Photographer Catherine Chalmers's new series Food Chain showcases the circle of life—frogs eating baby mice, praying mantises eating caterpillars, snakes eating whatever the hell they want.
The 13th annual VICE photo issue is not what it appears to be. It is a showcase of smoke and mirrors, featuring photographic deceptions, illusions, and transformations of all kinds.
What you're looking at is a sample of speed that was mixed with water and dropped onto an exposed film negative. Weirdly, it looks like speed feels.
For the 2014 VICE photography issue, Nocito made us a brand new PUD.
In 2013, I had a ten-minute portrait session with Thurston Moore. I handed him a sheet of 8.5-by-11-inch paper and asked him to fold it in a way that evoked where music might be in ten years. Without hesitation he sat down and quickly crafted an elegant w…
Photos by Sara Cwynar
Photos by Zak Arctander
Photos by Dr. Harold Edgerton, inventor of the electronic flash, from the VICE Photo Issue 2014
Photos by Cynthia Talmadge and Matthew Leifheit
Photos by Rachel Stern
Performance artist Joseph Keckler provides some context for the nativity scene Jaimie Warren made for the VICE photo issue 2014.
Photo by Jimmy DeSana
Photo by Laurie Simmons
Photos by Erin O'Keefe
Still lives and landscapes by Richard Renaldi, with a short excerpt from an interview about truth in photography
Written into a footnote by the "straight photography" school of the 1950s, William Mortensen was referred to as "the Antichrist" by Ansel Adams, a tag that stuck after Anton LaVey dedicated The Satanic Bible to him. Primarily known as a Hollywood portrait…
Photo by Sara Vanderbeek from the VICE photo issue 2014
Photo by Bea De Giacomo
Photos by Lucas Blalock
What do photographs want from us? Why won't they leave us alone? We create them, and they surround us, hold us captive, demand and extract psychic ransom. We allow ourselves to be overtaken by them and then wonder why we can't stop taking them, or look aw…
Winogrand was a photographer of people, from rodeo performers in Texas to socialites in Manhattan to the regulars at Venice Beach. Humanity—or perhaps American humanity—in all its iterations and range of expression, was his subject matter.
"I love this world and it freaks me out every day. More and more, I experience the sensation that nothing is real—like it's all a dream. That's when I'm drawn to take pictures."
The spirit of Freccia's new exhibition, Life and Death, a series of portraits of the Nuer White Army and their Dinka adversaries, has little to do with documenting danger. Instead, Freccia's life-size photographs examine people engaged in conflic…
Dublin housing estate kids raise horses in car parks and ride them in Nikes.