The first major US retrospective of Duane Michals' work is on view at the Carnegie Museum of Art in Pittsburgh, Pennsylvania.

Carnegie Museum of Art
4400 Forbes Avenue
Pittsburgh, PA 15213

"Taiji Matsue has been steadily producing flat photographic representations of large-scale earth surfaces in locations all around the world. This volume presents the latest works in his "jp" series of aerial photographs of regions throughout Japan, focusing here on the prefectures of Aomori and Akita in northern Honshu. Matsue's aerial photographs suggest a "new map of Japan", offering views not only of architectural structures, but of city scenes, rural terrain and coastlines as well."--Seigensha. 1 v. (unpaged) : col. ill. ; 30 ×30cm. Text in Japanese and English.

Rumored Sony/Zeiss/Mamiya medium format digital rangefinder cameras:

* 50 megapixel medium format Sony CMOS sensor
* Two versions will be sold under the Mamiya and Sony brands
* Only the Sony version will have an EVF
* The Mamiya model will have an OVF with OLED focus peaking
* The lenses will also be sold under the Sony/Zeiss and Mamiya brands
* New magnet-based lens attachment
* The cameras will have 4 black classic control dials

If this is not rumor, it is very surprising that there was no announcement at Photokina. Hence, I think it's fiction not fact.

Until September 30, 2014

For Leica camera AG, the move to the Leitz Park in Wetzlar is a return to its roots and a step into the future with new headquarters. The Leica Gallery Wetzlar has also made itself a home here, and is inviting visitors to explore the constantly evolving facets of the world of photography. The gallery is inaugurated with the 10 x 10 exhibition, a project created to celebrate the centenary of Leica Photography.

It presents contemporary photography that looks to the future while also linking closely to the past: the idea was to pair ten contemporary Leica photographers in a creative dialogue with ten of the great masters of photographic history, resulting in ten pictures each. It was not about modelling the images on the works of the old masters, but rather about the new ideas that might emerge from the interaction with the existing works: an artistic exchange, an impetus, a convergence and a demarcation.

Leica Camera AG
Am Leitz-Park 5
35578 Wetzlar

Until August 9th, 2014

The Italians, of which this exhibition is eponymous, was published in 2011, five years after the world-famous Magnum photographer’s death. The work that it encompasses was a lifetime pursuit of Freed – he once referred to his relationship with Italy as a “love story.” Early in his professional work he discovered New York City’s Little Italy and then later throughout his long career he made more than forty-five trips to Italy. The images capture the joys of childhood, love, marriage, and the celebration of family and food. Freed wrote: “If it is true that a nation’s reputation for hospitality comes from its natives, Italy will always be at the top of my list… There is an Italian saying: ‘When you sit at my table you are a member of the family.’ How true.” Michael Miller who wrote the book’s Introduction states: “Italy was so close to Leonard Freed’s deepest affinities, as well as the fruits of his self-exploration, that this book is as much about the artist as it is about its subject… Italy remained for Freed as much an inner landscape as a field for observation. Here you will find a richly variegated portrait of Italian society, beginning close to the midpoint of the twentieth century and continuing into the next, as well as reflections of the artist’s psyche as it developed through the human encounters photography brought his way.” The Directors of Leica Gallery have worked closely with Leonard Freed’s widow, Brigitte, to curate this posthumous exhibition.

Leica Gallery
670 Broadway
NYC

May 16–September 7, 2014

From the ICP website:

As a young photo-editor for Life magazine, John G. Morris (b. 1916) was based in London and assigned to oversee the photographic reportage of World War II. Most notably, he coordinated the dramatic photojournalistic coverage of the D-Day invasion on June 6, 1944, including the iconic photographs of the landing made for Life by Robert Capa. With the Allied troops advancing toward German strongholds in western France, Morris joined the magazine's team of six photographers (in addition to Capa, George Rodger, Robert Landry, Ralph Morse, David E. Scherman, and Frank Scherschel) in covering the fighting in Normandy and Brittany.

Although not a photographer himself, Morris exposed 14 rolls of black-and-white film over the four weeks he spent at the front during the summer of 1944, not for publication but as a personal record. For 69 years, the negatives and contact sheets remained in a file drawer in Morris's office. Recently rediscovered by Robert Pledge of Contact Press Images, these images constitute a moving first-person account of one of the greatest conflicts of the 20th century.

