Photographer Robin Hinsch first visited Ukraine in 2010, and has returned many times since. In the process he has created a melancholic vision of a country caught between a contested past, a brutal present, and an uncertain future.
Photographer Larry Towell first visited Ukraine in 2014, witnessing the final days of the country’s Maiden Revolution. He has returned many times since, The History
Last year, FotoEvidence published the book Ukraine: A War Crime, which focused on the first year of the Russian invasion in Ukraine. This year, the publishing house is releasing a second volume titled Ukraine: Love+War, which looks at Russia’s aggression against Ukraine during the last decade, adding context to the current conflict.
Photojournalist Anastasia Taylor-Lind has been traveling across Ukraine for more than ten years and paints a portrait of a country and a population whose daily life is punctuated by war. Her work, produced with her friend the Ukrainian journalist Alisa Sopova, and entitled “Ukraine: Photographs from the Frontline”, is exhibited at the Verdun Memorial (France), offering a sometimes disturbing echo with the images of the First World War. And her work “5k From the Frontline” is presented at the Visa pour l’image festival in Perpignan. She tells Blind about her experience on the front and her vision of the profession.
At Le Hangar in Brussels, a collective exhibition showcases three generations of Ukrainian photographers. “Generations of Resilience” offers a visual testimony not only to the reality of war, but also to the resilience and artistic evolution of a nation shaped by its history.
What can images and words do in times of war? Unable to oppose weapons, powerless to change a reality that violence is dislocating before our
Fragments, a book by the MYOP agency, chronicles a tumultuous year of the conflict in Ukraine, as seen by of six member photographers. Proceeds from the book are earmarked for a Ukrainian NGO assisting affected civilians—a testament to the agency’s spirit of solidarity.
The book Ukraine: A War Crime brings together the work of 93 photographers who covered the first year of the war in Ukraine, documenting the fighting, its effects on the population, and the visual evidence of war crimes.
As the war in Ukraine enters a second year, the Centre Photographique de Marseille presents Ukraine(s), an exhibition bringing together three visual projects that explore the Ukrainian territory and its cultural heritage before its invasion.
Photographer Hailey Sadler writes about her encounters with Ukrainian women during the war that transfigured their country.
For thirty-four years, the international festival of photojournalism “Visa pour l’Image,” in Perpignan, has reflected the world’s upheavals. Ukraine is necessarily at the forefront of this 2022 reiteration, which is also attentive to other crises and which even manages from time to time to come up for air.
As the war in Ukraine continues to rage, the flood of refugees from the fighting continue to flow west across the country’s borders. But as women and children flee, their husbands, fathers and brothers remain to fight the Russians, while others refuse to leave home. Photographer Ismail Ferdous spent time photographing those preparing to fight, those fleeing abroad, and those who choose to stay as they all say goodbye.
The French American photographer, known for his documentation of the human condition over the past 40 years, shares his experience alongside Ukrainian refugees, from the day he left his home in Paris, and returned.
In the village of Kontsovo, near the Slovakian border, photographer Ismail Ferdous asked several displaced Ukrainians to pose on the stage of a theater in the colors of their country, collecting their stories at the same time.
The American reporter, used to covering conflicts, warns younger journalists, who went to cover the conflict, sometimes without preparation or experience.
Pharmakon / Ambulance 1994–1995 offers a gritty look at ambulance drivers’ sordid everyday life in Luhansk, Ukraine.
The Festival returns to its founding obsession — the female gaze — and transforms Milan’s most venerable library into a chamber of visual dissent.
For forty years, Ragnar Axelsson has been composing a visual elegy for the dying Arctic. Where the World is Melting, published by Kehrer Verlag, bears majestic witness to this silent collapse.
The Belgian capital is hosting the 10th edition of Photo Brussels Festival—another opportunity to grasp the richness of its artistic scene.
The photographer from Nantes, France travels the globe to capture the history of decaying architectural heritage in long-term, ever-evolving series. This month, he released his first book devoted to around 50 active theaters in the Île-de-France region — some forgotten, others unknown.
Ed Kashi has dedicated the past 45 years to documenting the social and geopolitical issues that define our era. His newest book is an expansive retrospective of photographs spanning the world and his prolific career.
