#emmet-gowin

#emmet-gowin

Kangaroo Island is home to wildlife found nowhere else, including a soot-coloured dunnart, and has a human population so low that there are 14 kangaroos for every one person.

To call the oil paintings of Eyvind Earle "landscapes" is accurate but very sorely wanting. For more than seventy years, Earle turned his unique refracting eye on what he called the "stupendous infinity of nature," interpreting what he saw through a long lens shaped by a very particular kind of mythopoeia.

In my head, I'm still that guy from the photo. Still strong, still capable, still got it. Then I catch my reflection in a store window and think, who's that old guy? The disconnect is wild. I'll go to lift something heavy and my brain says 'no problem,' but my shoulder reminds me about those thirty years of overhead work.

In 2007, John Maloof bought the contents of an unclaimed Chicago storage locker, discovering over 100,000 negatives and slides shot by Vivian Maier, leading to her posthumous fame.

The brutal crackdown in Iran, ICE in Minneapolis, Russian aistrikes in Kyiv and heavy rain in Gaza the past seven days as captured by the world's leading photojournalists

As nature photographers, we're oft waiting for those 'hell yes' moments to pack up and move out, and this was a 'hell yes' moment! I traveled from minus 10 degrees Fahrenheit to over 90 degrees in a day!

The British artist Andy Goldsworthy moved to Penpont, a village in southwest Scotland, in 1986, when he was thirty. The area's initial appeal was twofold. Property was cheap, which meant that Goldsworthy and his wife at the time, Judith Gregson, could acquire an unrenovated stone building that had likely once stored grain. This structure could serve as a workspace and, for a while, as a rough-and-ready home.

His humor, his clarity, and his vision shaped many discussions across the agency and within the wider photographic world. This exhibition pays homage to the unique vision of Martin Parr, whose sharp eye for contemporary society and prominent role within Magnum Photos have left an enduring mark on photography.

Rooted in the tension between nature and artificiality, the installations pose questions about how we interact with the environment and how we might find equilibrium with it. All of my photographs strain credulity by design. At first blush, they can appear to be digital fabrications, but in truth, they are entirely in-camera, printed with minimal post-production.

I usually know nothing about the subject before I start,

The series centres a community whose visibility has too often been shaped by external gaze rather than self-definition. A 'dyke' is not a singular thing. The community isn't narrow, unified, or clean. It is not only cis lesbians for example. It includes trans masc men, trans femme women, nonbinary people, and bisexuals.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera. Parks recognized photography's potential as a tool for social change and advocacy, viewing the medium not merely as documentation but as an active means of confronting systemic injustices and giving visibility to marginalized communities.

From the 1950s until his death in 1987, Hujar documented the creative lodestars of downtown New York, many of whom were his friends, lovers, or sometimes both. He photographed the likes of Susan Sontag and John Waters stretched in repose, or the Warholian legend Candy Darling, encircled by flowers and solemn chiaroscuro on her deathbed. He often photographed himself, too, but the rarest shots of Hujar are those taken by others, candid glimpses that divulge some secret relation.

Like half-remembered dreams, her curious pastoral visions displace familiarity in search of wilder fantasies, where humans are nowhere to be found. Against Nature, the London-based artist's second solo show at Pilar Corrias, establishes Wilson at the helm of a flourishing artistic engagement with the para-pastoral in contemporary painting. Hers is an altogether strange, uncanny variant of the British countryside that resists the canonical entrapments of a bucolic idyll.

In 2025, the One Exposure Awards shifted to pure black‑and‑white, creating a nature photography showcase that feels strikingly different. The absence of color amplifies every shadow, texture, and emotional beat in each winning image. Across categories ranging from wildlife to fine‑art experimentation, the contest highlighted nature in its most elemental form. Lidija Novković earned 1st Place with "Začudno," a low‑angle giraffe portrait that transforms the familiar into something mythic.