Urbes Mutantes: Latin American Photography 1944–2013 is a major survey of photographic movements in Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Venezuela. Taking the "mutant," morphing, and occasionally chaotic Latin American city as its focus, the exhibition draws particularly on street photography's depictions of the city during decades of political and social upheaval. It is divided into sections that explore public space as a platform for protest, popular street culture, the public face of poverty, and other characteristics of the city as described in photographs. Dispensing with arbitrary distinctions between genres of photography—art photography, photojournalism, documentary—Urbes Mutantes points to the depth and richness of the extensive photographic history of the region.

International Center of Photography
1133 Avenue of the Americas at 43rd Street
New York, NY 10036

April 24 - May 31, 2014

Comprised of thirty rare gelatin silver prints dating from the 1960s, the exhibition focuses exclusively on Michals' early exploration of transitional early morning moments in New York City shops, parks, subway cars, and train stations. This is the first time these photographs have been exhibited as a group.

The images in this exhibition, taken over a half a century ago, include New York landmarks such as Penn Station, the Metropolitan Opera House, and Washington Square Hotel as well as ordinary locales, such as a laundromat, a shoeshine station, or an empty booth in a neighborhood diner. The series reflects Duane Michals' admiration for the work of French photographer Eugene Atget who memorably photographed the streets of Paris.

DC Moore Gallery
535 West 22nd Street, 2nd Floor
New York, NY 10011

The movie is coming to theaters in March. Check local listings.

Exhibition on view:
February 20–March 27

Aperture
547 West 27th Street, 4th Floor
New York, N.Y. 10001

From aperture.org:

City Stages offers a paean to the craft and visionary potential of large-format, black and-white photography, as well as to the vibrancy of the cultural landscape at a transitional moment—a moment in which our very relationship to that landscape is increasingly mediated by omnipresent screens.

Over the past decade, Matthew Pillsbury has built several extensive bodies of work—Screen Lives, Hours, and City Stages—that deal with different facets of contemporary metropolitan life and the passage of time. Working with black-and-white, 8-by-10 film and long exposures, Pillsbury captures a range of psychologically charged experiences in the urban environment, from isolation—tuned into the omnipresent screens of our tablets, laptops, televisions, and phones—to crowded museums, parades, cathedrals, and even protests.

Working primarily in New York but with forays to Paris, London, Venice, and other sites, the precise and concrete rendering of cityscapes, iconic landmarks, and interior spaces in his images provides a stage-like setting for the performance of human activity. Thanks to the extended exposures—some as long as an hour—the actions of both individuals and crowds are blurred and transformed into pure gesture and energy.

As writer Karl E. Johnson comments on the work, “For Pillsbury, the act of seeing appears to double as a performance, if no more than the performance of life enacted in various spaces and timeframes.” This exhibition gathers selections from all three bodies of work for the first time, and spans ten years of the artist’s output.

Sylvie Aubenas and Quentin Bajac’s Brassaï: Paris Nocturne is the first major book on the photographer since the 1976 book, Secret Paris of the 30s.

There's an interesting review of the book by Luc Sante in The New York Review of Books.

January 9 - March 8, 2014

Pace/MacGill Gallery
32 East 57th Street
NYC

A collection of 50 gelatin silver prints will be featured examining one of the central themes of Harry Callahan's work: the urban landscape.

Now - January 4, 2014

Helen Marcus has specialized in portraiture, fine art and travel ever since she started her career in photography in 1974, following almost two decades working in television. Her work has been widely published in periodicals and books both in the USA and abroad and exhibited in solo and group shows. Currently she is President Emerita of the W. Eugene Smith Fund and is a past President of the American Society of Media Photographers. She has lectured internationally on portraiture and has been an adjunct professor at the Parsons School of Design; the School of Visual Arts; and the Tisch School of the Arts, New York University. Marcus’ portrait of Toni Morrison was used for the image on the Swedish postage stamp honoring her as the Nobel Laureate in Literature. Her work is in the permanent collections of the National Portrait Gallery, George Eastman House and the International Center of Photography. For this exhibition of many of her iconic literary portraits, Helen Marcus has uniquely chosen quotations from the authors themselves, thus adding a new dimension to the presentation.

The Leica Gallery New York
670 Broadway
NYC

The School of Visual Arts Theater
333 West 23rd Street
NYC

October 16, 2013, 6:00 PM

The program will include presentations of photo essays by this year’s grant and fellowship recipients and finalists, a unique tribute to the work of W. Eugene Smith, a special keynote speech, and the announcement and presentation of the 2012 jurors’ discretionary grant, the 2012 Howard Chapnick grant, and the 2012 W. Eugene Smith Grant.