The very casualness of the incidental observations made on mobile phones releases the viewer from the constraints of a story that has been self-consciously sculpted by a photojournalist to fit a preconceived version of reality
Not enough photographers are getting credit for quiet, subtle and heartfelt stories and not enough photojournalism organizations are brave enough to shake up their view of what a profound photojournalism story looks like. We created this monster. If we don’t act now we will soon be saying “Photojournalism is dead! We killed it!”
It is often said that today photojournalism as an industry is in a state of crisis; photojournalists are overworked, underpaid and major media companies are hiring fewer staff photographers. Those we spoke to from the Nikon-NOOR Academy based in Amsterdam during the World Press Photo Festival 2017 aren’t so sure.
At the moment, there is quite a gap between criminal justice and crime fighting in Duterte’s Philippines and Trump’s America. Still, the parallels are troubling. Trump and Sessions are making private prisons thrive again. They are attempting to revive the “war on drugs.” They are unraveling bipartisan criminal justice reform, and prison sentence reform. They are reviving such draconian practices as the chain gang and life sentences for minors. And they are walking back federal oversight of local police departments
Eskenazi continued to send out the question to other prominent photographers, collecting responses from hundreds of photographers in all. Their thoughtful, illuminating comments on Frank’s work are compiled in the book “The Americans List,” whose second edition was recently released. “ ‘The Americans’ is probably the one book that connects more photographers than any other,” Eskenazi writes. “I discovered that many of the answers revealed much more about the photographers themselves.” Here are some of our favorite responses to three of the book’s indelible images:
Kodak’s Tri-X is the film the great photographers love. Anton Corbijn, Don McCullin and Sebastião Salgado tell Bryan Appleyard why
In our recent guide to using Instagram hashtags made in collaboration with PhotoShelter (which you can download for free here) we emphasized the importance of using hashtags to help your work get seen by the right audiences. Following on from this we spoke with six photo editors who gave us insight into how they use Instagram to find and follow the ongoing work of emerging and established photographers.
Writing in Time, Andrew Katz asserts, “Never before has the influence of photography been so tested as it has with Syria. Millions of pictures and videos have emerged over more than six years of war. Students, bakers and teachers made cameras their weapon of choice.”
The Sydney Morning Herald reports that up to 40 photography positions may be slashed in Melbourne alone, with similarly deep cuts across the board at other News Corp publications. In some cities, up to 2/3 of the photo positions are set to be cut.
Perpignan, Visa pour l’image festival, September 8, 2001. For a few years, a certain gloom reigns over the world of photojournalism, in seemingly continuous decline. Then, however, a group of seven photojournalists– Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, and John Stanmeyer– announced the formation of VII, a traditional photo agency based on the global Web.
The image is unbearable. The photograph, released by the Associated Press, shows the lifeless bodies of at least seven children in the minutes after a chemical weapon attack on Khan Sheikhoun, a rebel-held town in Syria. Piled up in the back of a pickup truck, the dead are forever frozen in unnatural positions that speak of the last minutes of their lives.
The archive, which was provided to the library as a gift from an anonymous donor, includes 575,000 images. About 50,000 of those images are prints, and the rest are negatives and slides, the library said in its March 20 announcement of the gift.
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.