine), Muyi Xiao (China), Nour Kelze (Syria), Chery Dieu Nalio (Haiti), Basel Alyazouri (Palestine), Sipho Mpongo (South Africa), Xyza Bacani (Philippines)– and has launched multi-year partnerships that support and mentor photographers to produce and distribute independent projects focused in specific regions. In 2014 Magnum Foundation partnered with Asia Society’s ChinaFile to create the Abigail Cohen Fellowship in Documentary Photography —this year awarded to photographers Yuyang Liu and Souvid Datta— to produce stories that engage with under-reported and critical issues facing China today. On a parallel path, the Foundation is also working with the Arab Fund for Arts and Culture and the Prince Claus Fund on a new long-term partnership to support young documentary photographers who are living and working in the Arab region.

For 2015, the Foundation’s Emergency Fund is planning new partnerships and funding opportunities to support in-depth projects throughout the year in response to the world’s most pressing issues.

Phil Bicker is a Senior Photo Editor at TIME

TIME On Our Radar

Photographers Turn to the iPad for Independence

A new magazine app on the iPad offers photographers new ways to tell their stories

Since its initial launch in 2010, the iPad has been hailed as the future, if not the savior, of mainstream magazines faced with declining sales. While certain publishers have used innovative approaches, embracing new technologies and incorporating video, photography and data-visualization, to bring the printed page to life, many of these tablet-focused iterations have preserved the limitations of a linear reading experience held over from the days of ink on paper.

A group of photojournalists is aiming to change that with the launch of Me-Mo (MEmory in MOtion), an independently published digital platform. Me-Mo is an attempt to move app-based long-form storytelling to a brave new world—and at the same time allowing its founding members to take more control in the presentation and dissemination of their work, in more innovative ways—while still respecting the classic ethics of documentary photography.

The crowd-funded venture—a collaboration between the MEMO collective of award-winning documentary photographers and Libre, a group of technically astute web developers and designers—teases the publication’s ambitions through a mind boggling, zoom-through 3D photo animation.

INSIDE THE LIBYAN WAR
Fabio Bucciarelli—MEMOLibyan rebels during mopping up operation in a destroyed house in the outskirts of Sirte on October 20, 2011. The battle for Gaddafi’s hometown was the last of the conflict. The rebels first captured Ougadougu and then entered Sirte. After nearly a month of fighting they conquered the city and, with the help of NATO bombing, capturing and killed Muammar Gaddafi.

The first themed issue, titled Fear, which includes works on religion and the financial crisis in Europe, statelessness, and violence against schools in Pakistan, focuses on events in Libya where the five founder-members—documentary photographers Fabio Bucciarelli (winner of the Robert Capa Gold Medal in 2012), Manu Brabo (a Pulitzer Prize winner), Guillem Valle (a World Press Photo winner), Diego Ibarra Sánchez (a New York Times contributor), José Colón (an Agence France-Presse contributor).

Although photography is central to the app experience, the images are contextualized and can be explored through a multitude of other media—maps, texts, info graphics—and in more immersive ways including through responsive 360-degree panoramic photo environments.

The inaugural edition revisits the photographers’ archives to present mostly unpublished material—including Tales from a Libyan Jail by Brabo, who had been kidnapped and imprisoned for 44 days by the regime and returned, as the rebels gained the ascendancy, to investigate the plight of suspected Gaddafi loyalist incarcerated as the dictatorship collapsed.

Migrants from Somalia is seen sleeping on a mattress on the floor barrack at a detention center for migrants near Maytigha Airport in Tripoli, Libya, Nov. 2013
Manu Brabo—MEMOA Somali woman is seen sleeping on a mattress, on the floor, at a detention center for migrants near Maytigha Airport in Tripoli, Libya, Nov. 2013

Future issues (including the second, which is titled Disintegration) will focus on specifically commissioned original material, not only from the founding group but also from an extended roster of freelance contributing photographers and journalists. Plans to also include photographers own writings on their experiences in the field will add to “the emotional and immersive” experience of the platform, says Bucciarelli.

MEMO’s success will be contingent on not only finding an audience who have a passion for a hybrid of photojournalism, innovative technology and long-form story telling, but the appetite of the mainstream to adopt the collective’s vision. Things look good at the outset: the Italian newspaper La Stampa is supporting the project by extending distribution of the launch issue to their subscriber base.

Bucciarelli tells TIME that the core founder group is open to different forms of collaboration—whether by involving their readers in the editorial process, giving them the opportunity to choose the stories they wish to see, or by providing the technology to other freelancers interested to develop their own ideas on the platform. The group is also considering outsourcing its expertise to established media partners for co-branded or stand-alone projects.

