Paper overturned like a teardrop. Ink swirling across a purple glow. A fly perched atop cracked-open crustaceans, insides shining like treasure. These are just three unforgettable shots by photographer Wolfgang Tillmans, whose portraits of pop stars, LGBTQ+ club-goers and scantily clad lovers often lead conversations about his work. But more than half of his portfolio explores other subjects. “When you see exhibitions of mine, the variety of what’s there is often not captured by a conversation,” says Tillmans, a 2024 PEUGEOT Attitude Pride ICON Award winner.

Such is the breadth of his oeuvre that the Museum of Modern Art dedicated 11 rooms to its 2022 exhibition, Wolfgang Tillmans: To look without fear. It was named, Tillmans says, after “an interview where I speak about wanting to encourage the viewer, but also myself, to look at the world without fear”. 

An image can provoke extreme emotions in some people — as proved by the reaction to Tillmans’ 2002 photo The Cock (Kiss). Taken at London gay club night The Cock, it shows two sweaty men kissing. “The immediacy touched people, but also disturbed people,” reflects Tillmans. “In 2007, I had a big exhibition in Washington, D.C. There was a two metre-sized print [of it]. It was attacked; someone slashed it with a key.” Nearly 10 years later, in 2016, the image went viral and became a symbol of solidarity after the massacre at queer nightclub Pulse in Orlando. “A photograph like The Cock (Kiss), even though a private moment, is a highly political photograph, whether it wants to be or not,” notes Tillmans. It later featured on the cover of Douglas Stuart’s Young Mungo, whose foreign editions were “prominently displayed in bookshops” in LGBTQ+-hostile countries like Poland and Italy.  

Tillmans is also dedicated to improving access to treatment for HIV and AIDS. He found out that he was HIV positive in 1997. “[It was] just a year after the triple combination therapy was discovered and made widely available, and AIDS became not the inevitable outcome of an HIV infection, and HIV became a treatable condition. I found out at the same time as my boyfriend [Jochen Klein] died of AIDS. It was too late. He was too long unaware of his HIV status to benefit from the medication. He unnecessarily died after the medication had been already available.” 

“I was always incredibly grateful for HIV activism”

In 2006, Tillmans’ book Why We Must Provide HIV Treatment and Information captured an HIV treatment access and advocacy meeting in Cape Town that year. It was attended by activists from 40 different countries and organised by South Africa’s Treatment Action Campaign, as well as i-Base, from England.  

“It was an incredibly inspiring meeting, seeing people from Ukraine, Zambia, the US, Argentina coming together. … Of course, almost 20 years down the line, HIV treatment access has been so much improved,” says Tillmans. 

“I didn’t want my work to be seen under the light of somebody that has death sitting on his shoulder. Because since I’ve been a teenager, AIDS had been in my life. Every club night, every moment until 1996, when HIV became treatable, AIDS, and the possibility of death, had been in my life and in my work all along. So, I didn’t want to be seen as an artist working with HIV. But I was always incredibly grateful for HIV activism.” 

Tillmans is also part of Attitude history, having photographed then-Prime Minister Tony Blair for our 2005 cover — despite misgivings. “He did the unforgivable act of joining George W. Bush in starting the Iraq War. And that war is, ultimately, in my eyes, responsible for Brexit — literally. If that war hadn’t happened, the Syrian War wouldn’t have happened, the Syrian refugee crisis, and [Nigel] Farage would not have been able to make the poster of a million people streaming into the UK, which was probably what pushed [17.4 million] people to vote Brexit. I see that as one chain of causality. But I’ve always been a pragmatist politically, and thought this was also a significant moment for a British prime minister to grant an interview to an outright gay publication — something that hadn’t happened in the 100 years before. It was happening now. OK, this man has made, in my eyes, a grave mistake, but on the other hand, he’s done a lot of good for the UK. 

“I recently released my second full album, Build from Here“

“He didn’t know who I was,” Tillmans remembers. “But I was thoroughly impressed by his ability to speak, his conviction. He is admirably talented; that, one could totally feel.” 

Tillmans further indulges us with anecdotes about capturing The Fame Monster-era Lady Gaga. “She was interested in art, knew who I was, so that was great. I met her before a concert in Duisburg, a relatively small town between two gigs in Paris and Berlin. There was no press arrangement. We had a whole afternoon for each other.” 

