Purchase

Featuring portfolios by: Eren Aytuğ, Adam Broomberg & Oliver Chanarin, Teru Kuwayama & Balazs Gardi, Tim Hetherington, Aaron Huey, Yannis Kontos, Seamus Murphy, Moises Saman, Lana Slezic, Veronique de Viguerie, Farzana Wahidy, Beth Wald. Together these photographers depict Afghanistan with a focused intimacy not typically presented in mainstream media coverage.

Featuring portfolios by: Harold Edgerton, Robert Del Tredici, Carole Gallagher, Chris McCaw, Pierpaolo Mittica, Jürgen Nefzger, Simon Roberts, Richard Ross, Paul Shambroom, Ramin Talaie, Hiroshi Watanabe, and Yosuke Yamahata. Considering the danger posed by thousands of active nuclear weapons spread around the world, it is not surprising that the specter of nuclear-induced destruction remains at the back of our minds. Indeed, atomic disaster may be the single largest threat to human existence. In this edition of Daylight Magazine we have compiled the work of several photographers concerned by the use of atomic technology and its implications for the future.

Featuring portfolios by: Simon Norfolk, Luc Delahaye, Kai Wiedenhofer, Paolo Pellegrin, Ahikam Seri, Ori Gersht, Gilad Ophir, Noel Jabbour, Noa Ben Shalom. This issue of Daylight Magazine, one year in the making, compiles a number of photographers examining the situation in Israel and Palestine. The nuances of this highly complex and volatile relationship could only be conveyed by a number of photographers examining parts of the whole. From the dwindling nomadic Bedouin population to the interiors of homes in the West Bank, we hope that this issue provides a unique perspective on a small, contested area of land fraught with religious, social, and economic tension.

Featuring portfolios by: Samantha Appleton, Sean Hemmerle, Roger Hutchings, Bruno Stevens, Susan Meiselas, Sheryl Mendez, Daniel Pepper and an essay by Amir Hassanpour. In this issue of Daylight Magazine, Iraq is presented from a number of perspectives. As individuals living far from the front lines, images we foreigners see on television and in newspapers define our perception of the current situation in Iraq. For many of us, this is an armchair war consisting of images released by corporate-controlled media conglomerates and government censors with undeniable agendas. This issue of Daylight presents the work of photographers who have spent time in Iraq working to present their audience with an individual perspective of the region. What a photographer chooses to capture reflects a personal interest or desire to share a very specific moment with the universal spectrum of potential viewers.