Aperture

9 stories

ApertureCultureA Luminous Portrait of a Los Angeles Community In South Central, Carlos Jaramillo celebrates the everyday beauty of his parents’ former neighborhood.

10.29

ApertureCultureA Tokyo Drifter’s Catalog of Crude Coincidences From giant poodles to accidental spills, Kenya Sugai finds strange pleasures among the city’s shadows.

10.23

ApertureCultureHow American Photography Was Forged in the Mines A tool for depicting the industries that shape contemporary life, photography is also enabled by a system of extraction that often goes unseen.

10.23

ApertureCulture“We Have Nothing To Lose But Our Photography” Ansel Adams, from the first issue of Aperture magazine, April 1952

10.19

ApertureCultureHow Tina Barney’s Mother Schooled Her in Fashion Raised by a successful model, the acclaimed portrait photographer has long understood the power of getting dressed.

10.16

ApertureCultureLee Friedlander’s Seven-Decade Portrait of a Marriage For nearly seventy years, Lee and Maria Friedlander have shared a bond shaped—and at times distorted—by photography.

10.09

ApertureCultureDayanita Singh Dreams of Archives The artist speaks about her recent installation in Venice and the democratic nature of photography.

10.09

ApertureCultureAnnouncing the 2026 PhotoBook Awards Shortlist Here are the 35 shortlisted titles for the Paris Photo–Aperture PhotoBook Awards, which celebrate this year’s achievements by publishers and artists.

10.08

ApertureCultureThe Photographers Who Shaped Our Picture of New York A look inside the inaugural installation at Aperture’s new space on the Upper West Side.

10.02

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo