Canon U.S.A. Lends Its Support to Women Photograph, an Initiative Created to Promote the Representation of Female Photojournalists

In conjunction with International Women’s Day (IWD), the global day celebrating the social, economic, cultural and political achievements of women, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce their association with Women Photograph, a movement created to promote the representation of female photojournalists. Canon will work with Women Photograph to aid their travel grant program which funds female and non-binary photographers to attend workshops, hostile environment trainings, festivals, and other developmental opportunities.

Inclusion Rider This: Magazine Cover Photographers by Gender – PhotoShelter Blog

Women Photograph, the initiative to “elevate the voice of female photojournalists,” has been tracking the lead photo bylines for 8 top newspapers around the world. Here are the results for 2017:

Depicting Poverty: Matt Black Pushes Documentary Photography to its Fullest Range – Reading The Pictures

We know what poverty looks like: unpainted boards, empty windows and door frames, broken roofing. Or it could be sagging fences and telephone poles, or cracked pavement and graffiti-stained concrete walls. Or faded billboards and backlot signage with their ironic injunctions to “dream” or “save.” Or worn faces and bodies scarred by years of hard labor, want, and worry. Such stark, black and white images of abandonment and desolation have become the iconography of documentary photography. They also were a genuine artistic achievement and a major contribution to public life. If you doubt that, consider what it would have been to see only the sunny faces, gleaming suburbs, and beautiful vistas of commercial advertising.

Susan Meiselas on how she shot Molotov men, war widows and carnival strippers | Art and design | The Guardian

The great photographer has spent five decades capturing ordinary people caught in the turbulence of history. As a retrospective opens, she reveals the ways being a woman helped

From Agony To Triumph: The Story Of Pakistan’s First Female Photojournalist – The Media Line

Saadia Sehar Haidri’s story is one triumph over agony, a journey borne out of the emotional depths of losing her husband in a terrorist attack that reached the professional high point of becoming Pakistan’s first-ever female photojournalist. But despite Saadia’s many achievements, hers remains a rocky road given the prevailing stereotypes in a male-dominated society.

‘It’s more a war on class than a war on drugs’: photojournalist documents unlawful killings in the Philippines – Home | Day 6 | CBC Radio

The bodies pile up in morgues and on the street, hands tied behind their backs, their faces wrapped in tape. They’ve been executed, sometimes in their own homes, often as their families watched in horror.

These stories come to us through the photos of Daniel Berehulak

Journalism has a catch-22 problem with visuals | Poynter

LaForme: We are, indeed! I called up Cathaleen Curtiss, the photography director at the Buffalo News, which is, by the way, my hometown newspaper. I called to talk about photo policies and how newsrooms generally create the rules and guidelines about how to use visuals. But we ended up having a great freewheeling conversation about her career, the photojournalism industry and how modern journalists relate with photos.

This Is What It’s Really Like to Photograph the Olympics – Feature Shoot

Each of these journalists has moments they’ll remember for the rest of their lives; for Campbell, it was David Wells’ perfect game at Yankee Stadium in 1998, an event he almost missed. For Garcia, it was the 2005 Liverpool win at the UEFA Champions League Final in Istanbul. He’s has photographed football (soccer) games so intense they “sent shivers up his spine and brought tears to the eyes.”

A Times Photographer’s Journey Home to the Winter Olympics – The New York Times

Chang W. Lee cried as he photographed the opening of the Winter Olympic Games.

He had grown up in Busan, South Korea, where his parents rarely spoke about the war that cleaved his homeland in two. His mother had fled the North, leaving behind family members; his paternal uncle was never seen again after being taken prisoner by the North. In elementary school, his teachers had him draw posters and write essays against the communists.

We’re going to spend a lot more time reporting on photojournalism. What should we cover? | Poynter

I think we’d also like to get into how to make sure we’re giving proper treatment to visuals when websites and social sites demand them for everything, when and why to use photographs versus illustrations and also speak to a designer, perhaps in online and print, about some of their visual pressures and how they’ve been changing.

Visuals Have Value And So Do Visual Journalists | Poynter

The Poynter article dismissed and degraded the power of authentic visual journalism. It recommended that the solution to illustrating news stories was to find free stock images online via a handful of dubious photo sharing websites. The authors carelessly glossed over the potentially serious legal and ethical consequences of using such content.

Article about free images ‘contradicts everything I hold true about journalism’ | Poynter

With one post, two people who I have worked closely with attempted to raze everything I have done over the last quarter century. 

Their story, titled, “These tools will help you find the right images for your stories,” contradicts everything I hold true about journalism — textual and visual

We wrote about free photo sites. Many journalists were outraged. Now what? | Poynter

We heard loud reminders that stock images can be ethically questionable, especially if you can’t verify the original source. So it was insufficient to talk about those issues only from the standpoint of copyright. Given the proliferation of these sites (and likelihood they are not going away), it’s time for a more robust conversation about how relying on generic photo archives for presentation (as so many organizations do) could degrade the “journalistic validity” of a news site.

A photo editor’s plea: Let’s be solution-based instead of an echo chamber | Poynter

We’ve got a problem. It’s 2018, but it feels like 1975 in the land of visuals. What’s old is new again: a nearly nonexistence of visual judgment in newsrooms. Who would have thought that the phenomenal benefits of technology would negate the common sense of picture selection? The role of the photo editor has nearly disintegrated in the most newsrooms, including that of Poynter. It’s time to stop and take inventory.

National Geographic Photographers on What Photo Editors Really Do | PDNPulse

“I’m pretty sure most people have no idea what a photo editor actually does,” says photographer David Guttenfelder at the beginning of this short video recently published by National Geographic. In the video, photographers and photo editors explain a bit about the how the photographer-editor relationship works at National Geographic. “It’s a complete partnership,” says Erika Larsen. “It’s just as personal to them as it is to me.”

How the “Global Leader” in Journalism Fails Photographers by Promoting Free Photos – PhotoShelter Blog

Put aside the intellectual laziness of using an interview format for a expository piece on how to illustrate the news, but this Poynter piece entitled “These Tools Will Help You Find the Right Images for Your Stories” is garbage.

The art of the fix – Witness

The role of the fixer is complex and secretive, but finding that special person to help gain access to subjects and situations is the vital link between discovering and getting the story.

Why it’s time for visual journalism to include a solutions focus

I have long been concerned with what photographs do—and what we want them to do—in visualizing human rights issues. I think by reframing the conversation about photography to focus on the image’s purpose and impact, away from a preoccupation with what pictures are, we can have a much more productive discussion.

Turning Down TIME’s Request for Free ‘User-Generated Content’

I recently made a video of clean-up after a mudflow and posted it on my personal Facebook page. Shortly after my posting, a news producer from TIME Magazine sent me a message asking if the video was mine and if they could use it with proper credit throughout their platforms.