“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.
The 2022 Pulitzer Prize for Breaking News Photography goes to Marcus Yam, the sixth L.A. Times journalist to win a Pulitzer for photography categories.
Los Angeles Times foreign correspondent and photojournalist Marcus Yam was awarded the 2022 Pulitzer Prize for Breaking News Photography on Monday for his compelling coverage of the fall of Afghanistan to the Taliban. It is remarkable that he won journalism’s highest honor in his first year as a foreign correspondent. This Pulitzer is the culmination of all the great work Yam has produced over the last seven years at the Los Angeles Times.
Win McNamee, Drew Angerer, Spencer Platt, Samuel Corum and Jon Cherry have been named winners in the Breaking News Photography category for their extensive coverage documenting the January 6th attack of the U.S. Capitol.
The 2022 Anja Niedringhaus Courage in Photojournalism Award, named for the Pulitzer Prize-winning AP photographer who was killed reporting in Afghanistan in 2014, has been awarded to Paula Bronstein, a freelance photojournalist currently working in Kyiv.
Destruction, brutality, and terrible loss in Bucha, Kharkiv, Irpin, and elsewhere.
The invasion of Ukraine has been described as the first social-media war, and a key aspect of President Volodymyr Zelensky’s leadership has been his ability to rally his country, and much of the world, via Facebook, Telegram, TikTok, and Twitter. At the same time, war photographers in Bucha, Irpin, and beyond are working—in the tradition of Mathew Brady at Antietam or Robert Capa on Omaha Beach—to capture the grisly realities of what Vladimir Putin insists that his people call a “special military operation.”
The photographer’s work provides a stark illustration of the hold that celebrity has on our culture.
“My idea of a good picture is one that’s in focus and of a famous person doing something unfamous,” the artist Andy Warhol wrote, in 1979. “It’s being in the right place at the wrong time. That’s why my favorite photographer is Ron Galella.”
He personified the paparazzi — brazen and relentless in chasing the famous, particularly Jacqueline Kennedy Onassis. But his pictures also came to be admired.
Mr. Galella was called a creep, a stalker and worse when he began shooting pictures of celebrities in the 1960s, before mass circulation magazines like People and Us made the presence of paparazzi like him ubiquitous — and a full generation before phone cameras and websites like TMZ made celebrity stalking the pastime of legions.
According to one tally, three million dollars’ worth of equipment was stolen during the past eighteen months, in forty-five separate incidents. “Somewhere, there’s a mole,” a studio owner said.
Marc Dobiecki, the C.E.O. of Commander, a film-equipment-rental company, took note. “I could kind of smell it,” he said. “I knew we were on the list, even though we’re just a couple minutes from the local police department.” Security footage from some of the burglaries appeared to show the intruders carrying firearms. Dobiecki, a former Navy corpsman, decided to sleep on site, with a gun, for “a good chunk of last year,” he said. “I invested in body armor, too, and general-protection things, to be ready for a firefight.” He added, “I had all the lights rigged where they couldn’t turn them on. I was in control of the playing field if they came in. I knew the territory.” One night, in mid-August, he wasn’t there, and thieves took a client’s monitor that was worth about five thousand dollars. “I had to pay for that the next day,” he said.
Part 1 of 2 of my conversations with presenters at the CatchLight Visual Storytelling Summit April 19-20, 2022 at the Institute of Contemporary Art San Francisco. In part 1 I speak with Mabel Jiménez and Josué Rivas about their then upcoming presentation on who gets to tell the story and how the story is made. We preview the talk and also speak about their own work and experiences in the documentary storytelling world.
As it is, newsrooms don’t necessarily prioritize sustained, nonviolent opposition in editorial decision-making. “The public eye wants violence and destruction, but turns away from our quiet resistance,” wrote Anne Spice, a Tlingit sociologist, and Denzel Sutherland-Wilson, a Gitxsan land defender, in the New Inquiry in 2019. “People are less interested in our governance systems operating as they should.”
For nearly two centuries, photography has played a role in educating the public about both the familiar and the unknown elements of our ever-changing environment — including the many species that live among us, the constant changes to our climate, and the
Photography can truly make an impact on conservation efforts and environmental advocacy. It’s one reason why every year for Earth Day, we ask our community of passionate PhotoShelter members to share their wildlife, nature and conservation photos. If not to inspire change, these photos can at least shine a light on the vast, breathtaking world around us.
This week we are featuring bodies of work are linked by this thematic lens: making the often-invisible nature of the global climate and the ecological crisis more visible using conceptual, lens-based art techniques. Each body of work speaks to a differe
Hong Kong Soup:1826’ is a series depicting waste plastic collected from over 30 different beaches in Hong Kong since 2012
I worked on this project using my secular intuition to confront my own fears and questions about religion, looking at the believers, their rituals and relics. In the end it raised more questions than answers, and I’m okay with that.
Some images will always have the power to make us confront horror.
This image of a man with both eyes open is one of the most compelling and disquieting photos to come out of Bucha. It’s an intimate and puzzling image of death, and I’ve never seen anything like it. What did this man see at the moment of his death? Whatever it was, his resolve remained.
Opening April 14 at the Bronx Documentary Center in New York, Look At The USA gathers photographs from 17 years of photographer Peter van Agtmael’s work to draw a complex picture of post 9/11 America.
Essentially, what I thought I knew about the country was soon being dismantled by what I was seeing with my own eyes. It was the feeling that something was wrong about how I perceived the United States and its place in the world, in its history and its own present. Dozens of questions turned into hundreds. They don’t necessarily get answered fully in the work, which is anyway open ended, but at least they get explored.
In this first episode of Young European Photographers, we visit Polish photographer Michalina Kuczyńska, who documents the social tensions and protests her country has experienced since the far right came to power.
Michalina Kuczyńska is the youngest member of the Archive of Public Protests (APP), a collective of eighteen photographers created in 2019 by Rafał Milach, who has collected images of Polish protests since 2015, that is, since the conservative national party Law and Justice (PiS) came to power.
Anti-mafia journalist from Palermo scoured Sicilian alleyways in 1970s and 1980s to expose brutal violence
Armed only with her Leica camera and mounted on a Vespa, Battaglia scoured the alleyways of Palermo during the 1970s and 1980s photographing the victims of mafia murders and the internal wars between rival clans. As a result she received several death threats.