On 12 June 2009, Mahmoud Ahamadinejad was re-elected president of Iran in a highly disputed election.

Il est souvent convenu que la photographie a comblé toutes les attentes des journaux illustrés et des magazines du XIXe siècle en terme d’information visuelle.

For some, the young American woman is a brilliant and adulated creature; for others, she’s disenchanted, vain, superficial, and cold. What is the truth?

In this essay, I take Susan Meiselas’s engagement in the problematic construction of Kurdistanas an example for discussion of the relational qualities of photographs when they are activated and considered discursive documents.

La photographie humanitaire constitue un portrait non pas tant des crises humanitaires dans leur ensemble, mais un portrait plutôt de ses effets.

If I could choose a recipient of a lifetime achievement award in photography, my choice would be Aïm Deüelle Lüski. My reason would be simple, direct, and matter-of-fact: he has dared to deconstruct the mono-focal camera that has been institutionalized ever since the onset of photography, and he has constructed a repertoire of alternative devices that transgress existing configurations of power and control relations, such as the one between the active photographer and the passive photographed person.

The “atomic age” began officially on 4 August 1945, when the United States dropped the first nuclear bomb on Hiroshima, which it followed three days later by dropping a second bomb on Nagasaki.