The one in the photo is Caldwell. This week his owner, Katie Brockman, won the Dog Photographer of the Year award at the 2026 Dog Photography Awards. It is the chosen photo from among all the winners of the different categories. It is not one of the major photography awards, but it has repercussions because images of beasts, especially if they are endearing, are grateful content for many media outlets.

For ten years now, at the beginning of autumn, Cadaqués has become a great exhibition stage for the best photographers in the world. This is possible thanks to the InCadaqués International Photography Festival, which organizes a host of exhibitions throughout galleries, gardens, beaches, and streets of this idyllic town of white houses at the foot of Cap de Creus. This year, in its tenth edition, from October 8 to 25, it will offer 25 exhibitions and workshops by 40 authors from 20 countries.

November 1996. An Ethiopian Airlines Boeing 767 crashes into the waters of the Indian Ocean following a hijacking. One of the passengers is Mohamed "Mo" Amin. In that instant, the career of the most influential photojournalist in the history of Africa was extinguished. Born in Nairobi in 1943 into a humble family of Punjabi descent, Amin fell in love with photography at the age of 11. Over three decades of his career, his gaze was our own on the front line. The founding of the independent agency Camerapix, in 1963, broke the monopoly of the great Western powers over the continent's narrative. From Nairobi, Amin demonstrated that globally impactful information could be produced and distributed with rigor, independence, and own resources from within Africa itself. From the Camerapix office, he uncovered Soviet camps in Zanzibar, filmed the assassination of Tom Mboya, gained exclusive access to Idi Amin, and in 1984, his footage of the famine in Ethiopia shocked the planet and mobilized the largest humanitarian aid campaign of the 20th century. Neither torture nor the loss of his left arm in an explosion kept him from his craft. Today, his archive of 8.5 million images asserts that Africa is not just a tragedy, but a living continent of tradition, beauty, and complexity.

For ninety years, the photograph Death of a Loyalist Militiaman has been attributed to Robert Capa. The image of a republican combatant at the moment of being struck down consecrated the Hungarian photographer. The precise instant it portrays, with the militiaman losing his balance but not yet having touched the ground, gives it a drama that condenses the cruelty of war. The rifle seems to slip from his hand and the barren landscape further accentuates the tragedy of the soldiers. An atrocious and lonely death. It is impossible to identify his face, and the slight lack of sharpness of the image allows one to intuit the urgency of a photographer who triggers the shutter at the same moment they are startled by the horror of the scene.

The best photographs by Miquel Varderi only had family and a few friends as a loyal audience. The slide projections in the dining room at home were a strict liturgy that included technical comments with mentions of ISO or aperture. They were the result of a hobby he had cultivated with almost professional rigor and aesthetic criteria by which only images that were up to the mark deserved to survive. "My father took photographs all his life, everywhere and of everyone. Then he would make a meticulous selection and keep the ones he liked the most," explains his daughter, Mònica Varderi. The chosen slides remained jealously guarded in an untouchable drawer, cataloged in boxes with labels with names such as "Girona", "Costa Brava", "Bullfighting", "Rugby" or "Types".

The photographs of the North American Minor White (1908-1976) are like strips of his skin. "All his work is very personal," explains Carlos Gollonet, the photography curator at the Mapfre Foundation and curator of the exhibition of the photographer that can be seen at the KBr center until September 6. "In his photographs it is impossible to discover what his feelings were, but they are nonetheless permeated by his way of transmitting emotions and of making the viewer a participant in his vision of photography, which goes beyond what is seen in the photographed image – explains Gollonet–. At that time it was very innovative that he left a space for the viewer to complete the photograph with their emotions, memories, and experiences."

We live surrounded by notifications, photos that disappear in 24 hours, and messages that are forgotten in seconds. But this summer, we suggest you take a break. How? By sending us a postcard. We want you to write to us from wherever you are and tell us how you are experiencing your holidays. We will read them one by one.

The Mediterranean Festival of Journalism and Photography, LASAL, will celebrate its second edition in El Masnou from June 11 to 13. The event will present a free program focused on current topics such as the war in Gaza, the climate crisis, or disinformation on social networks. One of the sessions will feature the deputy director of ARA, Carla Turró, who will have a conversation with journalist Agus Morales titled How to keep a print media alive. The head of photography for this newspaper, Ferran Forné, will also participate, in this case with a portfolio review workshop for professionals who want an external perspective on their work.

The El Corte Inglés race held this Sunday through the streets of Barcelona has left us with images of the participants enjoying the sporting event and the good weather.

In the midst of the streaming era and omnipresent screens, a growing segment of youth is looking back. Vinyl records, cassettes, film cameras, or VHS tapes, formats that just a few years ago seemed doomed to disappear, are circulating again among young people as objects of cultural consumption and symbols of identity. Far from being a fleeting trend, the phenomenon reflects an increasingly complex relationship between the digital generation and the technology that dominates their daily lives.

