At an exhibit of photographs of the Spanish Civil War, a man tentatively approaches Jerald R. Green, a professor of Spanish and Mexican art. He tells Professor Green that he believes he has more than two thousand negatives by Robert Capa, who has been dead for over forty years.
I remember the moment I knew I wasn’t going to be a conflict photographer. I was a freelance photojournalist based in Mumbai, India, and in New York for a week visiting prospective clients. All assignments mattered, but there was one publication that I held to an unattainable standard — The New York Times.
Danny Lyon’s photograph “The Cotton Pickers” makes me tense. I love and hate it at the same time
So the question seems to be: When will all of the positive talk about the need for gender balance translate to assignments for women from major media organizations?
women are widely overshadowed by the iconized narratives of their male colleagues and feature less prominently in the recounting of photojournalism’s history
TIME reached out globally to the most acclaimed female photojournalists, curators and directors of photography in the industry, asking them to select one female photojournalist that they believe is worthy of recognition. The result is an astonishing collection of brilliant work from around the world. For me, this list includes many photojournalists I have never known, was delighted to learn about and excited to get to know more.
Hello. My name is photojournalism… and I have a problem. I’m sick. Although I feel the same as I always have. Perhaps there’s something new in the air that my immune system isn’t capable of handling. It used to be that journalism was a respected and admired profession. Heck, even Walter Cronkite was once voted as “The Most Trusted Man in America.” And that’s that way it was!
More than 7,000 people in the Philippines have been killed in President Rodrigo Duterte’s campaign against drugs since July. According to statistics released by the country’s national police, cited by Rappler and Human Rights Watch, more than 2,500 of those slain in the offensive were suspected drug dealers and users; another 3,600-plus were killed by unidentified vigilantes. As the nightly warfare has intensified, so has the haunting coverage by local photographers. TIME asked 12 of them—working independently or for the various wire agencies—to mine their archives, select a picture that particularly impacted them and detail its significance.
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
The State of News Photography 2016 presents information about the world’s professional photographic community, with a special focus on photojournalists.
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.’
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
In other words, this year’s jury has gone in full opposition of the trends of the last WPP editions. A return to the roots of photojournalism, one where luck, experience, and journalistic integrity conspired to create an image which hit everyone’s sensitive nerves
Noor Images is a collective of international photographers focused on contemporary global issues. In the wake of the Trump presidency in the U.S. and the threat to journalism worldwide, the group has launched its first print sale celebrating dissent.
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.
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.”
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.”
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.
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
With just hours left until his Inauguration, Donald Trump has yet to name an official White House photographer