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Christopher Phillips on the work of Caio Reisewitz, from Aperture magazine #215, Summer 2014.
From “Documentary, Expanded”, Stephen Mayes reflects on documentary photography’s radically shifting terrain.
From “Documentary, Expanded”, Lev Manovich discusses the emerging field of social-media visualization.
For “Documentary, Expanded”, Teru Kuwayama discusses Basetrack, Afghanistan, and the advantages of social media reporting.
Susan Meiselas discusses how documentary photographers can respond to a transformed media environment.
From interviews with leading photographers and designers, to essays from Aperture magazine, here’s what you loved reading in 2013.
Artist Lisa Oppenheim speaks about her recent projects involving photographic prints exposed using non-traditional light sources.
From Aperture magazine #213, Chris Boot discusses the work of artist Paul Trevor.
From Aperture magazine #213, Bronwyn Law-Viljoen discusses the work of Mozambican photojournalist Ricardo Rangel.
Philip Gefter speaks with Museum of Modern Art’s new chief curator of photography, Quentin Bajac.
Brian Dillon considers the diverse, eccentric collection of photography at London’s Archive of Modern Conflict.
In memory of painter and photographer Saul Leiter, Aperture republishes Eric Banks’s article about his visit with Leiter in his East Village studio.
Editors’ note from the Winter 2013 issue of Aperture magazine, “Photography As You Don’t Know It.”
Sculptor Christopher Kurtz reflects on the early influence of Aperture magazine on his life and career.
Robert Cumming speaks with Sarah Bay Williams on the subject of humor, absurdity, and perpetual play in his 1970’s photography.
Melissa Harris speaks with artist Sophie Calle about her most recent projects Last Seen, and What Do You See?
Jimena Canales discusses “Doc” Edgerton’s notebooks, in which he explored high-speed photography and strobe technologies.
An on-press look at the Fall 2013 issue of Aperture.
Aperture’s issue on craft features photographers who make pictures the slow way—building camera obscuras, creating photograms, and laboring in traditional darkrooms to make handmade, unrepeatable forms.