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.

Cristina de Middel is one of our most internationally renowned photographers. Winner of the National Photography Prize at the young age of 42, she is currently presenting a selection of her work from approximately fifteen years in Africa at the Seltz Gallery in Barcelona, ​​opening November 15th. The works are displayed on the gallery walls in mural-like sequences arranged like large pages that could be read as comic book panels. WaterfallsThe title of the exhibition is polysemous. It refers to the eye disease caused by wear and tear, like a curtain obscuring vision. Wear and tear of the eyes from having seen so much. It also alludes to the cascade of images and reels that fall through the internet and social media, eternally, without interruption. A cascade that wears down and blinds. Misinformation or information overload, which ends up disrupting the ability to see clearly, to understand what is happening in the contemporary world and why.

Weegee is one of the great masters of photography. Born in 1899 in present-day Ukraine, Arthur Usher Fellig chose this pseudonym when he began working as a photographer in New York, where he emigrated in 1909. A prominent photographer with a very personal style, his high-contrast street photographs ended up in the spotlight. He captured the Lower East Side of the American city in the 1930s and 1940s. Much of his work documents realistic scenes of urban life, crime, injuries, and deaths. This work is a showcase of his documentary talent. Using infrared negative film, he photographed the audience at several movie theater screenings in the city. These are some of the photographs that the Getty Agency is distributing from its catalog of the International Center of Photography in New York.

The dishes served at the Miramar restaurant in Llançà begin with scraps of paper, which chef Paco Pérez collects here and there and repurposes. Small works of art that eventually emerge from the paper to become edible sculptures, with flavor, aroma, and, above all, soul. Paco Pérez, with five Michelin stars, two of them for the cuisine he creates at Miramar, is considered the quintessential artist-chef. "He's always drawing. In a process of daily creativity, he captures each idea in a sketch on paper, to be interpreted and transformed by his team into a dish that often conveys the essence of the Mar de Amunt to the diner," explains the chef's son, the poet Guillem Pérez. Creating from the raw materials provided by the land he loves so much and that inspires him so much is one of Paco Pérez's obsessions, and he demonstrates this with gastronomic offerings such as Arroz en la Barca, inspired by rice dishes that were cooked "on the high seas, without seeing land, breathing the salty air that makes me feel it." Paco Pérez champions the presence in haute cuisine of the humble seaweed found in the waters of the Mar de Amunt, which embrace the Cape of Creus up to Cervera.

When Antoni Bernad's camera spoke, it was as if an angel had passed by. Magic had happened; something had ethereally transformed reality, always so subjective. Antoni Bernad acts on us like a seductive magician. First, he envelops you in a layer of bizarre flattery, and when he has you disarmed, naked, he clicks. Then the angel that accompanies us all emerges, the essential and intimate moment we carry hidden, the hidden treasure we often don't even know we're keeping. Many of the smiles you'll see in this report are stolen, snatched away by the photographic wand of an artist with a gift: that of provocative sympathy.

He has just arrived in the Llémena Valley, between the Gironès and La Garrotxa mountains, after a long journey from Germany by van. He hasn't even parked for ten minutes. It's the journey he makes accompanied by two bicycles and his dog Omali—which in Swahili means "treasure" or "something valuable"—every time he seeks a few days of rest between weeks of work travel. "Llémena is my refuge between wars," he admits. This year he has been to Lebanon, Syria, Acapulco (Mexico), and will soon return to Mosul (Iraq). He barely remembers it; he has to check his phone to list it all. "And 2025 has been peaceful compared to before," he says.

Oriol Alamany (1958) has traveled across Arctic landscapes, mountains, and deserts around the world to photograph the wildest nature, often in extreme conditions. His work, which has helped to describe the lives of animals such as the snow leopard, the Etosha elephant, the brown bear, and urban falcons, has been published in prestigious magazines such as National Geographic and BBC Wildlife.

Don Pettit He recently spent seven months aboard the International Space Station. During his stay, Pettit contributed to research for future space missions. Pettit also shared what he calls "opportunity science" to demonstrate how experimenting with our environment can help us better understand how things work. In his understanding of science, this understanding is enhanced when art and science come together.

The city wakes up. The sun filters through the avenues, between the tall skyscrapers that sculpt the city. It seems like everyone is asleep, but bodies are moving. Most have already left their homes to get to work. Little by little, the city gets moving and the cafes fill with people: there are those who buy and those who serve.

Oasis requires photographers to waive the rights to their photos annually. Gracie Abrams at Cruïlla won't let professionals take her picture. Al Primavera, Charlie XCX, and Sabrina Carpenter also had them banned: if you wanted a photo, it had to be supplied by their team. Guns N' Roses? Same. The Offspring, despite coming from punk backgrounds, contractually demanded that they only be photographed in full-length, lest any wrinkles be seen. As if Iggy Pop wasn't still doing the magnificent iguana on stage at almost eighty years old and with more skin folds than a raisin. Robbie Williams makes them sign a contract according to which they automatically transfer the photographs they take of his concerts for a pound: if he likes an image for merchandising, it's his for that insulting compensation. Ben Harper goes further and also contractually requires them to be released for free. Furthermore, their manager must approve them before publishing them.

Resistance. Relentless. War economy. This was the landscape of the Joma photography store, a classic in Barcelona's Gràcia neighborhood, with the rapid arrival of digital technologies in a world, ours, so subject to technological evolution. But there was a click, never better said, like the click of the old shutter releases on analog cameras. And the click is 100% related to changing times, changing trends, the emergence of social media. Quite a paradox, indeed: analog technology has re-emerged with force precisely thanks to the advancement of times, the dictatorship of social media, the desire to experiment, to tell different stories, to position oneself in this world with enthusiasm and personality. vintage.