Aside from photography, Tillmans is a musician specialising in emotive, trancey techno, and returned to music in 2016 after a 30-year hiatus. “Little did I know, half a year in, a song of mine landed on Frank [Ocean]’s visual album, Endless, on the song ‘Device Control’,” he remembers. “I’ve haven’t stopped. I recently released my second full album, Build from Here.”  

It seems there’s little Tillmans can’t master, making him a worthy PEUGEOT Attitude Pride Icon Award recipient. Speaking of his work, he says, “It is very fascinating and slightly exhilarating to be in the presence of such extremely talented people.” We know the feeling.  

Think from Here is out now 

This feature appears in Issue 359 of Attitude magazine, which is available to order online here and alongside 15 years of back issues on the free Attitude app.

I’d been studying architectural design in Chile and thought I would do the same when I got to the US. But at university there, photography was one of my subjects – and the minute I put that first sheet of paper in the developer, it was magic to me. There is so much you can say in just one frame. I found it thrilling and overwhelming.

I’ve been living in the US for more than 50 years now and a lot of the pictures from my new book, Moral Minority, were made in the 1980s, when my notion of being a photographer was just beginning to form. The country was new to me and I wanted to figure out how to fit into it and how things worked.

The experience was something akin to what Robert Frank pursued in The Americans: that is to say, an immigrant to this country seeking to understand it through making pictures. I approach my work perhaps more gently than Frank, and attempt to be gracious and without judgment – the viewer is free to make their own decisions about these places and people.

Countless events take place across this country each year: parades, agricultural fairs, sports events, flower and reptile shows. I’ve always been interested in these small events where people gather to perform or compete in some way. I’m curious about human behaviour, how people relate to each other in common spaces. To me, streets and public spaces are like theatre, but the lack of any rehearsal and the element of surprise elevates and transcends our expectations. Henri Cartier-Bresson called it the “decisive moment” – but I like to call it the “indecisive moment”.

This was taken at a small high school event, nothing professional: a contest for the perfect bodybuilding physique. It was the late 1980s, so people didn’t walk around with cell phones and they had different notions about being approached and photographed in public. My subjects always knew they were being photographed because I used a Fuji 6×9 camera with a flash – definitely hard to hide.

The competitor was having a break. Maybe he knew the girls already. He was chatting with them – the conversation obviously having to do with the quality of his physique because of the way he’s pinching his thigh muscle and the level of perfection in it. That’s what the whole event is about: who can create the “perfect body” by working hard and maybe becoming the next Arnold Schwarzenegger?

Aesthetically, why are photographs of muscular physiques so eye-catching? People flock to see Michelangelo’s David. There is a certain exhibitionism on display in my pictures, but they show the wider scene. And, speaking technically, the way skin looks when photographed and printed in silver has a luminous quality that makes it feel very real.

This shot represented a transition period for the man and for the girls: that moment when young people are particularly concerned with their bodies and how they present to others; when there is a lot of showing off and fascination; when everyone is looking for perfection in themselves and others. When I look at this photo now, it makes me feel that life goes on, but many things have not changed.

Sergio Purtell’s Moral Minority is published on 15 July by Stanley/Barker.

Sergio Purtell’s CV

View image in fullscreen

Born: Santiago, Chile, 1955.
Trained: BFA from Rhode Island School of Design; MFA from Yale.
Influences: “Eugène Atget, Brassaï, Henri-Cartier Bresson, Walker Evans, Robert Frank, Tod Papageorge, Richard Benson, Robert Adams, Frank Gohlke.”
High point: “In my printing business, I have printed for some of my favourite photographers. For instance, LaToya Ruby Frazier is having a survey at MoMA in New York and we printed everything that hangs on the walls.”
Low point: “I can’t think of one. As long as I can help others and have some time to do my own work, I can’t complain. Especially at my age!”
Top tip: “Life is a long journey: love what you do and what you have. Try to make work that makes you happy, fulfils you and keeps you growing as a person and as an artist.”

Many people think that their photography would improve if they could just go somewhere new and exciting. The allure of different places, unique scenery, and vibrant cultures seems like the perfect solution to breaking out of a creative rut. But is it really?

Coming to you from Alex Kilbee with The Photographic Eye, this insightful video explores the reality of how location impacts your photography. Kilbee flew to San Francisco, excited to see if the new environment would transform his work. He discovered that while a new place can inspire you, it’s not the magic solution many think it is. Upon arrival, Kilbee noticed that his initial photos looked similar to those he could take back home. Despite the beautiful sunset and iconic sights like the Golden Gate Bridge, his images didn’t scream “San Francisco.”