From October 6 to 12, the 32nd edition of the Bayeux Calvados-Normandy Award for War Correspondents pays tribute to the work and commitment of great
For its 37th edition, the festival Visa pour l’Image, in France, continues to show us, head-on, through images and their captions, the state of the world as it is, and the crises it is going through.
More than any other photographer of his generation, Sebastião Salgado (1944-2025) crystallized the challenges of photojournalism at the end of the 20th century and the beginning of the 21st. Here are memories of three meetings with a man of the world, who never felt “different from others.”
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“Mes yeux, objets patients. MYOP, 20 Years of a Story in Motion” at Les Rencontres de la Photographie in Arles marks the 20th anniversary of the MYOP photo agency, with a 400m² manifesto-exhibition on the meaning of bearing witness.
In the exhibition “Azov Horizons,” part of Les Rencontres de la Photographie festival in Arles, photographer Patrick Wack captures a once-idyllic region now suspended between violence, silence, and the fading shadow of what it was before the invasion of southern Ukraine.
Photography has always been more than just a medium—it’s a language, a witness, and a catalyst for change. From the early days of film to
A photographic manifesto centered on the theme of protest, born from the collaboration between Amnesty International and the MYOP agency.
In a year marked by global conflict, climate catastrophe, and mass migration, the 2025 World Press Photo of the Year serves as a searing reminder
Until March 23, 2025, the festival “Shifting Landscapes” at Jeu de Paume in Paris invites us to immerse ourselves in territories captured by 15 artists. Through a series of installations, visitors embark on a journey from the creation of the world to its potential disappearance.
While president Donald Trump has been in office since January 20, 2025, Magnum Photos publishes a group publication around the theme of the United States, inspired by its long history of collective storytelling.
Kyiv-based artist Vic Bakin’s book “Epitome” merges archival photographs with new images from war-torn Ukraine exploring themes of fragility, masculinity, war and uncertainty.
The Portrait(s) festival in Vichy (France) honors the British artist Nadav Kander, recognized as one of the great portrait photographers of his time.
The American photographer is being honored with an exhibition at Les Franciscaines, in Deauville (France), and a magnificent accompanying book, published by Atelier EXB. The latter contains his most famous photos, a selection of lesser-known images and a host of stories and anecdotes that add to the myth.
Almost 30 years after the end of the war in Bosnia-Herzegovina, photographer Fabrice Dekoninck reflects on the memory of those who survived the siege of Sarajevo, the ethnic purge in the Prijedor region and the genocide in Srebrenica, in a book entitled Between Fears and Hope.
The Prix Bayeux Calvados-Normandie celebrates its 30th edition, honoring the contributions of photojournalists across the globe. This year holds special significance as it anticipates the 80th anniversary of the Normandy landings—witnessed by war correspondents who risked their lives to document it.
In the traveling exhibition Close Enough, now on view at The Hangar in Brussels, Magnum showcases the fresh photographic perspectives of twelve women member photographers.
In its 14th installment, the Zoom Photo Festival in Saguenay, Northern Quebec, proudly presents works from roughly twenty photographers, alongside the World Press Photo traveling exhibition. We delve into a burgeoning photo festival that steadily rises in prominence, without ever losing its core identity.
Ismail Ferdous is a photographer who documents contemporary social and humanitarian issues. In an interview with Blind, he discusses his journey and his curiosity for the world and people’s stories.
From the Iranian uprising to Californian startups, from the war in Ukraine to Afghanistan and climate breakdown, the 35th edition of Perpignan’s international photojournalism festival continues to confront us with the world’s tragedies.
The Loire Valley produces some fine vintages, even when it comes to photography. Festival Promenades Photographiques invites visitors on a tour of fifteen exhibitions around the city of Blois: an ode to movement.
How to manage family life when your profession encroaches on your private sphere? Three photojournalists share their experiences with Blind.
The International Month of Photojournalism in Padova, Italy, brings together photographers from all over the world to trigger cultural debate and roundtable discussions on contemporary issues and ethical journalism.
Each year, the World Press Photo contest rewards the most outstanding photos of the year. On Thursday, April 20, photographer Evgeniy Maloletka received the World Press Photo of the Year award for his picture of the besieged maternity ward of Mariupol, in Ukraine.
