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Nat Geo: We Went ‘Too Far’ in Linking Starving Polar Bear to Climate Change

“[B]ut there was a problem: We had lost control of the narrative,” writes Mittermeier in a new Nat Geo story for the August 2018 issue. “The first line of the National Geographic video said, ‘This is what climate change looks like’—with ‘climate change’ highlighted in the brand’s distinctive yellow.

NY Daily News Cuts All Photographers

The New York Daily News slashed its editorial staff in half this week, and among the casualties of the layoffs was the entire team of photographers. The paper, which called itself “New York’s Picture Newspaper” for over 70 years, now has zero staff photographers.

CJR’s Sexual Harassment Report: It’s as Much about Photo-j Culture as the Predators | PDNPulse

The report on sexual harassment in photojournalism published last week in the Columbia Journalism Review shows that not much has changed in the year since PDN reported several women photographers’ accounts of sexual harassment in newsrooms and at industry events. It’s also been eight months since Bill Frakes lost his appeal in a sexual harassment case, seven months since Patrick Witty left National Geographic following an external investigation into allegations he had sexual harassed several women, five months since photographers Daniel Sircar and Justin Cook wrote an open letter calling on photo industry organizations to establish clear codes of conduct and ban anyone who makes industry events unsafe, and four months since we reported Prime Collective had dropped Christian Rodriguez following numerous allegations about his conduct towards women. A lot more people are talking openly about sexual harassment, some alleged predators have been dropped from their agencies or lost their jobs, but the CJR piece also shows that photojournalism has been resistant to the systemic changes it needs.

NY Times Selects Meaghan Looram as Its New Director of Photography

Earlier this year, the New York Times began searching for a new Director of Photography to replace Michele McNally, who announced her retirement in February after 14 years in that role. After considering both external and internal candidates, the Times has selected Meaghan Looram, who served as one of McNally’s top deputies for 8 years.

SAR Zone – Witness

On July 25th, we awoke to rough seas in the central Mediterranean, some 15 miles north of the Libyan city of Sabratha, in international waters. The Spanish rescue ship Open Arms, belonging to the NGO of the same name, pitched and rolled on the open water, making us believe that that day there would be no rescues to be made — it seemed impossible that a single dinghy could have launched from the Libyan coast in those winds.

Verifying conflict: Anastasia Taylor-Lind and the eyeWitness to Atrocity app

In an age where the image is increasingly under question, how can you verify that a photograph has not been tampered with? Examples like that of the cloned Iranian missiles in 2008 can have serious political repercussions. Other examples such as the 2018 British Wildlife Photographer of the Year (showing an anteater moving towards a termite mound) demonstrate the problem of misrepresentation. The picture was disqualified when it turned out the anteater was a taxidermy specimen.

Susan Meiselas: Breaching Boundaries in Photography – The New York Times

Susan Meiselas, who joined Magnum Photos in 1976, is also the president and co-founder of the Magnum Foundation. Born in 1948 and starting as a teacher in the South Bronx, she went on to produce a definitive chronicle of Nicaragua’s Sandinista revolution. More recently, she has led the foundation’s efforts to nurture a new, diverse generation of photographers. Her books include “Carnival Strippers,” “Nicaragua,” and “Prince Street Girls.” In the last year, she has also been the subject of two books, “Susan Meiselas: Mediations” (Damiani) and “Susan Meiselas: On the Frontline” (Thames & Hudson). She spoke with James Estrin about her career. The conversation has been edited for clarity and length.

Magnum Photos Names 5 New Nominees | PDNPulse

Sim Chi Yin (Singapore)
Gregory Halpern (USA)
Rafal Milach (Poland)
Lua Ribeira (Spain)
Lindokuhle Sobekwa (South Africa)

Crying Toddler in Iconic Photo Never Separated from Mother

One of the most talked about photos in the ongoing immigration debate has been Getty Images photographer John Moore’s iconic photo of a 2-year-old Honduran girl crying at the feet of her mother and a border patrol agent. It has become a symbol in the debate over family separations, but it has now come to light that the girl was never separated from her mother.