Kilbee shares how, despite the change in scenery, his style remained consistent. This realization led him to conclude that simply going to a new place doesn’t inherently change how you see or capture the world. The key, instead, is how you interact with your environment and push your creative boundaries. This involves experimenting with new techniques and perspectives, regardless of where you are.

The second part of the trip took Kilbee to Baltimore, a city he was more familiar with. Here, his photography began to evolve. Freed from the usual routines and responsibilities of daily life, he felt more open to trying new things. Kilbee describes an enlightening moment when, frustrated with his smudged lens, he decided to embrace the imperfections. Pointing his camera directly at the sun, he captured a striking starburst effect that perfectly conveyed the intense heat of Baltimore’s Inner Harbor.

Kilbee’s experience highlights that while traveling can provide fresh stimuli, the real growth comes from within. By meeting other photographers, sharing ideas, and challenging his usual methods, he found new ways to express his vision. This personal freedom to explore and experiment was more impactful than the location itself. Check out the video above for the full rundown from Kilbee.

Nikon’s growing range of Z-mount lenses for its mirrorless cameras – which we rate among the best mirrorless cameras – has a new addition, and it’s a true classic for street, reportage and event photography; the Nikkor Z 35mm f/1.4.

As the 43rd Z-mount lens, it’s surprising to read that this is the first f/1.4 lens in the range, and the fast aperture prime is also more affordable than expected. 

Retailing for $599 / £649 and available from July, the street shooter isn’t afforded Nikon’s pro ‘S’ moniker, but it does feature the fast f/1.4 aperture for low-light work and a shallow depth of field that many pro photographers harness to help their subjects stand out.

It’s a simple lens with no external buttons; you get a focus ring and a customizable ‘clickless’ control ring that can be used to adjust one of aperture, ISO, exposure compensation and more.

Image 1 of 2

There’s no official dust and drip resistant rating, which is what you’d get if this was a pricier pro lens. However, it is a compact lens, weighing just 14.6 oz / 415g, making it a good fit with Nikon’s mid-sized mirrorless cameras, such as the new Nikon Z6 III.

All in all, Nikon has taken a vastly different approach to Canon who also recently launched a 35mm f/1.4 lens. Canon’s RF-mount version is a pro ‘L’ lens that’s three times the price of Nikon’s new lens, and it’s a chunkier hybrid lens packed with controls for video creatives.

Mind you, Nikon stills bills its new 35mm lens as being equipped for today’s hybrid shooters: it suppresses focus breathing, while linear focusing enables accurate manual focus pulling. It also features Nikon’s multi-focusing system for quick, smooth and steady autofocus, while close focusing is up to 0.89ft / 0.27m.

Is this the 35mm lens Nikon fans wanted?

There was a time in my professional photography days in East Africa, before becoming TechRadar’s Cameras Editor, that I almost solely used a 35mm f/1.4 lens. It’s a versatile type of lens especially for reportage photography, telling stories of people and places.

I often utilized the maximum f/1.4 aperture of my classic Sigma 35mm f/1.4 Art lens to help subjects stand out in street photography and on-location portraiture, plus it comes in handy for low-light scenes such as indoor events – scenarios that pros often find themselves in.

Nikon’s new Nikkor Z 35mm f/1.4 is not the optically complex and rugged lens that some pros would hope for, for working in extreme outdoor environments. However, I still expect it to be one of the most popular Z-mount lenses available. 

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There is more than one way to take amazing close-up photos, and not all require expensive gear or even a dedicated macro lens. In his latest video, Adam Gibbs ventures out on a quest to capture stunning close-up images of wild roses near his home. He shows several ways to take close-up photos, including some you may have not even considered.

The unconventional methods

A telephoto lens

The unexpected hero of this shoot is a 500mm lens. While not meant (or ideal) for close-up shots, Adam decides to give it a go. The lens offers a significant working distance, but focusing at close range becomes an issue.

To overcome this limitation, Adam employs a creative combination of tools. Extension tubes increase the magnification of the lens, allowing him to get closer to the subject. A 1.4x teleconverter further extends the focal length but also reduces light-gathering capabilities.

A zoom lens with extension tubes

Adam explores the concept of working distance while photographing smaller flowers. He highlights the importance of working distance, which allows you to move around the subject without interfering and manipulate the background. He recommends a 70-200mm zoom lens with extension tubes.

