Open your eyes to a new world view with 100 women photojournalists' stories from behind the lens. 85% of photojournalists are men. That means almost everything that is reported in the world is seen through men's eyes. Similarly, spaces and communities men don't have access to are left undocumented and forgotten. With the camera limited to the hands of one gender, photographic 'truth' is more subjective than it seems. To answer this serious ethical problem, Women Photograph: What We Seeflips that bias on its head to show what and how women and non-binary photojournalists see.
From shooting major events such as 9/11 to capturing unseen and misrepresented communities, this book presents a revisionist contemporary history: pour through 30 years of women's dispatches in 100 photographs. Each shot is accompanied by 200 words from the photographer about the experience and the subject, offering fresh insights and a much-needed woman's perspective. Until we have balanced, representative reporting, the camera cannot offer a mirror to our global society. To get the full picture, we need diverse people behind the lens. This book offers a first step.
Relearn how to see with this evergreen catalogue that elevates the voices of women and non-binary visual storytellers.
Edited by:
Daniella Zalcman,
Sara Ickow
Imprint: Quarto Books
Country of Publication: United Kingdom
Dimensions:
Height: 230mm,
Width: 170mm,
ISBN: 9780711278547
ISBN 10: 0711278547
Pages: 224
Publication Date: 25 April 2023
Audience:
General/trade
,
ELT Advanced
Format: Hardback
Publisher's Status: Active
Photographers include: Adam, Rhiannon Agusti, Lujan Al-Arashi, Yumna Al-Asaker, Maha Aliaga Ticona, Sara Alsultan, Tasneem Arevalo Gosen, Ana Maria Baez, Gabriella N. Barbutes, Tracy Beal, Endia Berman, Nina Blast, Delphine Brinson, Kendrick Bronstein, Paula Carballo, Koral Cardenas, Veronica G. Chor, Laurel Cruz Bacani, Xyza Dass, Angelica de Middel, Cristina Dhaliwal, Meghan Dorr, Luisa Dugan, Jess T. Duong, Yen Effendi, Rena Eid, Kholood Eldalil, Rehab Emezi, Yagazie Fabian, Citlali Fezehai, Malin Flanagan, Annie Flash, Lola Fondriest, Terra Garcia, Mariceu Erthal Ghanbari, Mojgan Golden Guzy, Carol Habjouqa, Tanya Harib, Nada Hayashi, Noriko Hayeri, Kiana Inruh, Irina Ireland, Susannah Irvine, Tailyr JEB (Joan E. Biren) Johnson, Lynn Kang, Mary Keyssar, Natalie Khan, Gulshan Khandelwal, Saumya Kosofsky, Isadora Koyoltzintli Larsen, Erika Laub, Gillian Laula, Nyimas Locher, Olivia Matar, Rania Meiselas, Susan McGarvey, Maddie Mokri, Clara Mollenkof, Bethany Morris-Cafiero, Haley Morton, Rosem Muirhead, Nicola Naccache, Natalie Pabst, Sarah Parafeniuk, Oksana Philomene, Laurence Pixley, Tara Plunkett, Suzanne Poh, Charmaine Rago, Rozette Rajaonary, Miora Reyes Morales, Hannah Romero, Cara Sakaguchi, Haruka Schmitz, Charlotte Seaman, Camille Sharma, Smita Sim, Chi Yin Skovranova, Michaela Spitzer, Kali Sulakauri, Daro Taylor-Lind, Anastasia Tung, Nicole Vera, Alicia Villasana, Danielle Vitale, Ami Waguih, Asmaa Waiswa, Sarah Willis, Deb Yoon, Arin Yoon, Hannah Yvonne, Etinosa Zalanga, Patience Zehbrauskas, Adriana
Daniella Zalcman is the founder of Women Photograph, a global, US-based non-profit that launched in 2017 to elevate the voices of women and non-binary visual journalists. The private database includes more than 1,000 independent documentary photographers based in 100+ countries. Their mission is to shift the makeup of the photojournalism community and ensure that the industry's chief storytellers are as diverse as the communities they hope to represent. They believe that inclusion and equity work must be fully intersectional, and are committed to supporting and highlighting photographers across the spectrum of all identities. Sara Ickow is the Senior Manager, Exhibitions and Collections at the International Center of Photography. Previously, she worked as a Curatorial Assistant and Collections Manager with the Smithsonians National Portrait Gallery in their Department of Photographs and as a freelance collections manager. She holds an MA in art history from NYUs Institute of Fine Arts, where she studied photography and time-based media art and wrote her thesis on Walker Evans in the 1930s.
Reviews for Women Photograph: What We See: Women and nonbinary perspectives through the lens
"“What We See brings together an astonishing array of work from places as varied as conflict zones to backyards. The quality of the work is impressive. It is, indeed, a combination of voices that should never be repressed. We are all the better for a more inclusive view of the world, and this book puts a sharp finishing point on that."" * The Washington Post *"
