The London-based photographer is always up for a challenge, and her new book – made in lockdown and published by Art Paper Editions – proves just that.
Katie Burnett never thought she’d become a photographer. Instead, she found herself naturally gravitating towards art, making things in her spare time from a small town in Missouri. “I am very dyslexic so, for me, painting, drawing and making things were always what I excelled in at school,” she tells It’s Nice That
The security forces have arrested at least 56 reporters, outlawed online news outlets and crippled communications. Young people have stepped in with their phones to help document the brutality.
Another photojournalist shot that day, U Si Thu, 36, was hit in his left hand as he was holding his camera to his face and photographing soldiers in Mandalay, the country’s second-largest city. He said he believes the soldier who shot him was aiming for his head.
Since the early 1980s, Shabazz has captured the energy of street life and hip-hop culture in New York, making indelible images of joy, style, and community.
New York is a ghost town. The COVID-19 pandemic has brought the metropolis to a standstill. Many are scared to even leave their apartments to buy groceries. The globe-trotting photographer Jamel Shabazz is tucked away in his Long Island home, his “sanctuary.” Shabazz’s world is rocked daily by yet another phone call announcing the death of a loved one. It is a calendar of loss with which he is intimately familiar. He survived the 1980s crack era and the AIDS crisis, when so many friends from his Brooklyn neighborhoods—Red Hook and then East Flatbush—did not.
Magnum Photos member Peter van Agtmael shares his journey as a conflict photographer, and the importance of adopting an open, questioning approach to photojournalism.
While at Yale, van Agtmael also developed a more critical approach to the mythos of America he had consumed as a youth. His friends, Chesa Boudin, now the District Attorney of San Francisco, and Sarah Sillman, currently a staff writer at The New Yorker, shared their perspectives on “how power is used to manipulate people across the political spectrum into a status quo narrative of the nature of American power and justice,” helping him to see beneath the surface of things and find a new way to engage.
In 1981, Newsweek hired photographer Lynn Goldsmith to photograph Prince, an up-and-coming musician who was still years away from releasing his seminal “Purple Rain” album. Goldsmith’s portraits never ran, but she did own the copyright. In 1984, Vanity F
Upon Prince’s death in 2016, the Warhol Foundation licensed the Prince Series for use in a Condé Nast tribute magazine, and one of the images was used on the cover. Goldsmith tried to extract a licensing fee, but the Foundation accused her of a “shake down” and filed a pre-emptive lawsuit in 2017. The suit sought a “declaratory judgment” that Warhol’s images didn’t infringe upon Goldsmith’s copyright and were “transformative or are otherwise protected by fair use.” Goldsmith countersued for infringement.
In his recent manifesto, Jörg Colberg takes aim at three prominent photographers for their "visual propaganda."
That said, what are the “identical” mechanisms Colberg suggests that link these artists to their socialist-realist predecessors? Leibovitz, Crewdson, and Gursky produce a kind of capitalist propaganda that, like socialist realism, “does not aim to depict an actually existing reality but instead presents a code that can be read by its intended spectators.” Colberg derives his description of socialist realism from art historian Boris Groys, who suggests that this code entails stories about heroes, demons, transcendental events, and real-world consequences that serve the messaging needs of the powerful. In this formulation, Colberg’s neoliberal realists make images that perpetuate, or even celebrate, unjust power structures.
Every morning, José Carlos leaves home at 5:00 AM and takes several buses into the heart of São Paulo to deliver bread and juice to the people living on the…
The bread shepherd was one of the first people to introduce the photojournalist Luca Meola to the community three years ago, when he started documenting life in Cracolândia. And in some ways, his story has become emblematic of a larger truth that the photographer has come to understand about the area. It’s a place touched by acute suffering, hardship, and heartbreak–Meola describes it as an “open wound” at the core of the city–but if you stick around long enough, you might find moments of resilience, hope, and unconditional kindness.
The Observer picture editor reflects on the evolution of photojournalism as he bows out after nearly 30 years
Jane Bown looking at a contact sheet by the lightbox, using her monocle eyeglass. Motorcycle couriers flirting with picture researchers. Reporters massaging the egos of alpha-male photographers, vying to become the next Don McCullin, the great photojournalist whose career began here. Men in shabby suits from now-defunct picture agencies, cigarette in hand as they hawked photo-essays from battered suitcases. The picture librarian ferrying files of black and white prints to the man who was at the centre of everything, the revered picture editor, Tony McGrath.
Over the years, he's covered plenty of high-profile events, including three Olympics and five Super Bowls.
Last fall, I marked my 25th anniversary with The Post-Crescent. It’s incredible how quickly time passes. I’ve spent close to half my life documenting the Fox Cities, Wisconsin and beyond. This journey has given me the privilege to tell the stories of so many.
Photography shines brightest when we are moved by it or it reveals something to us that we may have never seen before. We believe this selection of extraordinary photographs from the past year radiates that light.
As professional photography editors, we are accustomed to seeing a little bit of everything: war, famine, fires, hurricanes, politics, suffering, beauty, silliness and sometimes joy. This year was different. Photography, and photojournalism in particular, is regarded as a medium of reality. Reality became surreal this year and with it, photojournalism. Photography shines brightest when we are moved by it or it reveals something to us that we may have never seen before. We believe this selection of extraordinary photographs from the past year radiates that light. — the Washington Post Photography Team
"The Seven Cities" is the third in his series called "The Invisible Yoke." Here he looks at the people and places of Hampton Roads, and at the weight of memory.
Eich’s latest photography book, “The Seven Cities,” is a look at the places and people that make up Hampton Roads. It shows the variety that anyone can discover in an hour’s drive from an oyster roast in Suffolk to a Russian Orthodox Church service in Virginia Beach to an Amtrak bus station stop in Newport News. It also illuminates the grief, hope, anxiety and laughter of its people.
Here’s just a small sampling of the amazing images he captured in his time as a staff photographer, photo editor and most recently, the Deseret News’ chief photographer.
After 41 1⁄2 years as a photojournalist, 36 of those years with the Deseret News, Ravell Call hung up his camera straps for the last time this month. Here’s just a small sampling of the amazing images he captured in his time as a staff photographer, photo editor and most recently, the Deseret News’ chief photographer.
He was one of the great directors of the photo department of the NY Times magazine, then of Life magazine. Astonishing character, caustic, funny, attractive, fascinated by photojournalism and married to a wonderful lady : Anthéa Disney.
Working the politics beat in D.C. requires exquisite timing, patience and a thorough knowledge of who’s who in the political world. Photographer Mark Wilson had all of that and proved it over and over again.
That same feeling of absence is touching the photographic community here in D.C. after the sudden passing of Getty Images photographer Mark Wilson. I had the pleasure of working alongside him while covering Capitol Hill and the White House as a photo intern for U.S. News & World Report in 2001.