On the Border Family Separation Crisis: There are Enough Pictures Now – Reading The Pictures

There is, however, a powerful urge to see, a demand for pictures that is both catalyzed by the pictures we do have and premised on the idea that seeing pictures will spark action.

Photographing the Agonizing Pain of Children: John Moore and Chris Hondros – PhotoShelter Blog

Getty Images award-winning photojournalist John Moore has traveled the world capturing horrific scenes of violence from war zones to egregious human rights violations. For the past decade, Moore has been photographing the migrant crisis, and ended up in Rio Grande, TX last week where he encountered a Honduran refugee breastfeeding her 2-year old child while trying to cross the border.

The Story Behind that Viral Photo of a Toddler Crying at the Border

One of the most viral and talked about photos this week is of a 2-year-old daughter looking up and crying at her mother at the US-Mexico border. The Honduran mother and child were being taken into custody by federal agents when they were photographed by Getty Images photographer John Moore, who shares the story behind the shot in the 7-minute CNN interview above.

What’s the story? Visual narrative made simple – Witness

Over the past 18 months I have continued to teach visual narrative to young photographers and completed writing a book in which I once again address the issue of visual narrative and the development of a personal visual language. I have also made a feature-length documentary film that relies on the successful representation of a man’s life as its central narrative. I therefore think that I may have something to add to my initial thoughts.

This Photographer Shows the Violence of the Most Dangerous City in Africa

Cape Town is the most dangerous city in South Africa and one of the most dangerous cities in the world. Freelance photojournalist Leon Knipe follows the police to crime scenes and works to document as many murders as he can. The 5-minute video above by Shaun Swingler is about Knipe’s life and work (warning: it contains graphic photos of horrific crime scenes).

What Does It Mean to Look at This? – The New York Times

A photograph of a group of suffering people: We look at them, and from the sadness of their expressions and gestures, we know something awful has happened. But finding out exact details, through the photograph alone, is more difficult. Who these sufferers are, why they suffer, who or what caused the suffering and what ought to be done about it: These are entirely more complex questions, questions hard to answer only by looking at the photograph.

Photojournalist Renée Byer talks about documenting poverty. | Cover |

One day in Cambodia, Renée Byer watched a child running happily alongside a pool of green, polluted water. Human instinct began to tug at her. She wanted to help. She wanted to put an arm out to prevent him from tumbling into the muck. But she knew she had to capture the moment.

Coupled, two Rohingya pictures prove the vitality of photojournalism – Columbia Journalism Review

EVER SINCE THE ARRIVAL of video as a news medium, commentators have pronounced the still news photograph obsolete. Susan Sontag led the way in 1977. She considered photojournalism dead. “The vast photographic catalogue of misery and injustice throughout the world has given everyone a certain familiarity with atrocity, making the horrible seem more ordinary—making it appear familiar, remote (‘it’s only a photograph’), inevitable.” James Lever, in the 2018 spring-summer issue of the engaging Oxford arts magazine Areté, similarly disdains the still photograph and exalts the smart phone. “The photograph seems to bespeak a deep nostalgia for the diminishing 20th century idea of photojournalism itself, that discipline that once considered itself an unacknowledged legislator capable of authoritative intervention in public affairs.”

Who kills our metadata ? – Thoughts of a Bohemian

Unfortunately, not much will be made of these long hours devoted to informing his images as accurately as possible – the famous metadata – giving all their journalistic value to Olivier’s photographs. The metadata will be deleted, discarded, erased by the news sites who will publish them. This is also the case for the vast majority of the three billion photos published daily on the web, whether yours or mine, those of professionals published on The New York Times’ website or Liberation’s or those of amateurs exchanged by smartphone, published on Facebook, Instagram, Snapchat, etc.

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