It has been bugging me for a while now, there is just something that is missing from photography. From my personal work to the majority of photographers out there. I’m talking about the photos on your feeds, be it personal to commercial. It has been bugging me and I finally found out what it is, what is missing from photography, is stories.

Beyond the exhibitions and screenings, where hundreds of thousands of visitors can discover or rediscover some of the best of photojournalism produced around the world, Visa pour l’Image, the annual photography festival held in Perpignan, France, is also a meeting place.

In Congo Tales: Told by the People of Mbomo, Pieter Henket has created a visual library of personal histories, telling the story of one small town in the Republic of Congo.

The cost of war reporting and investigative journalism is becoming prohibitive for media outlets, campaigners have warned.

With Internet giants like Google and Facebook soaking up advertising revenue while using the content of traditional media for free, quality journalism has been caught in a double bind, experts say.

There are too many gratuitous photos of people jamming needles into their bodies and bloated corpses carried out of filthy homes.

This week on Photojournalism Now: Friday Round Up – part two of the Visa pour l’image feature celebrating the international festival of photojournalism’s 30th edition. Plus Magnet Docklands launches with a fundraiser for the Human Rights Law Centre. Next week, 7 September there won’t be a post as we’re taking a short break!

The 30th edition of the world’s preeminent photojournalism festival opens in the southern French town of Perpignan on 1st September for two weeks. For those who have not attended, Visa is amazing, overwhelming, fantastic!

It was in 2011 at the Lishui Photo Festival in China, where I first met Isabel Corthier. I was drawn to her black and white portraits and her positive energy that comes with a wonderful Belgian-French accent and carefree laugh. It was obvious how anyone would be at ease in front of her camera. She had just received the Golden Award from the China International Digital Photography Art Exhibition Contest for her photographs in Africa. She told me her plans to sell off her worldly possessions in Belgium, for an upcoming move to Africa, and I thought she was courageous. We haven’t seen each other since parting ways in China, but we have stayed in touch via the internet and are now working together for her photographs to appear in an upcoming Smithsonian exhibition.

As a photojournalist, Carol Guzy has documented an incredible amount of turmoil, upheaval and human suffering in her long career—first for the Miami Herald in the early 1980s, and then, beginning in 1988, at The Washington Post, where she was a staff photographer for almost three decades.Along the way, Ms. Guzy racked up some very impressive accolades, chief among them four Pulitzer Prizes for photography. She is one of just four people and the only journalist to have won that many.

“Though she was tiny in stature, Gerda Taro had the heart of a giant,” Google writes. “Known as ‘the little red fox,’ the ginger-haired photographer fearlessly turned her camera lens to capture sensitive and critical images of conflict around the world, producing powerful black-and-white images that informed readers of the newspaper Ce Soir.

“[B]ut there was a problem: We had lost control of the narrative,” writes Mittermeier in a new Nat Geo story for the August 2018 issue. “The first line of the National Geographic video said, ‘This is what climate change looks like’—with ‘climate change’ highlighted in the brand’s distinctive yellow.

The New York Daily News slashed its editorial staff in half this week, and among the casualties of the layoffs was the entire team of photographers. The paper, which called itself “New York’s Picture Newspaper” for over 70 years, now has zero staff photographers.

Earlier this year, the New York Times began searching for a new Director of Photography to replace Michele McNally, who announced her retirement in February after 14 years in that role. After considering both external and internal candidates, the Times has selected Meaghan Looram, who served as one of McNally’s top deputies for 8 years.

Susan Meiselas, who joined Magnum Photos in 1976, is also the president and co-founder of the Magnum Foundation. Born in 1948 and starting as a teacher in the South Bronx, she went on to produce a definitive chronicle of Nicaragua’s Sandinista revolution. More recently, she has led the foundation’s efforts to nurture a new, diverse generation of photographers. Her books include “Carnival Strippers,” “Nicaragua,” and “Prince Street Girls.” In the last year, she has also been the subject of two books, “Susan Meiselas: Mediations” (Damiani) and “Susan Meiselas: On the Frontline” (Thames & Hudson). She spoke with James Estrin about her career. The conversation has been edited for clarity and length.