Reporters and photographers who are no strangers to conflict are among those assigned to what is usually a day of pageantry.
“I’m used to being a war reporter in countries where there were no institutions, or the institutions shattered very rapidly,” said Ms. di Giovanni, now a senior fellow at Yale University’s Jackson Institute for Global Affairs. “This is a country that had, until recently, extremely strong institutions that protected us descending into the abyss, and to see what’s happening now is disturbing beyond belief.”
Congress was on break when Tom Williams, a photographer for CQ Roll Call, stepped out of the House chamber to file some shots of the vote to certify the election. Then he noticed something out a window facing east: a skirmish between dozens of cops and
The crowd seemed ready for a photo opportunity; democracy was under siege by a spectacle of costumes, body paint, and an unknown number of weapons. Some of the insurrectionists wore maga hats or camo-gear; they brandished flags for Trump and for the Confederacy; few wore masks. Williams headed out to find a good vantage point and saw people with bleary eyes—the rioters and the police had exchanged pepper spray, he later learned—and bloodstained faces. He captured some images of rioters shoving their way through a wall of police. Soon, an officer escorted Williams and a few other photographers to the third-floor gallery of the House chamber, then told them to lie low. He clenched his equipment. “I was trying to quickly and surreptitiously take pictures the whole time,” he said. “We were like, Holy shit.” A throng had entered the Capitol.
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.
On February 29, Washington State health officials announced what they believed to be the first death due to the novel coronavirus in the United States. By March 31, the official national death toll stood at 3,173. It was a larger number, news outlets n
“War is 95 percent boredom and 5 percent sheer terror, from a journalist’s point of view,” says David Hume Kennerly, who won a 1972 Pulitzer Prize for his feature photography of the Vietnam War. CJR sat down with Kennerly and three other esteemed photojournalists from that conflict, Art Greenspon, Robert Hodierne, and David Burnett, to ask what lessons we can take from Vietnam to cover today’s invisible killer and the absence of public suffering.
This photojournalist documented two little-seen front lines in the UK's war against coronavirus. Her images reveal intensive care of every kind – amidst a...
I wasn’t allowed in until it was very quiet. Most of the wards had emptied out. And the irony was, every single hospital I went in to, from end of May, the first question the medical staff asked was ‘where were you at the height of the pandemic? Why weren’t you here mid-April?’ They wanted the press to cover what was going on and what they were going through, how inundated they were. But very few people were granted access.
As communities and individuals, we are enduring the initial phase of the COVID-19 infection and the horror of the loss of over 140,000 lives, only to also be launched into a period of political unrest and turmoil sparked by multiple deaths of unarmed blac
[BOYD, KY July 18, 2020] Boyd’s Station and American Reportage are proud to announce the launch of AMERICA REIMAGINED, a curation and archival project aimed at showcasing the work of emerging photojournalists and preserving the images and narratives that offer an intimate look at the ways Americans are grappling with, and adjusting to, this disruptive moment in history. AMERICA REIMAGINED documents how life reacts and evolves with each new challenge – from the COVID-19 pandemic which pushed the country into its homes and social distancing to the fight for social justice which reunited millions in protest and solidarity in streets across the country.
This webcast looks at the Trump Mt. Rushmore rally, the St. Louis couple that pointed weapons at demonstrators, and a racial justice self-portrait.
Welcome to the latest edition of Chatting the Pictures. In each 10-minute webcast, co-hosts Michael Shaw, publisher of Reading the Pictures, and writer and historian, Cara Finnegan, discuss three prominent photos in the news. The program is broken into three segments: “The News,” “The Look,” and “The Pick.” “The News” examines a hard news image for its content value. “The Look” focuses on a news photo for its artistry and style. And “The Pick” asks what made a high profile photo so unique to editors or the public.
Photographer Cengiz Yar has spent years working on stories around situations of unrest and conflict; from the wars in Iraq and Syria to protests in Thailand and Ferguson, MO. As the Black Lives Matter movement spreads around the world, photographers have
Plan ahead, pack well, and check in with a buddy: Cengiz Yar shares the lessons he’s learned so far.
Since May 26th, there have been 291 recorded incidents of police attacks on journalists covering the George Floyd protests around the country. That amounts to a staggering average of 19.4 events per day. We have seen journalists wrongfully arrested, shot
Joined by NPPA’s Executive Director Akili Ramsess, Director of Newsroom Digital Security at Freedom of the Press Foundation Harlo Holmes, and founder and executive director of Global Journalist Security Frank Smyth, our latest webinar featured a panel discussion all about protective measures photojournalists should take when photographing protests.
Kiana Hayeri’s professional routine has always been stressful. The Iranian-Canadian photojournalist has been working for the past six years in Kabul, Afghanistan, where security protocol is rigorous. Every job requires calculated risk. Now, with the added
Huck is exploring the impact that the coronavirus pandemic is having on different communities – and on our mental health. In the latest instalment, photojournalist Daniella Zalcman investigates how exposure to trauma and risk is starting to take its toll.
Freedom of the press is a foundational value of the United States’ democracy, enshrined in the First Amendment along with the right to assemble peaceably. In recent days we have seen journalists wrongfully arrested, shot with rubber bullets and pepper spr
Tomorrow, we’re sitting down with Akili Ramsess, Harlo Holmes and Frank Smyth to discuss strategies journalists can use to stay safe while covering protests. PhotoShelter co-founder Allen Murabayashi will be moderating.