A portrait of Belen, 6, wearing a traditional Easter dress i seen at her parent's house in Albaida del Aljarafe, Spain, Mar. 17, 2013 (Jose Colon/MeMo)As the economic crisis in Spain rages, with hundreds of thousands living on the edge of poverty, many turn their views towards religious beliefs.
Jose Colon—MEMOA portrait of Belen, 6, wearing a traditional Easter dress at her parent’s house in Albaida del Aljarafe, Spain, Mar. 17, 2013. As the economic crisis in Spain rages, with hundreds of thousands living on the edge of poverty, many turn their views towards religious beliefs.

The app is available initially only on the iPad with an Android version coming soon.

However, it ultimately may be a companion website, slated for the next phase of the project, that will offer the most potential for the project’s survival, growth, real-time social connectivity and audience engagement that is at the heart of the MEMO founders’ philosophy.

Phil Bicker is a Senior Photo Editor at TIME

TIME Behind the Photos

Ways of Seeing: The Growth of the Everyday Everywhere Movement

As 2014 draws to a close, we take a look back at the photographic trends that defined 2014

Whether through digital channels, print or on exhibit, the impact, influence and reach of the still image has never been greater. But with so many images fighting for our attention, how do photographers make work that most effectively stands out and connects with an audience. In this seven-part series, TIME looks back over the past 12 months to identify some of the ways of seeing—whether conceptually, aesthetically or through dissemination—that have grabbed our attention and been influential in maintaining photography’s relevance in an ever shifting environment, media landscape, and culture now ruled by images.

Everyday Everywhere

There is little doubt that when Everyday Africa was launched by photographer Peter DiCampo and writer Austin Merrill in 2012, it offered a welcome and refreshingly positive take on a continent that was so often portrayed through strife, turmoil, war and famine. The project—made with smartphones and disseminated through social media platforms including Tumblr and Instagram—concentrated on showing the mundane and incidental aspects of everyday life to reveal a side of Africa that was often overlooked. Everyday Africa’s subsequent expansion from its two founder members to a wider network of contributing photographers established the model that this year became a franchise and spread Everyday’s reach across the globe, from Everyday Asia and Everyday Latin America to Everyday Bronx.

One of the most interesting developments came when David Guttenfelder (TIME’s Instagram Photographer of the Year 2013), Matt Black (TIME’s Instagram Photographer of the Year 2014) and a collective of talented documentary photographers—and equally innovative Instagram users—launched Everyday USA, not only to record offbeat moments but to bring awareness to off-the-radar issues here at home. This year, TIME gave the group its first commission for #TIMEvets, a multi-platform project coinciding with Veterans Day. Alongside Everyday USA, Guttenfelder somehow found time in his busy newfound freelance career (this year, he parted ways with the Associated Press after 20 years) to initiate Everyday DPRK to continue his work from inside North Korea through the lenses of the country’s homegrown photographic talent.

Over the past two years, DiCampo has helped guide photographers interested in developing their own outshoots – with Everyday Asia and Everyday Latin America drawing on his input to shape their message. And this year, the Everyday project matured when the “owners” of some of the most successful Everyday accounts met for the first time in New York to coincide with an exhibition of their work. “I think we have a voice to talk about what cell phone photography is and to try, in some way, to lead the discussion on rights, usage and [the like],” DiCampo told TIME in September last year. The meeting resulted in the creation of the Everyday Everywhere project, which has the ambitious goal of changing “the way we see the world”.

While 2014 saw the explosion in the number of Everyday feeds on Instagram, 2015 could be a make-or-break year for many of them. The original purpose of Everyday Africa was to combat the stereotypical imagery that emerged from the continent. There are other places that could benefit from a similar approach, but only the most rigorous of practitioners – with well thought-out plans – will be able to sustain their followers’ interest in the long-run. The risk is that the multiplication of such feeds – Everyday Climate Change launched on Jan. 1 with a staggering number of participating photographers – will dilute their importance, bringing to an end one of the most interesting photographic experiments we’ve seen in years.

Read Part 1 – Direct to Audience.

Read Part 2 – Documentary Still Life.

Read Part 3 – The Portrait Series.

Read Part 4 – The Contemporary Photo Essay.

Read Part 5 – From Stills to Motion.

Read Part 6 – Books Within Books.

Phil Bicker is a Senior Photo Editor at TIME.

Olivier Laurent is the editor of TIME LightBox. Follow him onTwitter and Instagram @olivierclaurent

TIME

Ways of Seeing: Books Within Books

As 2014 draws to a close, we take a look back at the photographic trends that defined 2014

Whether through digital channels, print or on exhibit, the impact, influence and reach of the still image has never been greater. But with so many images fighting for our attention, how do photographers make work that most effectively stands out and connects with an audience. In this seven-part series, TIME looks back over the past 12 months to identify some of the ways of seeing—whether conceptually, aesthetically or through dissemination—that have grabbed our attention and been influential in maintaining photography’s relevance in an ever shifting environment, media landscape, and culture now ruled by images.

Books Within Books Publications and Presentation

Books come in all shapes and sizes but their design aesthetics are often dictated by the latest trends. This year, we saw countless cloth-bound books with tipped in images—Peter van Agtmael’s Disco Night Sept. 11, Dan Budnik Marching to the Freedom Dream were among them—as well as books in cardboard boxes; Congo by Paolo Pellegrin and Alex Majoli or Ponte City by Mikhael Subotzky and Patrick Waterhouse to name just two.

