While overall hate crime dipped in 2020, hate crime against Asians increased dramatically in a number of cities around the country. That trend has unfortunately continued into the early parts of 2021, most visibly manifesting itself with the killing of 8
As the 24/7 cable news coverage receded, the Washington Post assigned Philadelphia-based freelance photographer Hannah Yoon to cover the aftermath with a more nuanced take on the lives of Asians and Asian-Americans in the local community. Her photos stopped me in my tracks because they looked and felt so different from other images I had seen.
False and varying claims about documentary images made by Candida Höfer and Dorothea Lange ultimately create a deeply malleable “unsettled subject.”
I think of this while looking at Lange’s iconic image of the “Migrant Woman”(1936). I think about it again while I delete, with embarrassment, a photograph I had enthusiastically shared on my social media. The highlighted, and now deleted, photograph was supposedly of a working-class Turkish family, but not just any family, one that arrived as saviors of the pandemic. The image was made into a fast-accelerating meme with the following caption: “This is an immigrant family, newly arrived in Germany. The boy in the yellow shirt will go on to invent the COVID vaccine.” In late 2020, the natural impulse was to share this image because it perfectly combined an uplifting and politically charged story. And yet, it is exactly because of the enthusiastic caption that the image needed to be deleted.
Rick Egan, a staff photographer for The Salt Lake Tribune since 1984, has spent the majority of his life documenting SLC in photographs.
Photographing the punk and hardcore scene is far from the only work Egan has done, though. As a photojournalist for the Tribune, he has documented everything you can possibly think of, such as local festivals, events, protests, unsheltered communities and more. It was his college advisor that first told Egan he should be a professional photojournalist, but Egan wasn’t quite convinced until he went to a workshop with Anthony Suau, a photojournalist who documented the famine in Ethiopia. It was there he realized photojournalism isn’t really about photography at all.
In 2020, swaths of our planet were ravaged by wildfires and hurricanes as global temperatures soured. The Australian bushfire crisis killed or displaced almost three billion animals, and California experienced…
As the connection between climate change and extreme weather events becomes increasingly clear, ethical and comprehensive coverage of these disasters has proved more urgent than ever. These are the images that will inspire action today and bear witness a hundred years from now. We asked four photojournalists about their work on the frontlines of fires, floods, and hurricanes. Read on for their tips and insights for documenting some of the most important stories of our time.
Reporters and photographers who are no strangers to conflict are among those assigned to what is usually a day of pageantry.
“I’m used to being a war reporter in countries where there were no institutions, or the institutions shattered very rapidly,” said Ms. di Giovanni, now a senior fellow at Yale University’s Jackson Institute for Global Affairs. “This is a country that had, until recently, extremely strong institutions that protected us descending into the abyss, and to see what’s happening now is disturbing beyond belief.”
Congress was on break when Tom Williams, a photographer for CQ Roll Call, stepped out of the House chamber to file some shots of the vote to certify the election. Then he noticed something out a window facing east: a skirmish between dozens of cops and
The crowd seemed ready for a photo opportunity; democracy was under siege by a spectacle of costumes, body paint, and an unknown number of weapons. Some of the insurrectionists wore maga hats or camo-gear; they brandished flags for Trump and for the Confederacy; few wore masks. Williams headed out to find a good vantage point and saw people with bleary eyes—the rioters and the police had exchanged pepper spray, he later learned—and bloodstained faces. He captured some images of rioters shoving their way through a wall of police. Soon, an officer escorted Williams and a few other photographers to the third-floor gallery of the House chamber, then told them to lie low. He clenched his equipment. “I was trying to quickly and surreptitiously take pictures the whole time,” he said. “We were like, Holy shit.” A throng had entered the Capitol.
The Observer picture editor reflects on the evolution of photojournalism as he bows out after nearly 30 years
Jane Bown looking at a contact sheet by the lightbox, using her monocle eyeglass. Motorcycle couriers flirting with picture researchers. Reporters massaging the egos of alpha-male photographers, vying to become the next Don McCullin, the great photojournalist whose career began here. Men in shabby suits from now-defunct picture agencies, cigarette in hand as they hawked photo-essays from battered suitcases. The picture librarian ferrying files of black and white prints to the man who was at the centre of everything, the revered picture editor, Tony McGrath.
Over the years, he's covered plenty of high-profile events, including three Olympics and five Super Bowls.
Last fall, I marked my 25th anniversary with The Post-Crescent. It’s incredible how quickly time passes. I’ve spent close to half my life documenting the Fox Cities, Wisconsin and beyond. This journey has given me the privilege to tell the stories of so many.
On February 29, Washington State health officials announced what they believed to be the first death due to the novel coronavirus in the United States. By March 31, the official national death toll stood at 3,173. It was a larger number, news outlets n
“War is 95 percent boredom and 5 percent sheer terror, from a journalist’s point of view,” says David Hume Kennerly, who won a 1972 Pulitzer Prize for his feature photography of the Vietnam War. CJR sat down with Kennerly and three other esteemed photojournalists from that conflict, Art Greenspon, Robert Hodierne, and David Burnett, to ask what lessons we can take from Vietnam to cover today’s invisible killer and the absence of public suffering.
This photojournalist documented two little-seen front lines in the UK's war against coronavirus. Her images reveal intensive care of every kind – amidst a...
I wasn’t allowed in until it was very quiet. Most of the wards had emptied out. And the irony was, every single hospital I went in to, from end of May, the first question the medical staff asked was ‘where were you at the height of the pandemic? Why weren’t you here mid-April?’ They wanted the press to cover what was going on and what they were going through, how inundated they were. But very few people were granted access.
As communities and individuals, we are enduring the initial phase of the COVID-19 infection and the horror of the loss of over 140,000 lives, only to also be launched into a period of political unrest and turmoil sparked by multiple deaths of unarmed blac
[BOYD, KY July 18, 2020] Boyd’s Station and American Reportage are proud to announce the launch of AMERICA REIMAGINED, a curation and archival project aimed at showcasing the work of emerging photojournalists and preserving the images and narratives that offer an intimate look at the ways Americans are grappling with, and adjusting to, this disruptive moment in history. AMERICA REIMAGINED documents how life reacts and evolves with each new challenge – from the COVID-19 pandemic which pushed the country into its homes and social distancing to the fight for social justice which reunited millions in protest and solidarity in streets across the country.
This webcast looks at the Trump Mt. Rushmore rally, the St. Louis couple that pointed weapons at demonstrators, and a racial justice self-portrait.
Welcome to the latest edition of Chatting the Pictures. In each 10-minute webcast, co-hosts Michael Shaw, publisher of Reading the Pictures, and writer and historian, Cara Finnegan, discuss three prominent photos in the news. The program is broken into three segments: “The News,” “The Look,” and “The Pick.” “The News” examines a hard news image for its content value. “The Look” focuses on a news photo for its artistry and style. And “The Pick” asks what made a high profile photo so unique to editors or the public.