Photojournalism

Inside one photographer’s powerful catalogue of the human condition – The Washington Post

This installment of In Sight’s series, “PHOTOGRAPHERS edit PHOTOGRAPHERS,” pairs Francesco Zizola and Pep Bonet from the international photo agency NOOR. Italian photographer Zizola has selected images from Spanish photographer Bonet’s extensive archive of projects.

The Persistent Conscience of Magnum Photojournalists | The New Yorker

Since its formation, in 1947, the Magnum photo agency, or, more accurately, the work of its photographers, has contributed to the formation of a shared visual consciousness. Many of the definitive images of the past half century were taken by Magnum photographers, even if we never knew their names: W. Eugene Smith’s photos of an exhausted country doctor, taken in 1948; Raymond Depardon’s picture of Lee Evans raising a black power salute, at the 1968 Mexico City Olympics; the fall of the Berlin Wall, in 1989, chronicled by Mark Power; Paolo Pellegrin’s harrowing portraits of refugees making a desperate crossing from Libya to Europe, in 2015. Magnum photographers, it seems, have always been there to document a moment of crisis, a moment for change.

On the closure of Roger Viollet Agency – The Eye of Photography

The City of Paris wants to shut down the legendary Roger Viollet Agency it inherited in 1985, following the murder of the owner by her husband and the suicide of the latter in prison

Rules for Photojournalism in the age of social media – Thoughts of a Bohemian

The world of photojournalism has changed but photojournalists do not seem to have noticed. Either schooled by tired teachers repeating the same outdated mantra to wide-eyed students or self-taught by blindly following obsolete rules, they are hitting a wall of incomprehension and misunderstanding. The result is an unhealthy combination of painful frustration and very poor reach. Change is long overdue and for this purpose, here are some preliminary elements for a better understanding.

Magnum Protest Photography: Capturing the Emotion of Protest | Time.com

Photography’s role in this democratic exercise has changed over the years, particularly as technology has developed and mutated, and a new Magnum Photo exhibition makes that clear by looking back at the scale and impact of protest photography from the 1930s up until the present day.

Portraits from a Genocide – PhotoShelter Blog

Photographs act as records, and records are what the Nazis and Khmer Rouge sought to create during their brutal genocides of the 20th century. Portraits of thousands of men, women and children taken shortly before their deaths is a savage reminder of the photo as a weapon, but ironically also illustrates how the photos came back to haunt the perpetrators as evidence of their crimes against humanity.

NewsGuild Journo Union Will Fight Proposed NY Times Photo Dept Cuts | PDNPulse

The NewsGuild of New York, the union representing The New York Times staffers, told members in a newsletter this morning that it will fight The Times’ proposed 20 percent reduction in photo desk staff via buyout.

His Name Is Minh Anh, but They Call Him Fish – PhotoShelter Blog

“Most associate this chemical with the warfare that happened here four decades ago,” said photographer Quinn Ryan Mattingly. “But far fewer are aware that the effects can continue for up to five generations. It can take hold of the body in many ways. Physical defects, mental defects, or worse: both.”  

For 10 Years At Residential School, He Was Known as No. 73

His name is Mike Pinay. He is a First Nations Canadian who was sent to the Qu’Appelle Indian Residential School in Canada for 10 years between the ages of six and 16. Today, this portrait of Mike is photographer Daniella Zalcman’s one photo: 

He Said ‘Excuse Me’ And Then Proceeded to Beat the Vice President

Days prior, photojournalist Ron Haviv had been given a plane ticket by photographer Christopher Morris to cover the controversial election. At the time, he was freelancing and selling his photographs for $50 a piece. In Ron’s words, he barely knew what he was doing.

Kabul Blast: Afghan Photographer Eyewitness Account | Time.com

A massive truck bomb ripped through a section of central Kabul on May 31, killing at least 90 and injuring hundreds more in one of the conflict’s worst attacks. The crater left by the explosion, near the German embassy, was some 13 feet deep. Omar Sobhani, a Reuters photographer born and based in the capital, was quick to the scene. He tells TIME what happened.

Beyond Manchester: On a Typical Terror-Filled Monday – Reading The Pictures

But my purpose is not to deliver a morality lesson. Instead, it’s to recover and dust off some context from the rubble of (England’s) Monday. It is to remind ourselves off the terror threat we face everyday: the dulling of our larger humanity.

F*ck Photojournalism

Not enough photographers are getting credit for quiet, subtle and heartfelt stories and not enough photojournalism organizations are brave enough to shake up their view of what a profound photojournalism story looks like. We created this monster. If we don’t act now we will soon be saying “Photojournalism is dead! We killed it!”

At Trump’s Invitation: Revisiting Pulitzer-Winning Philippine Drug War Photos

At the moment, there is quite a gap between criminal justice and crime fighting in Duterte’s Philippines and Trump’s America. Still, the parallels are troubling. Trump and Sessions are making private prisons thrive again. They are attempting to revive the “war on drugs.” They are unraveling bipartisan criminal justice reform, and prison sentence reform. They are reviving such draconian practices as the chain gang and life sentences for minors. And they are walking back federal oversight of local police departments

Eight Photographers on Their Favorite Image from Robert Frank’s “The Americans”

Eskenazi continued to send out the question to other prominent photographers, collecting responses from hundreds of photographers in all. Their thoughtful, illuminating comments on Frank’s work are compiled in the book “The Americans List,” whose second edition was recently released. “ ‘The Americans’ is probably the one book that connects more photographers than any other,” Eskenazi writes. “I discovered that many of the answers revealed much more about the photographers themselves.” Here are some of our favorite responses to three of the book’s indelible images:

The Tri-X factor

Kodak’s Tri-X is the film the great photographers love. Anton Corbijn, Don McCullin and Sebastião Salgado tell Bryan Appleyard why

6 Photo Editors Discuss How They Use Instagram to Find New Talent

In our recent guide to using Instagram hashtags made in collaboration with PhotoShelter (which you can download for free here) we emphasized the importance of using hashtags to help your work get seen by the right audiences. Following on from this we spoke with six photo editors who gave us insight into how they use Instagram to find and follow the ongoing work of emerging and established photographers.

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