Delighted to be awardee of @researchireland.ie + Embassy of France Ulysses Award for the project ‘The Lives and Afterlives of Franco-Irish Photographs of the Irish Revolutionary Period’ with @clairdubois.bsky.social at University of Lille + Síobhra Aiken and Mark O’Rawe Queens University Belfast

Tributes have been paid to the war photographer Paul Conroy who has died at the age of 61. He covered conflicts around the world and was wounded in the Syrian army's bombardment of Homs, which killed his Sunday Times colleague Marie Colvin in 2012.

Mullaghmeen Forest, Co Westmeath

If anyone is in Dublin on Tuesday March 3rd IADT are hosting a talk by Gail Day and Steve Edwards on their recently published book Amphibious Realities - details below 👇

Photographer Samuel Laurence Cunnane travels around the world by van, capturing fleeting scenes that result in luminous images, revealing remarkable beauty hidden in plain sight. The Irish artist makes his London debut at Southbank Centre’s Hayward Gallery with Blue Road, …

“These images will open up the space for much-needed debate around the politics of memory in contemporary Greece which for so long have been overshadowed by the divisions of the civil war.”

View from Rock of Dunamase, Co Laois

“Some of these works will appear alongside painting, sculpture and historical objects. Photography can be a lens on the world, showing us social, political and economic circumstances in ways that painting or sculpture alone cannot.”

Ruins, Rock of Dunamase, Co Laois

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over more than a decade. The photographer first visited Ukraine in 2010. His sustained interest in this complex country compelled him to return many times to photograph the landscape and the people he encountered.

Mullaghmeen Forest, Co Westmeath

Family photos, town reports, forgotten newspapers — fragments of lives slipping out of memory. A new book collects this material, alongside photos taken by Pia and Jesse while scavenging for material and images from Pia’s own family archive.

His moribund visions turn open spaces into oppressive, brooding environments stalked by ghosts. If there’s beauty in this darkness, McCullin makes it hard to see.

“In my neighbourhood, there were Black photojournalists and my mom had a beauty shop so I grew up looking at Ebony, Jet, and Life magazine. I was curious why they were all missing from the history books, and I felt it was important these names needed to be known.”

Mullaghmeen Forest, Co Westmeath

A demonstration that the contemporary celebrity Irish-Diaspora in UK are not immune to the echos of Victorian anti-Irish prejudice

…, yet the deeply personal nature of her experiments in the darkroom, not least in devising ingenious ways of printing her photographs by hand and of producing images as photograms without recourse to a camera, evokes the intimacy and idiosyncrasy of craftsmanship.

As speaker and “securer,” Van Der Zee and his images attend to the belief that death is not an end, nor a terminal point, but rather a threshold, a passageway interminably open on both ends.

Glendalough Valley, Co Wicklow

And in that shift, the exhibition speaks not only to MENA communities but to many others whose histories in the city have been under-recognised. These are stories of contribution, erasure, cultural work carried out quietly, brilliance that has gone uncredited.

I only met Colin Ford once very briefly at the start of my career at a conference in Bradford - never fully received recognition for how influential he was in shaping early photography history in the UK during the 1980s/90s

Glendalough, Co Wicklow

“When considering histories of photography, it is apt to consider deploying a bifocal mode of looking – where two images can be held in tandem.” - Oluremi C Onabanjo, Peter Schub Curator at MoMA

He gave a lot of attention to the hands and the angles of the face. The settings and backdrops were so rich, even though sometimes they were very offhand – he would just grab a bedspread and use it as a background.

The Instant Box Camera, also known as the Afghan box camera, was the only type allowed under the first Taliban regime (1996-2001) and was primarily used for taking passport photos of men. Reclaiming the camera for this project highlights the power of visibility and storytelling.

Glendalough, Co Wicklow

Rather than shock value, it was her work’s arresting rawness, its point of contact with photography’s origins, that made the MoMA exhibition into a phenomenon—and cemented Arbus’s status as an enduring artist.

BBC: Fergal Keane: I've seen firsthand how growing up in war really affects a child bbc.com/news/article... @bbcnews-world-rss.bsky.social #photojournalism #journalism #photography

Dusk, Lock 14, Grand Canal, Killeenbeg, Co Kildare

Ruins of Glendalough Mining Village, Glendalough, Co Wicklow

Glendalough, Co Wicklow, New Year’s Eve 2025

Rulx Thork began photographing in his local borough in 2005, after a stint living and hanging out in the East and West Villages. His new photobook revisits his archive, and preserves a slice of New York City life and history.

The works of Walker Evans amongst those that will enter the Public Domain in 2026 - Panel 21

Ulster fan during TMO check for James Ryan’s clean out; “won’t somebody think of the children!”

If the classical immigration photograph presents a subject as knowable and neatly contained, Xu insists on the opposite. His images are too layered and contradictory to resolve into a single, legible identity.

“Photography is the medium of snowmen’s dreams. What can better freeze a scene and ensure that spring’s ablation never comes?”

In her work, this language of patriarchal might – especially the political or religious kind – is shown as a repeating pattern that seems to coat everything, like the patterned carpets that the artist’s father used to cover the floor, walls and tables in his Warsaw home.

De Clérambault’s Morocco photographs may at first appear to be anthropological or ethnographic studies. Yet Afshar shows that what they really expose is the photographer himself – his compulsions, his gaze, his inability to see the women as anything more than surfaces for projection.

Final reminder that this incredible online seminar is on Monday! Join us to discuss all things related to consent and ethics in medical photography with Dr Chimwemwe Phiri, Dr Arya Thampuran and Dr Duncan Wilson @duncanwilson78.bsky.social empnetwork.our.dmu.ac.uk/2025/11/07/o...

“When you’ve been taking photographs for 45, 50 years like me, you have got to embrace that sense of time passing, that it will come to an end, that my ability to take photographs will end,” he says. “It’s not a question of looking back, looking forward. …

Here, the camera played a critical role. In ways that could not be captured in written sources, photographs demonstrate women taking nationalist activities into their own hands: challenging policemen, drumming up support for boycotts, addressing crowds, directing salt production, and courting arrest

Like Frank, Anastasia Samoylova has an immigrant’s view of the United States, one conditioned by a life outside it.

I have always had admiration for Kirby Miller’s scholarship - it’s now at a new level for taking a principled and human stance on this issue

Golden Gate Bridge, San Francisco, California

Constance Jaeggi travelled across the US to document the Mexican tradition escaramuza, photographing participants and recording their stories. Escaramuza is a unique sport: part ballet, part cavalry moves and something all its own – a dazzling display of skilled horsewomanship, art and power.

Rooted in Somaliland, born in Oslo and shaped by international travel across Europe, Africa and America, Ayan Abdi’s work is a mosaic of photography and moving images that traces intergenerational African experiences across the continent and the diaspora.