William Eggleston

Winner, 2012 Infinity Award for Photojournalism, presented by the International Center of Photography

Winner, 2012 New York Photo Awards for Best Photobook in the Series Category

“Lowy's photos are unmistakably scenes from Iraq—ruined buildings, street vendors, kids with missing limbs, billboards for newly minted cellphone services. In Lowy's images, we see daily life returning to this country, but the children shown have known little but this forlorn landscape. Dreariness is all. The most original component of Lowy's book is the thematic divisions. The first part consists of images captured through the windows of military Humvees, while the second part consists entirely of green night-vision images and yields the most intimate moments, including Iraqi civilians being intimidatd and detained in what appear to be their own homes.”—David Fellerath, The Independent Weekly

“Lowy’s photographs of both daily life and the terror of warfare were taken through the windows of a Humvee and through military-issue night vision goggles. They provide a revealing perspective on what he describes as ‘the fear and desperation that is war.’”—Shelf Unbound (A Top Small Press Books of 2011)

“The mediation inscribed in the image - the window frame, the night vision haze - positions us in relation to the scene. By representing the act of perception, by addressing the experience of observation as much as the observation of experiences, Lowy’s subject is both what the soldier sees and how the soldier sees. The pictures contain the clues and tools that encourage the audience to consider photojournalism as practice. Lowy’s frames do what all photography does, but they do it exceptionally well: they simultaneously invite us to look, and hold us in place.”—Leo Hsu, Foto8

“Whether looking out of armoured car windows or through green-tinted night-vision goggles, the military has little opportunity to connect with the local people or everyday life, as Lowy's shots make chillingly clear.”—British Journal of Photography (named one of their best books of 2011)

“I’m not one to shirk engaging the discussion of a book but Iraq | Perspectives puts me in an unusual place. It is an important, memorable and arresting photobook, and for all these reasons I’m left rather without anything to say. This book is hard for me to talk about simply because the work speaks so extraordinarily well for itself. The images that are compact and succinct, presenting at once the literal and metaphorical. It is among the best representations of the day to day realities of our soldiers and the psychological boundaries keeping us from comprehending Iraq and this war.”—Sarah Bradley, Photo-Eye

“Straddling the line between art and photojournalism, Lowy depicts both the US presence in Iraq as well as everyday Iraqi experience by ‘shooting’ through Humvee reinforced windows and military-issue night goggles. . . . This distanced viewing makes a subtle yet powerful comment on photojournalistic practice and embedded journalism while at the same time providing a powerful visual narrative of the horrors of war.”—Hotshoe

Winner, 2012 Infinity Award for Photojournalism, presented by the International Center of Photography

Winner, 2012 New York Photo Awards for Best Photobook in the Series Category

“Lowy's photos are unmistakably scenes from Iraq—ruined buildings, street vendors, kids with missing limbs, billboards for newly minted cellphone services. In Lowy's images, we see daily life returning to this country, but the children shown have known little but this forlorn landscape. Dreariness is all. The most original component of Lowy's book is the thematic divisions. The first part consists of images captured through the windows of military Humvees, while the second part consists entirely of green night-vision images and yields the most intimate moments, including Iraqi civilians being intimidatd and detained in what appear to be their own homes.”—David Fellerath, The Independent Weekly

“Lowy’s photographs of both daily life and the terror of warfare were taken through the windows of a Humvee and through military-issue night vision goggles. They provide a revealing perspective on what he describes as ‘the fear and desperation that is war.’”—Shelf Unbound (A Top Small Press Books of 2011)

“The mediation inscribed in the image - the window frame, the night vision haze - positions us in relation to the scene. By representing the act of perception, by addressing the experience of observation as much as the observation of experiences, Lowy’s subject is both what the soldier sees and how the soldier sees. The pictures contain the clues and tools that encourage the audience to consider photojournalism as practice. Lowy’s frames do what all photography does, but they do it exceptionally well: they simultaneously invite us to look, and hold us in place.”—Leo Hsu, Foto8

“Whether looking out of armoured car windows or through green-tinted night-vision goggles, the military has little opportunity to connect with the local people or everyday life, as Lowy's shots make chillingly clear.”—British Journal of Photography (named one of their best books of 2011)

“I’m not one to shirk engaging the discussion of a book but Iraq | Perspectives puts me in an unusual place. It is an important, memorable and arresting photobook, and for all these reasons I’m left rather without anything to say. This book is hard for me to talk about simply because the work speaks so extraordinarily well for itself. The images that are compact and succinct, presenting at once the literal and metaphorical. It is among the best representations of the day to day realities of our soldiers and the psychological boundaries keeping us from comprehending Iraq and this war.”—Sarah Bradley, Photo-Eye

“Straddling the line between art and photojournalism, Lowy depicts both the US presence in Iraq as well as everyday Iraqi experience by ‘shooting’ through Humvee reinforced windows and military-issue night goggles. . . . This distanced viewing makes a subtle yet powerful comment on photojournalistic practice and embedded journalism while at the same time providing a powerful visual narrative of the horrors of war.”—Hotshoe

"These images were practically asking to be in a book together-everything about them-the conception, the subject, the fact that we're still at war, the way the pictures were taken. Benjamin's work is an opportunity to see as an American soldier sees when in Iraq-nobody's ever shown that, especially through night vision goggles.”—William Eggleston, Prize Judge

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