CatchLight, a California-based nonprofit, was launched in 2015 to create opportunities and support for photojournalists; over the past several years, they’ve created project grants for photojournalists and partnered with local newsrooms to offer financ
CatchLight Local announced that five philanthropic organizations will invest a combined two million dollars over the next several years in an effort to address what CatchLight CEO Elodie Mailliet Storm calls “image deserts”: the decline and dearth of photojournalism at the local level.
Content attribution and verification, embedded into an image at the point of creation.
The Content Authenticity Initiative (CAI) was founded by Adobe, Twitter, and the New York Times in 2019 as a way to battle against image disinformation and increase the trust and transparency of content shared online — namely images and photos. In the two years since it was founded, the CAI has expanded to more than 350 members, and now includes Agence France-Presse (AFP) and Nikon.
In the late seventies, Jill Freedman set out to create a clear-eyed portrait of New York City police. What she made was something more complicated.
Inevitably, the spirit of Weegee haunts Jill Freedman’s photographs of New York street cops. Both worked in inky, matter-of-fact black and white. Both wanted to be at the scene of the crime while the blood was still wet. Both were unsentimental, tenacious, and tough. They didn’t look away, and they won’t let us ignore what they saw: New York at its rawest and scuzziest (the precinct walls are as ruined as tenement hallways). But Freedman, a rare woman in the field of photojournalism at the time (she died in 2019, at the age of seventy-nine), wasn’t interested in Weegee’s brand of hit-and-run tabloid photojournalism. Her pictures were made over a period of four years, from 1978 to 1981, during which she was virtually embedded with the police in two Manhattan precincts, Midtown South and the Ninth, headquartered at East Fifth Street, where the cops of “NYPD Blue” would be stationed more than a decade later. New York hit the skids financially in those years, and the city’s safety net, already badly frayed, gave out.
This week we are celebrating a wonderful organization in Los Angeles: the Las Fotos Project and The Foto Awards event taking place on October 23, 2021. Today we celebrate the Advocacy Award Winner (adult), Smita Sharma. The Advocacy Award is given for po
Smita Sharma is an award winning photojournalist and visual storyteller based in Delhi, reporting on critical human rights, gender and social issues in her own community as well as in the Global South on assignments for Human Rights Watch, National Geographic Magazine, and other publications.
The project, Here Is Where We Shall Stay by Pat Kane focuses on how Indigenous people in my region are moving towards meaningful self determination by resetting the past. The act of reclaiming culture and identity is ongoing, and my friends here are resil
Today’s Russia is known mostly for its politics, the splendor of Saint Petersburg, and Moscow’s monuments. To get into the heart of the largest nation on the planet, Blind hits the road with four young photographers who explore their country’s territory a