But Modica wasn’t the only one assigned to the story. The much more prominent full-page intro has the following photo illustration:
This use of photography brings the medium down to the lowest common denominator. What is the point? If anything it pushes me away from reading the story. I understand that weekly news magazines are under huge deadlines and need to fill the pages. But do we need so much photo-filler? The photographs in another weekly, The New Yorker, are exceptionally powerful because of their restraint. What if Modica’s image was the only one used in the story? Wouldn’t it be so much better?
Ken Irby, Poynter:
The Times has very clear guidelines in place that prohibit image manipulation without clear cause and disclosure:
Photography and Images.
Images in our pages that purport to depict reality must be genuine in every way. No people or objects may be added, rearranged, reversed, distorted or removed from a scene (except for the recognized practice of cropping to omit extraneous outer portions). Adjustments of color or gray scale should be limited to those minimally necessary for clear and accurate reproduction, analogous to the “burning” and “dodging” that formerly took place in darkroom processing of images. Pictures of news situations must not be posed. In the cases of collages, montages, portraits, fashion or home design illustrations, fanciful contrived situations and demonstrations of how a device is used, our intervention should be unmistakable to the reader, and unmistakably free of intent to deceive. Captions and credits should further acknowledge our intervention if the slightest doubt is possible. The design director, a masthead editor or the news desk should be consulted on doubtful cases or proposals for exceptions.
Photojournalist Paolo Pellegrin of Magnum Photos was one of several people injured in an Aug. 6 missile attack in southern Lebanon.
Pellegrin and reporter Scott Anderson were traveling together in Tyre on assignment for The New York Times Magazine. They were treated for their injuries and now are back at work in Lebanon.
“They’re in Beirut. They’re fine,” says Kathy Ryan, director of photography for Times magazine.
From the Eddie Adams Workshop:
Congratulations to the following 100 students and professionals who will attend Barnstorm XIX this year. Click a name to see images from their portfolios.
From the Tall J blog:
This is an older photo but I wanted to put this up here. I love this one. I shot it on tri-x with an old FM2 that I bought from Ravell Call at the Deseret Morning News. That camera was beat up pretty bad. The rewind knob was broken off of it so it took a lot longer than normal to change rolls of film.
I broke the camera a few minutes after I shot this frame. The shutter completely blew out on it.
From the New York Times:
“Whadda you kidding? It’s a zoo out there. Two deli stickups at 12 on the dot; one of the perps getting plugged. I got the picture. Roulette joint bust on East 68th. Society types. You shoulda seen the penguins run. Three a.m.: Brooklyn. Car crash. Kids. Bad.”
“Four a.m., bars close. Guys asleep in Bowery doorways. But just before dawn is the worst: despair city. The jumpers start, out the windows, off the roof. I can’t even look. So that’s the night, New York. Ain’t it grand? What a life.”
Mario Ruiz, from the Digital Journalist:
I was told I would have five days in Iridimi. We would arrive by plane via a United Nations cargo jet on Monday and leave Friday morning, giving me only four days to shoot at the camps. I had no idea whether that would be enough time to get what I needed. With the amount of pressure I placed myself under it would prove to be enough time.
Christoph Bangert, from the Digital Journalist:
There are maybe eight or nine foreign photographers still trying to cover this conflict from the civilian side. I am by far not the bravest, most committed, talented nor longest-serving of these photographers; I am just one of them. The majority of the pictures that are coming out of this country are taken by Iraqi photographers working for wire services or foreigners who are exclusively embedded with the military. Of course, I am one of them and am sometimes embedded with either the American, British or Iraqi military and so are most of my colleagues.
I used to be the only blond guy in Baghdad. Well, at least that’s what I felt like. Now I am the only blond guy in Baghdad that dyed his hair black. I look like a fool and maybe I am one. Maybe it’s foolish to be here and tell oneself that it is important to do so. Maybe it actually makes sense.
With the guidance of photographer Gary Knight of the VII agency, the six women have formed a new group called EVE Photographers to create and promote social documentary photojournalism. They will collaborate on projects and post their best work on a group web site.
