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W. Eugene Smith: Father of the Photo Essay

William Eugene Smith has been described as “perhaps the single most important American photographer in the development of the editorial photo essay.” He shot photo projects so large that they cannot be displayed in any museum. Let’s take a closer look at this brilliant photographer.

Photojournalism Now: Friday Round Up – 2 August 2019 – Photojournalism Now

There’s been discussion on Facebook recently about the value of photography awards versus other means of promoting photography such as books. Criticism has been laid that photography awards that charge an entry fee are money-grabbers. That may be true of big international awards that attract thousands of entries by promising global exposure for a select few. The odds in these competitions are like a crapshoot, ridiculously slim.

Tiananmen Square 30 years ago with the Nikon F-801 (the fifth view of the “Tank Man”) – Nikon Rumors

Thirty years ago this week I left China after what was intended to be a week-long stay in Beijing had stretched to 59 days. As a reporter for The Associated Press based in Tokyo, I had gone to Beijing to help with the coverage of the state visit to China by Mikhail Gorbachev, leader of the then Soviet Union. But that assignment quickly morphed from covering the historic mending of the three-decade-old Sino-Soviet split to the AP’s 24/7 reporting from Tiananmen Square covering the student-led protests that culminated in the Chinese army’s violent assault on the demonstrators in the square.

America Used to Promote Photojournalism. Now It Bans It.

Julia Le Duc’s already iconic photograph of a dead father and daughter on the Rio Grande is the latest reminder of how essential photographers are to democracy.

A Crime Scene at the Border – The New York Times

On Tuesday, June 25, Rosa Ramírez was filmed at home in San Martín, El Salvador. Ramírez stands by a doorway in a small interior. She is distraught, and her large brown eyes glisten in the glare of camera lights.

“The last message he sent me was Saturday. He said, ‘Mama, I love you.’ He said, ‘Take care of yourselves because we are fine here.’ ”

How Much Power Can One Image Actually Have?

When the Associated Press published Julia Le Duc’s photograph of a drowned Salvadoran man, Óscar Alberto Martínez Ramírez, and his 23-month old daughter Valeria, it sparked outrage on social media. According to Le Duc, Ramírez had attempted to cross the Rio Grande after realizing he couldn’t present himself to U.S. authorities to request asylum.

Photo of a Drowned Migrant Father and Daughter Is Fading Fast – Reading The Pictures

Two weeks ago, we predicted in a post here that the photo of two drowning migrants, Óscar Alberto Martínez Ramírez and his daughter, represented a political tipping point. Below, visual scholar Jens Kjeldsen offers a different perspective, based on the workings of landmark news photographs.

Pulitzer-winning photographer Marcus Yam on capturing tragedy and humanity | PBS NewsHour

Marcus Yam is a staff photographer for the Los Angeles Times and the winner of two Pulitzers. Having covered California wildfires extensively, he is deeply familiar with the challenge of documenting tragedy and humanity up close. Yam offers his Brief but Spectacular take on the sensitivity and perspective he brings to his work.

Remembering John Shearer, Iconic LIFE Magazine Photographer | Time

John Shearer captured on camera iconic American moments ranging from John-John’s salute of John F. Kennedy’s casket to Muhammad Ali’s 1971 fight with Joe Frazier. But his favorite project, according to his wife Marianne, was a story about the South Bronx gang known as the Reapers, which ran in LIFE magazine in 1972. Shearer lived with the gang’s leader for weeks, sleeping on his couch and taking pictures at all hours.

Trump’s Napalm Girl: Consequences of a Drowned Migrant Father and Daughter – Reading The Pictures

We cannot know in this moment, but I suspect that this photo of Óscar Alberto Martínez Ramírez and his daughter, Valeria, will stand the test of time. Given the firestorm over immigrant detention and the moral freefall of this administration, I believe Americans will look back at this photo as a tipping point of the Trump presidency. I see the photo as a marker and container for the abrogation of the country’s values in this faux immigration crisis, much like the 1972 Napalm Girl photo memorialized US disillusionment and exhaustion over Vietnam, and hastened America’s final exit from the war.

The story of my second arrest | You can’t have my job, but I’ll tell you a story

July 19, 1994. About 3 pm. I’m standing on a canal bank in south central Bakersfield, talking with some members of the Kern County Sheriff’s Department’s Search and Rescue team. They have been called, as have I, to this location for a report of a little boy who has disappeared in the canal’s waters. I don’t know it, but in about 10 minutes, I’m going to be arrested for the second time in my career. And that’s the nature of photojournalism, that’s how quickly a situation can turn on you. One minute you’re talking with deputies and officers you know. The next minute, one you don’t know shows up, decides you don’t belong there, and all hell breaks loose. And that’s what happened on this day.

Amish and Mennonite Photo Coverage in Face of Sexual Abuse, #MeToo – Reading The Pictures

As it happens, visual depictions of Amish and conservative Mennonite communities already share some traits with those of Hollywood celebrities. Many of their photographs in the press look like they were taken by paparazzi: shot from discrete angles, from the side or behind, often with long telephoto lenses. Because they hold a conviction that posing for a photograph can be interpreted as a form of pride, or as an affront to the biblical commandment against graven images, conservative Anabaptists usually resist being photographed. Faraway, detached images, then, are what inform much of the public’s visual vocabulary of Plain church communities. Those who see them at all are used to seeing them from a distance.

Photographer Tom Fox on encounter with Dallas gunman: ‘He’s going to look at me around that corner’ and shoot | Dallas | Dallas News

Veteran Dallas Morning News photojournalist Tom Fox said he thought he “was gone” when he hid in an alcove from a heavily armed masked man at the downtown federal courts building Monday morning.

Photographer Stephen Dupont looks back – a picture essay | Art and design | The Guardian

The renowned Australian photographer chooses 10 of his most memorable images and explains why they had an impact. He is talking at Aperture, the southern hemisphere’s largest photography conference, held from 22 to 23 June in Sydney

Meet a Pro: Carol Guzy, Pulitzer Prize-Winning Photojournalist

The only journalist to be honored with four Pulitzer Prizes, Carol Guzy was born in Bethlehem, Pennsylvania and attended the local Northampton County Area Community College, graduating with an Associate’s degree in Registered Nursing.  But her true passion was photography, and that led her to enroll at the Art Institute of Fort Lauderdale in Florida where she earned an Associate in Applied Science degree in Photography.

Photojournalism Now: Friday Round Up – 7 June 2019 – Photojournalism Now

This week on Photojournalism Now: Friday Round Up – it seems incredibly appropriate in a week when freedom of the press in Australia has come under attack to feature an exhibition of the 2018 Walkley award-winning photographs (our premier journalism awards). When the Australian Federal Police raided our national broadcaster, the ABC, and the home of a News Corp journalist, democracy itself was threatened. Let’s remember how important journalism is to our right as citizens to be informed. On the same theme, this week also features Patrick Brown’s exhibition on the plight of the Rohingya, No Place on Earth, showing at the Bronx Documentary Centre in New York.

A Life in a Sea of Red – British Journal of Photography

Thirty years since the Tiananmen Square massacre, Liu Heung Shing, the photojournalist who captured the transformation of China, reflects on his coverage of the protests and his wider body of work

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