Since 2005, nearly 2200 newspapers across the United States have shuttered, and newspaper jobs have plummeted nearly 57%. Photojournalists have been hit hard by the cuts. But now a new business model is hoping to reverse the trend—and not just support pho
Are you interested in taking your work in visual journalism to the next level? Women Photojournalists of Washington (WPOW) are hosting their 2022 Seminar and Portfolio Review on April 30th, and they’re here to help. This will be their 11th time doing the
Mike Kamber has had many, many lives. The founder and executive director of the Bronx Documentary Center worked as a documentary photographer for over two decades, and his work has twice been nominated for a Pulitzer Prize. He lived in the Bronx for a period in the 1980s and dreamed of making an educational space that would bring arts and education to the South Bronx. Founded in 2011, the Bronx Documentary Center is a nonprofit organization and mecca for photography lovers.
The photographers who shot the most striking images of the year – capturing everything from the terrifying power of nature to the human cost of war and Covid – recall how they were taken and what they tell us
An interview with photojournalist Yunghi Kim about the power of women photojournalists and how to be successful in the field.
It is difficult to quickly sum up the ongoing career of photojournalist Yunghi Kim. Yunghi simply has too much personal energy, global photojournalism chops, and a record of giving back to the photographic community. In particular, Yunghi is known for her support of women photojournalists.
CatchLight, a California-based nonprofit, was launched in 2015 to create opportunities and support for photojournalists; over the past several years, they’ve created project grants for photojournalists and partnered with local newsrooms to offer financ
CatchLight Local announced that five philanthropic organizations will invest a combined two million dollars over the next several years in an effort to address what CatchLight CEO Elodie Mailliet Storm calls “image deserts”: the decline and dearth of photojournalism at the local level.
Throughout the protests of 2019, Cheng Wai Hok, Lam Yik and Alex Chan Tsz Yuk worked to photograph the event that rocked Hong Kong. Now, with the city's National Security Law just over a year old and press freedom under attack, the three photojournalists
Images from Afghanistan have always revealed the truth behind the notion that the American war was on solid footing. We may have been told, since it first began shortly after September 11, 2001, that significant progress was just around the bend. But t
IMAGES FROM AFGHANISTAN HAVE ALWAYS REVEALED THE TRUTH behind the notion that the American war was on solid footing. We may have been told, since it first began shortly after September 11, 2001, that significant progress was just around the bend. But the pictures showed something else.
The Magnum photographer looks back on capturing an “inconceivable event.”
A cop tried to stop me. He said, ‘You’re crazy, you’re going to die,’ and I said, ‘O.K.,’ and I bypassed him. I arrived as the second tower was falling. There were very few people there.” The only people he recalled seeing at first “were a group of about six firemen, who were trying to do the impossible.”
On September 11, 2001, photographer Gulnara Samoilova was in downtown Manhattan when the World Trade Center terrorist attacks happened. Her images were awarded with a World Press Photo in 2002 and published in a book, Women Journalists at Ground Zero.
After a 2020 edition without any audience, the 33rd edition of the international photojournalism festival in Perpignan, France, opens its doors to the public again and continues to show the cries of the world.
The heat wave that swept the Pacific Northwest and Western Canada in late June was an extraordinary disaster. A mass of high-pressure air over the region trapped heat there, creating a “heat dome”—a term that recurred in news coverage. In Oregon, power
If many images unintentionally downplayed the severity of the crisis, some photographers—especially local staff photographers and freelancers—engaged the crisis with work that rose to the occasion. Some of the most effective and widely-distributed imagery was created by Portland freelancer Nathan Howard, whose photos were published by outlets such as the Spokesman-Review in Spokane, Washington. This shot, for instance, demonstrated how even first responders weren’t physically immune to the oppressive conditions:
American Reportage is thrilled to announce Carol Guzy as the collective's newest member.
American Reportage is honored to have Carol join the collective for her vast experience, epic talent and kind heart.
The past few decades have been unkind to photo magazines. Many industry stalwarts have gone defunct, while others have moved to online editions only. Ironically, many photographers still believe in the photographic print, even though they might contend th
In January, I chatted with renown photojournalist Kenneth Jarecke who had just announced the creation of The Curious Society, a large format photo magazine featuring the work of some of the world’s best photojournalists and documentary photographers. The goal wasn’t only to publish a visual tour de force on a quarterly basis, but to also pay photographers a traditional space rate that made producing such work economically viable.