Close-up filters

Adam also uses a 77mm close-up filter from Kase. These filters screw onto the front of a lens and provide magnification for macro photography. While Adam hasn’t used it extensively yet, he finds it a promising alternative, especially for those who don’t own a macro lens.

Close-up filters offer key advantages: unlike extension tubes and teleconverters, they don’t reduce light transmission. They also work well with zoom lenses, offering more versatility. Focusing can be a bit tricky though, often requiring adjustments by zooming and using the focus ring. Still, compared to dedicated macro lenses, close-up filters can be a more affordable option.

I personally use this $70 thingy (Raynox DCR-250), and since I’m not a full-time macro shooter, it’s perfect for my needs. Still, if you want to devote your time and skill to macro photography more than just occasional shooting, Adam emphasizes that high-quality macro lenses remain the ideal choice. This brings us to the “conventional methods” for macro photography, aka dedicated macro lenses.

Conventional method: dedicated macro lenses

Finally, Adam also shows the results he got with a dedicated macro lens. If you want to invest in one of these, he suggests getting a 105mm or 200mm macro lens for optimal macro photography experience. They go from $500 to $800-ish on the cheaper end, depending on the brand and specs.

Adam’s video offers a unique perspective on macro photography, offering multiple options for different types of photographers. It showcases how resourcefulness and creative thinking can lead to captivating close-up images, even with unconventional and/or affordable gear. Watch the full video for Adam’s sample images, and take your pick for your next macro photography adventure.

“I derive most of my creative peace from walking through the neighborhoods and hills of Los Angeles,” photographer Lauren Pelesky tells the Phoblographer of the city she so adores. “I am so blessed to live in such a beautiful place and it only feels right to document the beauty of it to share with others just as I started out documenting sunrises to show to my loved ones.” Lauren is a wedding and portrait photographer that feels like she’s still growing. Yet to many others, the fact that she’s able to photograph for a living is a dream. And at the heart of it, she’s found strength in community. Particularly, she’s been giving a lot of credit to VSCO as of late.

All images by Lauren Pelesky. Check out her VSCO profile and her website. Used with permission. This article is brought to you in partnership with VSCO.

Lauren Pelesky: The Photographer.

Lauren started with photography at around 17 years old — and it all started with falling in love with sunrises and sunsets. “I was always a night owl and I would find myself staying up a few extra hours to catch the sunrise so that I could snap a photo and share it with everyone who I knew was asleep,” she tells us. “Soon after began my affinity for landscape photography which only progressed as I had time to travel to such incredible places like Banff, California, and Colorado.” Then with time, she began to shoot more weddings and portraits — which seems totally different from what most landscape photographers start out doing. However, she still loves shooting landscapes — and her VSCO profile reflects tons of those.

To do all this work, Lauren totes along specific tools. She never leaves her house without a Canon Sureshot film camera. However, she also uses Canon mirrorless cameras, mist filters, and Godox flashes. The filters help her soften the light in her images. “I am so lucky to have such incredible gear, but some of my favorite photos were created with pantyhose or plastic ziploc bags over the lens to create a hazy glow,” Lauren admits. “I’m very much so a believer that you can make incredible photos with any camera gear.” To that end, she also uses an iPhone and a Fujifilm X100T.

With portraits or weddings I do my best to tell the story through the emotion, the people, and the scene. At the end of the day, whether I am working with a wedding client and or a brand I will always do extensive communication back and forth to ensure that my vision aligns with theirs, but often my approach remains the same. 

Lauren Pelesky

A handful of her clients have requested that she shoots with film. Typically, she shoots half a roll of film at every wedding whether or not it’s requested. She loves the tones, grain, and color of Portra 400 — just like so many others. From the film photos, she edits her digital images in a specific way. “I’m hoping someday to work with more clients who love and appreciate film as much as I do!”

Lauren is a photographer who also adores VSCO. Known by many for their film-like presets for several years, the community is now a place where photographers can call a safe-space from the dopamine casino. On VSCO, she seems to reach a broader audience of people who really adore her work. Otherwise, she’s doing lots of meeting people in-person since moving to LA from Chicago. For her, it was a bit nerve-tracking — though networking has helped her in so many different ways. “I truly believe that there is so much growth to be had by getting involved in your community especially through assisting and forming relationships with other photographers. And sharing your work!”

