The Increasing Cost of Truth | NPPA

With the threat to visual journalists never greater than today, our ability to advocate on your behalf has never been more important. But, ensuring the stability and continued work of the NPPA comes with increasing costs.

That is why the NPPA board voted to increase annual dues for the first time in 11 years. This is not a decision we made lightly; rather, it was a step necessary to ensure the future of this organization.

Why You Should (Re)-Join the NPPA – PhotoShelter Blog

And for many photojournalists (whether freelance or not), work environments are becoming increasingly hostile. Thus the advocacy work of the NPPA for everything from press freedoms to copyright legislation has also become more directly relevant. It’s a level of protection that can’t be gleaned from watching a YouTube video or downloading a PhotoShelter guide.

Stephen Crowley: a Visual Historian in Real Time – The New York Times

After 25 years as a photographer for The New York Times based in Washington, D.C., Stephen Crowley has retired. His incisive and revealing photographs pierced the public veneer of Washington politics, bringing the viewer into the back rooms of power.

A photo finish: Longtime N&A photojournalist Jill Nance says goodbye | Lifestyle |

I know, however, that these 12 years and the time I spent at other papers have shaped who I am for the rest of my life, and that will live on long after I step away from the paper. I am a more compassionate, empathetic, well-rounded and knowledgeable person because I have met so many people on this journey and have had so many experiences I wouldn’t have had otherwise. They have changed me. 

Julien Chatelin’s break from the decisive moment – British Journal of Photography

A successful photojournalist, Julien Chatelin grew frustrated with his work after being sent to cover the war in Libya in 2011; taking a step back, he started producing slower work

Photographer Tasneem Alsultan: Raising the Questions Americans Should Be Asking Themselves | PDNPulse

Alsultan also talked to us about how her dual perspective shapes the work she’s done in the US. And she touched on another topic we’ll be covering in our September issue: how photographers cover stories about vulnerable subjects without stereotyping or re-victimizing them. While she’s examining a culture we rarely see, she hopes her images inspire us to examine ourselves

2017 U.S. Photojournalism Salary Survey Results – Greg Kendall-Ball

Earlier this year the New York Times’ Lens Blog shared some thoughts from Donald Winslow, a long-time photojournalist and former editor of the National Press Photographers Association’s “News Photographer” magazine, about the “uncertain future of photojournalism.” A few days later, they published a rebuttal of sorts by Leslye Davis, a NYT staffer, who begged to differ.
The pieces felt like polar opposites. “Everything is terrible” or “everything is awesome.” The truth, however, was likely somewhere in between. A friend and I chatted about these posts, and about our industry, and because we’d both been trained at the Missouri School of Journalism to back our journalism with research, we wanted some data. So, one Sunday afternoon during March Madness, we cobbled together some basic survey questions (nothing scientific) to try to get some actual numbers. We thought maybe a few dozen folks would respond, but at least we’d have a starting point.

You think Chris Christie’s beach photos were great? Just wait until drone journalism really takes off – Poynter

Mills’ photos give us the opportunity to think about how journalists can use photographs and videos taken from above — whether by helicopter, plane or drone — in really creative ways to break news and tell stories. How does shooting from above help the audience? How does it help tell a more nuanced story? And what kinds of stories can local newsrooms tell with these shots beyond tracking traffic, animals escaping, or the latest local fire?

No One Would Buy My Photos, So Here They Are For Free: Mosul 2017

My name is Kainoa Little, and I am a Shoreline, Washington-based conflict photographer. I was in Mosul in April and May 2017, documenting Iraqi forces as they fought Islamic State militants to liberate the city.

Photographers edit photographers: A closer look at Benedicte Kurzen’s years covering South Africa – The Washington Post

NOOR photographer Alixandra Fazzina edits the work of her colleague, French photographer Benedicte Kurzen. Kurzen began her career in Gaza, covering the Middle East, before moving to South Africa in 2005. There she spent six years, focusing on conflict and social issues

Why We Do It: Photographers on the Passion That Drives Them |

For this post, my last as editor of TIME LightBox, I asked 13 of my colleagues – some of the many photographers and photo editors who have influenced and inspired me over my last ten years in this industry – to answer these essential questions: Why do they do it? Why do they wake up every morning ready to take photographs, to edit them, to publish them? Why is photography important to them and, by extension, to all of us?

Chris Christie said he didn’t get any sun. Then, a newspaper showed him the beach photos – Poynter

Earlier that day, photographer Andy Mills flew by Christie and his family — twice — while taking photos from the open door of a small plane. Christie and his wife were catching some rays on an otherwise deserted shoreline behind a state-provided beach house.

Festivals: Visa Pour l’Image returns for the 29th time – British Journal of Photography

“In these turbulent times, photojournalists are obviously needed, and play an essential role,” says Jean-François Leroy as Visa announces its programme

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 |

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.