In Our Time: a pivotal age in photojournalism history – The Eye of Photography

“For a photojournalist, the 1930s were the worst of times and the best of times. War raged in Europe and the Far East. And America moved inexorably toward its rendezvous with destiny. Against this somber backdrop, documentary photography entered its golden age. There were new picture magazines, new 35mm cameras, new Kodak films, and a new attitude in photojournalism,” wrote Raymond H. DeMoulin, the Vice President of the Eastman Kodak Company, who was instrumental in making possible the blockbuster photobook and exhibition In Our Time (1989).

Lessons through the lens and life: 9 photographers share their best memories of the Eddie Adams Workshop – The Washington Post

Thirteen years after his death, the workshop continues to see new generations of photographers gather in Jeffersonville — all with the same desire to learn and, eventually, pay it forward.

Essay: My journey to becoming someone who can live in the moment – The Boston Globe

Photojournalists are hunters of moments — moments when the veil lifts and humanity, unaware, is briefly exposed. This takes a certain skill set: patience, the ability to blend, and the intuition to anticipate a subject’s next move.

Want more women in journalism? Get predators out of our way.

Photojournalism has an undeniable diversity problem. In recent years, World Press Photo contest statistics have consistently tracked women’s participation at about 15 percent. The proportion of front-page photographs on leading newspapers taken by female photographers is sometimes as low as just 9 percent, according to Women Photograph, a group launched this year to encourage equal hiring rights. Sexism is a quiet reality that is deeply ingrained in many aspects of the industry, and women continue to have to fight to be taken seriously and given opportunities.

Paying It Forward at the Eddie Adams Workshop – The New York Times

For Jimmy Colton, a well-traveled photo editor who will be attending his 27th consecutive session this week, the workshop is about family. He calls himself Uncle Jimmy, and considers all 2,700 students he has worked with to be his nieces and nephews. The barn is also a place of family ghosts for Mr. Colton, whose brother Jay, and father, Sandy, both volunteered as photo editors before their deaths.

Making Visual Sense of Tragedy – PhotoShelter Blog

Becker’s ability and effort as a trained photojournalist matter because there was no one else on the ground photographing the tragedy. By deliberately pointing his camera at a subject, he constructed a story in a way that rapidly panning video did not and could not. His image of a man lying on of a woman is like the bizarro world version of Rich Lam’s image from the 2011 Stanley Cup.

Las Vegas Mass Shooting Photos: What’s Different This Time

I have more than a few colleagues who wonder why I keep writing about photos of gun massacres. That’s because these horrors have become mind-numbingly redundant. The photos of the attack on a country western concert in Las Vegas, however, actually feel different. That is because, after the newest “worst shooting rampage in American history,” the politics are now baked in. As much as the photos are about terror, they are also about stasis. However horrifying they are, we already know they will have no political effect.

David Becker tells the tale of terror during the Las Vegas mass shooting at a country music festival – The Washington Post

“After capturing photographs of the final act of the Route 91 Harvest country music festival, I headed back to the media tent to start filing my photographs.  After about 5 to 10 minutes I heard very loud popping sounds and I went outside to see what was happening and a security guy said it was just firecrackers, so I went back to work. The second time I heard the popping sounds, somebody said to me, “It was just speakers or sound equipment,” and again, I went back into the media tent. Then the noises went again, and that was when the crowd started to flee.

Photojournalism and responsibility in Jan Grarup’s epic new book – British Journal of Photography

The Danish photographer has spent more than a quarter of a century documenting conflicts around the world. The West need to recognise their responsibility to help those suffering from war before it’s too late he warns.

In Her Own Words, Photographing the Vietnam War – The New York Times

Catherine Leroy was 21 when she arrived in Vietnam in 1966 with only a hundred dollars, a Leica M2 and a limited professional portfolio. Over the next three years covering the war, she built an exceptional body of work: surviving and documenting a capture by the North Vietnamese Army, parachuting in combat operations with the 173rd Airborne, and being published on the covers of major magazines, including Life and Paris Match.

They look at us with hope, but we can only document their despair | | Al Jazeera

None of the other refugees here pays her much attention. They are too busy with their own sorrows, their own desperate attempts to survive. But a few local men gather, surrounding her. They take out their phones to film and photograph her as she cries.

I feel sickened, disgusted by the scene, by the idea that people can feel so detached from the suffering before them that they would choose to record it rather than offer comfort.

I feel sick because surely this is what I, as one of the hundreds of journalists who have descended upon the refugee camps here, have been doing.

Photographers edit photographers: Nina Berman’s ‘frighteningly intelligent’ imagery – The Washington Post

This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Tanya Habjouqa edits the work of her colleague, Nina Berman.

Powerful Photography Hold Up: Getty Experts on Influential Images | Observer

In today’s age of smartphones and Instagram, anyone can be a photographer and share images instantly. This might create the illusion that the role of the professional photographer—or professional photography as a whole—is dying, that it has been watered down. But when major events transpire, photojournalists are already there on the frontline, fitting into a few frames a whole story to be shared with those not present. Their images connect and allow the world to visually experience these events, no matter the distance.

Diversity in Photojournalism: ‘Talk Is Cheap’ – The New York Times

Over the years, Brent Lewis has stood out in media scrums on assignment or in the audience at conferences and workshops: He’s usually among the very few photographers of color — or the only one — around.

“We are easy to spot in a crowd at photo events,” said Mr. Lewis, the photo editor for ESPN’s The Undefeated. “Yet I personally know many black photographers.”

How One Photojournalist Covered Hurricane Harvey: Alyssa Schukar in Houston – PhotoShelter Blog

Chicago-based freelance photojournalist, Alyssa Schukar (@alyssaschukar), has been covering Hurricane Harvey and its aftermath for the New York Times. We spoke to her via phone to get some insight into covering a tragedy with so many logistical challenges.

Photojournalism Now: Photojournalism Now: Friday Round Up – 1st September, 2017

The International Festival of Photojournalism, Visa Pour L’Image starts in Perpignan, France tomorrow and runs until the 17th September. All exhibitions are free and there is once again an amazing diversity in the works on show. 

Here is a curated selection of what’s on offer. Congratulations to Jean-François Leroy and his team for another amazing festival program. But most importantly, thank you to the extraordinary, dedicated photojournalists who bring us these stories often at great personal cost.