Photojournalism’s Uncertain Future? She Begs to Differ.

Earlier this week, Lens published a provocative and pessimistic interview about the state of photojournalism with Donald R. Winslow, the former editor of the NPPA magazine Press Photographer. Later that day, Leslye Davis, a young video journalist and photographer for The New York Times came into the Lens office with a differing, more optimistic point of view

Part II: The Perfect Play – Process in Photojournalism

There is absolutely a process to the kind of pictures I make. There’s a process of research to understand what I’m looking at, there’s keen observation once in the situation, there’s anticipation based on my knowledge and then there’s quick and decisive reaction. The work that goes into making a great photojournalistic picture goes far beyond ‘snapping my surroundings.’

The Uncertain Future of Photojournalism

Photojournalism was Donald R. Winslow’s sole focus as the editor of the National Press Photographers Association’s News Photographer magazine and website. Recently, he left N.P.P.A. to become managing editor of content creation at the Amarillo Globe-News, a family-owned daily newspaper in Texas. James Estrin spoke with him about the state of photojournalism while Mr. Winslow was waiting to close the paper’s front page on Super Bowl Sunday

Really Social Photojournalism

As the disruption of traditional business models and practices of journalism plays out in 21st-century industrial societies, a paradox has taken shape around the theory, practice and discourse of photojournalism.

Highlighting Women in Photojournalism

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In 1973, Sara Krulwich visited 29 newspapers, looking for a job after graduating from the University of Michigan. She met with male photo editors who mostly scoffed at the idea of a woman as a news photographer. One editor, she said, told her that hiring a woman was like “hiring half a person.”

A Call for Action – Supporting Women in the Field of Sports Journalism

One of the best compliments I’ve ever been given came from a woman who had previously worked for the Baltimore Ravens. While at a high-profile event, the woman leaned over to my boss and said, “Your photographer right there? She’s got something that many women struggle with, she’s got confidence. She’s gonna be able to make it in this field.”

Trump: The Purpose of Photojournalism in the Post-Truth Era

The “post-truth” environment we live in seems, at least in part, to be a function of the current confusing information flow and how politicians, governments and others use it towards their own ends. It remains to be seen what longer term effects this will have on journalism generally and photojournalism in particular but the power of the still image remains undeniable, even if some choose to ignore inconvenient truths.

Photographing the President

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White House photographers have sought to capture a more intimate look at the leader of the free world. Press access to the President varies by administration (a criticism that dogged the Obama administration), but White House photographers have access to private or top secret moments that are a vital part of the historical record – from 9/11 to the assassination of Osama bin Laden

Who Is Telling Africa’s Stories?

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Mr. Akinleye, who has spent the past decade covering West Africa for Reuters, said as digital cameras have become more accessible, he has seen a surge in the number of local photographers in the field. But better equipment hasn’t necessarily equated to more opportunities for aspiring photojournalists

Choosing the New York Times Pictures of the Year

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The New York Times 2016 Pictures of the Year is posted online today and is scheduled to appear in print on Sunday. Jeffrey Henson Scales of the Sunday Review, who was the lead photo editor, spoke with James Estrin about the challenge of encapsulating 365 days in a few photos

Editorial Trump vs. Damon Winter’s Trump

“I was initially reluctant to cover another election, but I quickly realized that this year it was more important than ever to be out there with a vigilant, thoughtful and critical eye. As the restrictions on the press tightened, I felt it was my duty at every possible moment to subvert them, to find photographs that were honest and telling. Every situation, no matter how controlled, contrived or mundane, was an opportunity to make something real.” — Damon Winter