1. magnificentruin: Elliott ErwittMiami Beach, 1962

    magnificentruin:

    Elliott Erwitt
    Miami Beach, 1962

  2. I am forever chasing light. Light turns the ordinary into the magical.

    — Trent Parke /via Arte Photographica

  3. Alex Majoli / Magnum for Newsweek

    Alex Majoli / Magnum for Newsweek

  4. ilovemyleica: firsttimeuser: Henri Cartier - Bresson: “Eye of the Century” (part 3) This picture was one the first posts of ilovemyleica, one year ago already, can’t resist, must reblog ! Mosteiro dos Jeronimos - Lisboa. 

    ilovemyleica:

    firsttimeuser:

    Henri Cartier - Bresson: “Eye of the Century” (part 3)

    This picture was one the first posts of ilovemyleica, one year ago already, can’t resist, must reblog !

    Mosteiro dos Jeronimos - Lisboa. 

  5. melisaki: Metropolitan Museum of Art, NY photo by Elliott Erwitt, 1988

    melisaki:

    Metropolitan Museum of Art, NY

    photo by Elliott Erwitt, 1988

  6. Dennis Stock, 1951 /by Andreas Feininger

    Dennis Stock, 1951 /by Andreas Feininger

    (Source: aboyinmidair)

  7. maique: 9/11 – Thomas Hoepker

    maique:

    9/11 – Thomas Hoepker

  8. melisaki: Route 66, Albuquerque, New Mexico photo by Ernst Haas, 1969

    melisaki:

    Route 66, Albuquerque, New Mexico

    photo by Ernst Haas, 1969

  9. maique: onlaine: ilovemyleica: chrishahn: The Master of the “Undecisive Moment” - Elliot Erwitt’s Black Paint Leica M3 with 50mm Summilux. Take note of the custom-made rewind crank that was only made for members of Magnum Photo.

    maique:

    onlaine:

    ilovemyleica:

    chrishahn:

    The Master of the “Undecisive Moment” - Elliot Erwitt’s Black Paint Leica M3 with 50mm Summilux.

    Take note of the custom-made rewind crank that was only made for members of Magnum Photo.


  10. Photograph by Paolo Pellegrin, National Geographic (via Sea of Galilee Photo – National Geographic Photo of the Day)

    Photograph by Paolo Pellegrin, National Geographic (via Sea of Galilee Photo – National Geographic Photo of the Day)

  11. The death of journalism is bad for society, but we’ll be better off with less photojournalism. I won’t miss the self-important, self-congratulatory, hypocritical part of photojournalism at all. The industry has been a fraud for some time. We created an industry where photography is like big-game hunting. We created an industry of contests that reinforce a hyper-dramatic view of the world. Hyperbole is what makes the double spread (sells) and is also the picture that wins the contest.

    — Christopher Anderson in Conscientious Extended | A Conversation with Christopher Anderson