The photographers are Marizilda Cruppe (in Brazil), Agnès Dherbeys (Thailand), Bénédicte Kurzen (South Africa), Justyna Mielnikiewicz (Georgia), Lourdes Segade (Spain) and Newsha Tavakolian (Iran).
From The Digital Journalist (link to gallery at bottom of page):
Rick Loomis says that survival skills he learned as a boy in Loxahatchee help him at the front. Zucchino observed that, “Raised in rural south Florida, Loomis is comfortable around guns, knives, fast cars and motorcycles. In other words, he’s part redneck. On a grueling three-week mission with a U.S. Special Forces team last winter, Loomis not only showed the Green Berets how to ford a river in a four-wheel-drive vehicle, he also beat them hands-down in an improvised distance-jumping contest with the soldiers’ own dirt bike.”
Brian Sokol, from The Digital Journalist:
Twenty minutes later the calm broke when a volley of rocks and bottles began to rain down on police and protesters alike. Suddenly the air was again full of tear gas and I wiped feverishly at my eyes, trying to shoot frame after frame as figures darted in and out of the bitter fog. Protesters charged at the police screaming, “King Gyanendra is a thief, he stole our country,” and I found myself in a human pile, attempting to protect my cameras and body while being stampeded by the retreating security forces. When the air cleared, I found myself cut off from my friends.
Photojournalist Tomas van Houtryve has been covering political unrest in Nepal for years, from the rise in power of King Gyanendra Shah to the secretive Maoist insurgency. This spring, when popular outrage against the monarch reached a boiling point, he knew he had to return to Kathmandu.
“When we arrived in the neighborhood of Kalanki, a full street battle was taking place. A riot policeman initially screamed threats at me to stop taking pictures, but soon they were too overwhelmed by rock throwing protesters to worry about us. The air stung with tear gas as I followed charging police toward the crowd. One of the officers was firing an assault rifle just over the heads of demonstrators. My main challenge was trying to get between the two sides to take photos while finding enough cover to keep clear from the volleys of rocks and bullets. I raced into a field with retreating protesters and one pulled me into a room where injured people were splayed across the floor.”
From Journal of a Photographer:
“The work of Eugene Richards is a cornerstone of contemporary documentary photography and filmmaking. All of us at VII welcome Eugene and look forward to his comradeship and creative spirit.”, says James Nachtwey, president of VII. “I am very pleased to be a part of this very creative group of people,” says Eugene Richards.
Photographer David Burnett, from SportsShooter.com:
Sadly, with so much photographic talent in one place (or more correctly, several places) that we photographers must necessarily take a back seat to lousy TV, well, it’s beyond stupid, and beyond tragic.
USA Today photographer Robert Hanashiro, from SportsShooter.com:
“Remember to stay out of the way of the crew and for GOD’S SAKE, stay out of sight! If the producer or director sees your ass on one of the monitors everyone’s outta here,” a voice from a show rep says into his ear. “But do your work and try not to worry too much about getting tossed … if it happens, it happens.”
From Magnum Photos, Abbas portfolio from Afghanistan
Today in Afghanistan, girls go to school and to the university; the burqah is not compulsory for women who can walk the streets unaccompanied; they are not executed in public for adultery; men are not whipped for not sporting a fist-long beard. The influx of UN and NGO’s money have brought a certain prosperity to the cities which are patrolled by national as well as NATO forces. Presidential and parliamentary elections have taken place. But democracy is not an off-the-shelf commodity which can be purchased in a supermarket and applied to a country with centuries of feudal traditions. Democracy works better when preceded by a secular tradition..
From the New York Times:
In photojournalism, the subject is considered more important than the aesthetics of the image. While clarity, composition and exposure have always been taken into account, it is news value that drives the profession. But in the 1980’s and 90’s, photographers like James Nachtwey and Gilles Peress established distinct visual styles in their coverage of war-torn regions like Bosnia and Chechnya; the way they observed their subjects, discerned in what they chose to shoot and where they stood, added new layers of information to the editorial image.