A spiral taking flight, as part of an artistic creation. Smoke—and smoking—is integral to the aesthetics of photography. Throughout the 20th century, smoking was used as a creative and narrative element to create more compelling, transgressive, and modern images. Smoke and the smoker serve to reveal more complex or ambiguous individuals. Smoke expresses the fleeting nature of the moment. Through smoke, photography becomes a snapshot, rising like an invisible thread in popular culture. Despite its known dangers, the ritual endures, laden with symbolism. We journey through images, exploring the history that links smoke to photography, connecting this habit with black and white images that evoke another era and a bygone aesthetic.

Caroline de Bendern, a slightly rebellious, bohemian, young English aristocrat whose beauty seemed a synthesis of Jane Birkin's sensuality and Twiggy's androgyny, was just passing by and unwittingly entered history.

Marina Ginestà (1919-2014) was born in Toulouse into a family with a long leftist tradition. Her grandmother, Micaela Chalmeta, a feminist and pioneer of the Catalan cooperative movement, translated The Power of the Market Basket, by Honora Enfield. Her father, Bruno, was a trade unionist, and her mother, Empar, headed the Spanish delegation at the international congress of the women's movement in Moscow in 1935. Marina and her brother, Albert, belonged to the communist youth.

Like so many things, Juan Carlos Lacruz's passion for photography and airplanes began by chance. Today, retired, he goes to El Prat airport every other day and is the president of the Barcelona Spotters Association.

Periphery_ From Latin peripherīa, and this, from Greek peripheria. Extremities or margins of any entity. Anthropology F. A discipline that studies human beings from a social and cultural perspective, the essence of humanity and their place in the world. Border FThe boundary between two closely related things. The blurred line between belief and superstition. Bordering_ adjAdjacent, territory that is touching the limits or borders of another territory. Satellite_ mThat depends on an external influence. Satellite city. Threshold_ m. Extreme value of a magnitude that, when exceeded, changes the characteristics of the established system. Outskirts_ m. Periphery of a city. Metropolis_ Main city of a region, of a state. Anarchism_ mA social theory that, based on the principle of individual freedom, advocates the abolition of all forms of political power. Libertarian_ Supporter of the ideology and attitudes proposed by anarchism. Emma Goldman_ F. A key anarchist in the development of anarchist philosophy in the first half of the 20th century. Return_ m. The act of returning to the place from which one had departed.

The photographer Ramon Dimas (Pont d'Armentera, 1919 - Santes Creus, 1965) died prematurely at the age of 46. By then, he was already one of the country's most important photographers. "Ramon Dimas, along with Francesc Català-Roca and Eugeni Forcano, forms the trio of the most outstanding photographers of the 1950s," said journalist Josep Maria Huertas Claveria (1939-2007), who also curated a Dimas exhibition held at the College of Journalism. Dimas was one of Spain's great sports photographers, whose career spanned... Sports World and later, Sports Life, the sports weekly published by Ediciones Destino. He was also known for the reports he wrote for the magazine Destination and by the photographs in the tourist guides from the same publisher, among them the Guide to Catalonia by Josep Pla.

It was a well-deserved farewell upon retirement for Pepe Font de Mora, who for more than twenty-three years was the director of the Foto Colectania Foundation, one of the most prestigious private photographic institutions in the country—with a public mission—founded and chaired, since 2002, by Mario Rotllant. In addition to the exhibitions on display at its headquarters on Passeig Picasso in Barcelona, ​​Foto Colectania boasts a remarkable collection: some 3,500 images by more than 80 Spanish and Portuguese photographers.

In this report, we present a selection of the award-winning images from the tenth edition of the Bioimágenes competition, the biological photography contest organized every two years by the College of Biologists of Catalonia. This year, the competition brought together 396 photographs of astonishing quality, divided into six categories encompassing students of all levels—primary, secondary, high school, vocational training, and university—as well as teachers and other members of the public. Each category has two prizes, in addition to special awards for photomicrography and research photography, underwater photography, and the ARA newspaper prize, dedicated to images with a photojournalistic approach and documentary value. With this exhibition, the College wishes to recognize the talent and curiosity of all participants, as well as the work of the jury and the support of the collaborators. A celebration of life seen up close, through lenses that capture what often escapes our notice. The winning image of the ARA newspaper's special prize – which can be seen at the top of the report – was for a minimal yet powerful scene, with the author's personal vision and the ability to capture the plasticity and beauty of the animal, without losing the documentary and reportage sense.

"If a woman decides to be one, she must choose the path of responsibility or that of submission. It wasn't like that before; before, everything was done for a woman. Not anymore. Now she must choose her attitude toward life." This statement by the writer and politician Maria Aurèlia Capmany is surprising. What does it mean to decide to be a woman? It's a warning. We must consider the context of that time, not just today. Capmany wrote this in 1977. for the photobook Antifemina —the origin of the exhibition at the Disseny Hub Barcelona (Dhub), open until January 25, which prompted this article—, women were just beginning to believe they had rights, that is, that they were people who could decide for themselves what they wanted to do in life. Adultery was punishable, as was abortion, and feminism was demanding things so basic that they would now make us ashamed.