Returning to an old debate after the horrific killings in Uvalde, Texas.
The root of their pain lay in the photographs’ gruesome specificity and its capacity to answer in precise detail questions that were too lurid to have occurred otherwise: how the bodies lay; how the dead faces were contorted; how the spatters of blood patterned the walls. Many in the courtroom, journalists and family members alike, averted their eyes. It seemed that the cumulative detail of those images could tell them little that they did not already know: nine people were dead for no other reason than the color of their skin.
The surviving people in war photographs, especially the children, must somehow go on. We are not symbols. We are human.
That picture will always serve as a reminder of the unspeakable evil of which humanity is capable. Still, I believe that peace, love, hope and forgiveness will always be more powerful than any kind of weapon.
Frustrated Americans ask whether the release of graphic photos of gun violence would lead to better policy. But which photos, and who decides?
“What makes this a challenging ethics call is that when you’re a photo editor, you never really do know which is the photograph that is going to seem exploitative, and what image will touch the conscience of people and move the needle on the debate.”
A look at the life and work of LA Times photojournalist Marcus Yam, who won a Pulitzer Prize in Photography for his work in Afghanistan.
PetaPixel spoke with Yam to learn about his journey from growing up in Malaysia and studying aerospace engineering to becoming one of the world’s top conflict photographers with a Pulitzer Prize to his name.
Polar Night | by Mark Mahaney 71.2906° N, 156.7886° W Utqiaġvik, Alaska Top of the world they call it. Don’t feel that way. Feels like the bottom. So dark there’s no end. So cold there’s no feel. …
Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.
You must believe in yourself, believe in this work and be ready and willing to work harder than you’ve ever worked. You must be able to withstand a seemingly inhumane amount of disappointment and rejection, learn to navigate the unseemly politics and favoritism that is rife in most creative fields, and basically be incredibly resilient. And you must bring your ideas to the table. You must be insatiably curious, sensitive, aware of your surroundings, learn the customs and mores of the places you work, want to engage with people, dedicate yourself to issues, know how to write and express yourself, be gracious, humble, and bring an open heart and mind
Wee Muckers – Youth of Belfast | Toby Binder »If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself,…
»If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself, the attachments made to a culture, heritage, religion, nationalism and politics are all an accident of birth. I was one street away from being born my ‘enemy’« writes Paul McVeigh, Belfast born novelist and author of ‘The Good Son’.
After controversy on social media surrounding Newsha Tavakolian’s photographs of East Congo, Médecins Sans Frontières announces internal review
The celebrated Iranian photographer Newsha Tavakolian has defended herself against accusations of unethical practice after publishing a series of identifiable images of African teenage rape survivors made while on assignment for the international humanitarian organisation Médecins Sans Frontières (MSF).
For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photograph...
As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.
For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.
“To find silence, you need silence,” Pellegrin had observed, and as we drove in darkness no one spoke. An hour later, Anthony parked in the sand. Pellegrin handed me a flash and a tripod, and we set off on foot into the dunes. Here there was no sky; a thick fog obscured it. Individual particles cascaded in front of us, refracting light from the headlamps—tiny droplets, seen but not quite felt. Nearby was a brown hyena, sensed but not yet seen.
The actor stopped at an intersection, took out his Nikon, and made history.
“Double Standard” is probably the best known of the eighteen thousand images that Hopper created with his Nikon from 1961 to around the time he began shooting “Easy Rider,” in early 1968, which happens to be when his and Hayward’s combustible marriage finally blew up
The photographer Carlos Jaramillo produces painterly portraits with an idiosyncratic flair.
Jaramillo was twenty-four years old when he visited Mexico for the first time. The commitment to American assimilation that he had in his early youth faded, and he began to explore a sort of third place: the flux that exists between two cultures
The Musée de l’Armée offers a first glimpse into its photographic archives in an exhibition that traces the representation of war and the evolution of images of combat from 1849 to the present. This essential event shares some important lessons.
“I believe I’m now the longest-running Iraq/Afghanistan NYT-rotation photographer,” Christoph Bangert wrote in his journal on June 24th, 2013, on a plane to Istanbul. “Everybody else stopped covering wars or…
French war photographer Adrien Vautier spent over a month documenting the war unfolding in Ukraine.
One of the photojournalists working out of wartorn country was 51-year-old American journalist Brent Renaud. On the 13th of March, Renaud was killed in Irpin, a suburb north-west of Kyiv and one of the main battlefronts in the battle for Kyiv. Thanks to his and other journalists’ work, Irpin made headlines with images of civilians fleeing across the city’s main bridge.