With our attention diverted, we’re no longer in the moment.
'Concert' via www.shutterstock.com
Whether it’s through Facebook or Snapchat, images and videos are changing how we communicate. But as words become more trivial, our attention, our creativity, and even our empathy may be at stake.
Researchers in Maine pose with terns after measuring, weighing and banding the birds. But what if they weren’t scientists?
Amanda Boyd, U.S. Fish & Wildlife Service/Flickr
Why do so many people take safety risks or abuse wild animals for the sake of a photo with them? In one researcher's view, scientists may encourage this trend by sharing their own wildlife selfies.
Cindy Sherman was the subject, costume designer, make-up artist and photographer for the large-scale images showcased in a new retrospective.
Detail: Untitled #466. Image courtesy of Cindy Sherman and Metro Pictures, New York
Cindy Sherman understands how people perform for the camera. Her art is a portrait of human vulnerability.
Migrant children can feel left out and excluded in schools far from home.
Migrant children may feel uncomfortable or shy trying to verbally explain their experiences. Photography is a powerful medium through which to make their voices heard.
Some selfies are more dangerous than others…
'Selfie' via www.shutterstock.com
After a selfie-snapping man was mauled to death by a bear, a psychologist wonders why people feel so compelled to capture and share images of themselves.
A nurse treats Johnny at Vancouver’s Crosstown Clinic before he self-injects his medication.
© Aaron Goodman
Hoping to avoid the pitfalls and tropes of drug genre photography, documentary photographer Aaron Goodman spent a year following three addicts enrolled in a heroin-assisted treatment program.
Street photographer, c. 1930, part of the NMeM collection.
The decision looks like a reinforcement of the large imbalance in cultural spending between London and the north of England.
William Yang’s beautiful photography crackles with life.
All the World’s a Stage, Geoffrey Rush,Exit the King, Belvoir, 2007 © William Yang.
William Yang has, maybe more than anyone else, shaped Sydney's view of itself. A new book, William Yang: Stories of Love and Death, collects his iconic photographs, with scrawled annotations.
When we’re flooded with images, how much of their content do we retain?
Penelope Umbrico, '541,795 Suns from Sunsets from Flickr (Partial) 01/23/06,' 2006-ongoing, detail, 2500 4 inch x 6 inch c-prints. Courtesy Mark Moore Gallery and Bruce Silverstein Gallery.
Snapping and sharing photographs has never been easier. But being inundated with images can have a host of unintended consequences, from heightened anxiety to impaired memory.
The NGV’s summer blockbuster packs a double whammy.
© Ai Weiwei; Andy Warhol artwork © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney.
The NGV's summer exhibition is curated to create a dialogue between Ai Weiwei and Andy Warhol, and this conversation operates on multiple levels on a variety of themes, and across time and space.
Parke raises important questions about whether humanism is desirable or even possible in photography today.
Exhibition space, Monash Gallery of Art.
The title of Parke's current exhibition alludes to a 19th-century faith in the camera’s mechanical vision as superior to human vision – while also complicating that assumption for modern viewers.
Paul Weller brought a case over the use of images of his children.
Media pictures of the children of celebrities are now clearly off limits – unless their parents consent to publication.
Dehaan is a weedy James Dean – Robert Pattinson has all the energy.
Films like this are really just for mavens, academics and Twilight fans who want to stare at Pattinson’s profile.
Turner’s ‘The Slave Ship’, 1840.
In the same week that Charlie Hebdo’s cartoon of Aylan al-Kurdi made the headlines, I’m reminded of another controversial image. In 1840, J M W Turner exhibited what would become one of his most famous…
Decaying buildings signify the inevitable process of history, to which we, too, will eventually succumb.
Porn. Few words come with as many pre-loaded connotations and assumptions. So what are we to make of the rise of "ruin porn"? Should photos of urban decay brighten or darken our day?
Louis Le Prince’s 1888 frames of Leeds Bridge.
“Who came first” may be a good game, but it doesn't lead to any clear answers.
Audrey Hepburn photographed wearing Givenchy by Norman Parkinson, 1955.
Norman Parkinson Ltd/Courtesy Norman Parkinson Archive
She broke the stereotype and redefined style and class. Her image exuded innocence and honesty that spoke to women across generations.
Many of us expect, almost demand, to live a long life, in good health. Many of us won’t.
We have – in some of the world – sanitised death, but the custom of post-mortem photography reminds us death is closer to us than we might like to think. This article contains images of dead people.
Cleverly doctored images of the effects of Sydney’s April storms amused social media users – but hoax images have a much longer history.
The adage that the camera doesn't lie is, of course, a lie, as a long history of hoaxes amply demonstrates. And yet we can still be duped by tricksters. We should remain vigilant.
After witnessing the rise and fall of many empires, the ancient site of Palmyra is under threat from Islamic State.
Conflict involving Islamic State has raised the prospect of the destruction of Palmyra, a World Heritage site in Syria. It's not the first time the region has been invaded, but it may well be the last.