I love sharing my work on VSCO because it seems to reach a broader audience of people who genuinely connect with my work. I’ve always felt as though VSCO prioritizes art over anything else which really makes me appreciate the platform. I’m always amazed at how much incredible art there is to study and connect with on VSCO, and that’s definitely something I need to stay grounded and inspired in my field of work. As I grow in the photography community I’m also greatly prioritizing meeting and working with other photographers! I recently moved from Chicago to Los Angeles so I’ve been working to grow a new community of people here while maintaining my Chicago community. I do this by continuing to share my work online and updating my VSCO profile to let people know what kind of photography experience I have and that I’m available for hire! I truly believe that there is so much growth to be had by getting involved in your community online and in person. 

Lauren Pelesky

Lauren’s post-production process starts with her culling thousands of images all by hand and eye. Then she chooses the ones she sends to the clients based on what they’re looking for. From there, she does what she considers minor edits. “I may edit out distracting signs or trash, but I do my best to keep the images very minimally photoshopped,” she tells us. “I think AI has maybe made putting out content much quicker and easier, but as a documentary-style photographer, my whole philosophy of photography is to tell a story with my images, and I have no desire to drastically alter someone’s story in any way.”

Besides doing portrait and wedding work, she works with brands as well. For her, it’s all about putting movement, emotion, and setting into just the right place. “I recently did a shoot for a company that creates very warm, mid century modern style lamps,” Lauren relates. “So for my work with Wooj I really wanted to create this very calm, peaceful scene of turning on your warm glowing bedside lamp before crawling into bed or turning the lamp on during a late night work session.”

Thoughts on AI Imagery

Lots of photographers have been complaining about generative AI and how it has been threatening to replace them and their jobs. Lauren thinks it can be very helpful to the science world. “That said, I don’t think AI art will have much of a stronghold on those who genuinely appreciate and want to support art, artists and the act of creating art,” she states. “I think there is something so inherently human about creating art and I believe/hope it will stay that way. I also would hope that if AI will be using art created by humans that those humans will be compensated fairly at the absolute very least.”

AUTHENTICITY STATEMENT

The Phoblographer is a member of Adobe’s Content Authenticity Initiative and works with human photographers to verify that they’ve actually created their work through shoots. These are done by providing us assets such as BTS captures, screenshots of post-production, extra photos from the shoot, etc. We do this to help our readers realize that this is authentically human work. Here’s what this photographer provided for us.

Chosen as the victor from over 9,000 submitted images to the 2024 World Sports Photography Awards competition, Belgian photographer Erik T’Kindt has been declared the overall winner, for his image of 22 year old Japanese gymnast Daiki Hashimoto.

The image was taken at the 2023 Artistic Gymnastics World Championships, where Hashimoto won three gold medals. 

The youngest man in history to win all-round champion at the Olympic Games in Tokyo in 2021, Hashimoto is hoping to win a third world title in Paris next month, despite recovering from an injured finger. He told journalists last week: “I think it’s looking good, but my finger still isn’t 100% so I can’t let my guard down.”

T’Kindt shot the image with a Nikon Z9 with a 70-200mm f/2.8 lens, using an exposure of 1/1600sec at f/3.2, ISO3200.

The image is one of 24 winners across sports including American Football, Basketball, Cycling, Gymnastics, Extreme Sports and Rugby. 

More than 1,400 professional sports photographers from over 80 countries worldwide submitted their photographs to the competition to be judged by leading figures from sport, media, and photography.  

Sophie Collins, Chief Marketing Officer at MPB said “As a judge and sponsor of the 2024 ‘World Sports Photography Awards,’ I am once again astounded by the exceptional talent showcased in this year’s entries. Photography has the unique ability to capture the raw emotions and intense moments of sports, telling stories that resonate deeply with viewers long after the moment has passed.”

A full list of winners can be viewed on the World Sports Photography Awards website, but below are a few of my favorites… 

Take a look at the best cameras for sports photography, as well as the best action cameras, and the best slow motion cameras. 

Attention all IAM members who enjoy taking photos. The 2024 IAM Photography contest is now open, so get out your cameras or smartphones and start snapping some pics of your Union sisters and brothers.

The official call letter and entry forms can be found here.

Submit your pictures of IAM members in their workplace, union function, or performing community service for a chance to win a cash prize and have your photo featured in the 2024 IAM Calendar. The entry deadline is May 26, 2023.

Two dollars from each calendar sale is donated to Guide Dogs of America/Tender Loving Canines (GDA/TLC). You can order your 2024 Calendar here.

Scan to enter online from your mobile device