There was also a penchant for small photobooks from Does Yellow Run Forever?, Waters of Our Time and War Porn. And another iteration on the small book was used to good effect this year. The aforementioned Ponte City was the most elaborate example of this year’s most interesting publishing concept—a book within a book.

Ponte City documents the checkered history of Africa’s tallest residential high-rise through an array of photographic materials and texts —including the artists’ photographs of the building, its inhabitants, found ephemera, and archival publicity materials—within a hardbound volume and a series of 17 small individual saddle-stitched paperback supplementary booklets designed to be inserted by the reader—and to expound on specific content—at various points in the main hardbound edition.

Two books published by Radius this year followed this principle and included a companion edition to the main volume: Alex Webb and Rebecca Norris Webb‘s collaboration Memory City—a plaintive look at Kodak’s 125-year home, Rochester—intertwines work by the two photographers in the main book, with a smaller accompanying booklet again mixing imagery from both photographers along with writing about the region.

Victoria SambunarisTopology of a Landscape augmented her main book’s stunning landscape photography with three supporting pieces—a booklet of personal ephemera (note books, maps and objects taken and collected on the road) a small text leaflet and a fold out of Polaroid images.

In each case the additional booklets allow not only for a distinct separation and organization of content but for a cleaner more focused photo-centric experience befitting of the photographic work in the main publication, while affording the reader the opportunity to gain more insight and context through the text and additional imagery contained in these supporting materials.

Read Part 1 – Direct to Audience.

Read Part 2 – Documentary Still Life.

Read Part 3 – The Portrait Series.

Read Part 4 – The Contemporary Photo Essay.

Read Part 5 – From Stills to Motion.

Phil Bicker is a Senior Photo Editor at TIME

TIME Behind the Photos

Ways of Seeing: From Stills to Motion

As 2014 draws to a close, we take a look back at the photographic trends that defined 2014

 

Whether through digital channels, print or on exhibit, the impact, influence and reach of the still image has never been greater. But with so many images fighting for our attention, how do photographers make work that most effectively stands out and connects with an audience. In this seven-part series, TIME looks back over the past 12 months to identify some of the ways of seeing—whether conceptually, aesthetically or through dissemination—that have grabbed our attention and been influential in maintaining photography’s relevance in an ever shifting environment, media landscape, and culture now ruled by images.

From Stills to Motion

The moving image has become a defacto aspect of today’s photography landscape, with B-roll, behind-the-scenes videos of photo shoots and requests for photographers to shoot video as well as stills.

But this year some photographers found a way to preserve the conceit of the still image while extending its form to video, in a poetic and absorbing manner by shooting slow motion video—at a thousand frames a second. Magnum’s Jonas Bendiksen made short sequences of celebrating fans at the FIFA World Cup in Brazil and Ross McDonnell created vignettes (effectively photos that came to life) amidst the fire and ice of the protests in Kiev, Ukraine. The images (see Bendiksen’s video above) have a mesmerizing quality extrapolating and magnifying the frozen incidental moment to a absorbing sequence.

Elsewhere Gifs and memes evolved to the more subtle, and sophisticated Cinemagraph to bring the still photo to life in other ways and Instagram embraced the short form video amongst its square format photo stream. But one of the simplest and most effective of executions of still photography to video was realized on The New York Times‘ website coverage of the Indian elections which utilized seven-second clips by Daniel Berehulak shot with a locked off camera of people moving through the frame to bring the photo to life.

Drones

Aerial photography has a rich history and holds an innate fascination—from Margaret Bourke White’s mid-twentieth century forays to the skies for LIFE magazine to more recent practitioners in the art of photography from the skies above, notably George Steinmetz and Edward Burtynsky, to the satellite imagery that maps our planet and images by astronaut photographers which shows our beautiful planet from space.

This year, drones—which have been used for surveillance, in war zones and to cover public and sporting events—fully embraced their creative and journalistic potential. We saw drone videos proliferate online but one of the most effective creative uses of drones was done by photographer Tomas van Houtyre. His black-and-white drone photographs of America addressed issues of privacy, drought, inner city plight and farming. Van Houtyre’s Blue Skies series became the longest photo essay to be published in Harper’s magazine, while a new chapter was featured in TIME’s Futures Issue.

A New York Times story which utilized drones (amongst other technologies) to give a new perspective on baseball, and the first drone photography contest organized this year both suggest that this art has more potential. But whether the use of drones becomes a viable everyday option for photographers will depend on the government’s decision to legislate their use or not.

Read Part 1 – Direct to Audience.

Read Part 2 – Documentary Still Life.

Read Part 3 – The Portrait Series.

Read Part 4 – The Contemporary Photo Essay.

Phil Bicker is a Senior Photo Editor at TIME

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