Platforms seek total control even as they abdicate responsibility. In other words, they’re perfect.
After two tours in Iraq and a stay at Walter Reed hospital, photographer and veteran Michael McCoy found himself at a turning point. Until that moment, photography had been a hobby of sorts, a personal habit that played a minor role in his life.
Recognizing “exceptional courage and enterprise,” the Overseas Press Club awarded its Robert Capa gold medal to Bryan Denton and Sergey Ponomarev of The New York Times for their coverage of the fight against ISIS and its aftermath.
For L’Italia di Magnum. Da Henri Cartier-Bresson a Paolo Pellegrin, an exhibition currently on view at CAMERA – Centro Italiano per la Fotografia, in Torino, twenty photographers have been called upon to recount events, great and small, through Italian figures and localities from the post-war years right up to the present day, in a blend of famous and less familiar photographs, of places known throughout the world and of ordinary citizens who make up the social and visual fabric of Italia.
Facebook continues to be under fire for peddling fake news, but the platform will never take real responsibility.
From one spectacular location to another, the director Gilad Baram, then assistant to Josef Koudelka (who allowed himself to be filmed for the first time), followed him on his journey in the Holy Land
Be that as it may, an imbalance in the voices admitted to publication continues to be felt today. This is true despite an increase in grants for journalists of color in the United States, the creation of professional initiatives, such as Women in Journalism in the UK or the IWMF in the United States, and the proliferation of training opportunities for photographers in developing countries in Asia, Africa, and South America.
“I want people to know that no matter where you are, no matter what town you’re in, if you feel helpless where you are, there’s beauty there.”
In March 1945 a man who had witnessed far too much human misery dug into ground hardened by the Polish winter and retrieved what he had buried months earlier. Thus, in a manner of speaking, did he provide the dead with an afterlife.
His name was Henryk Ross.
Ukrainian photographer Sergey Melnitchenko first arrived in China as a dancer. Performing in a nameless Chinese club he describes as being “more like a huge bar with a stage,” it wasn’t until he paid full attention to the surroundings that the singular atmosphere of the place struck him. “At one moment, I realized how many great things are going on here, and that’s how the series Behind the Scenes appeared,” says Melnitchenko.
While livestreaming can be used to hold perpetrators of human rights abuses accountable, the tool also presents challenges around ethics, safety, surveillance, and censorship
You would think that the gift of this photo album, commemorating Trump’s first fifty days in office and showcasing the work of the official White House photographer, would erase, or at least allay the concerns raised by The New Yorker article. If anything though, the album brings the issues of Trump’s guardedness, the quality and amount of White House visual disclosure, and even internal photographic access within the administration into greater relief
In October of last year, some three months after the last reported shooting, Phoenix photographer Jesse Rieser made the forty-minute drive to Maryvale and spent a little more than a week in the neighborhood. Joining him was the French journalist Emmanuelle Andreani-Facchin of Society Magazine, who spoke with residents and detectives about the case. Their story ran in the magazine on the week of the US election, as part of the “America” issue.
Bail for Mthethwa, a graduate of the Rochester Institute of Technology who is represented by Jack Shainman Gallery, was revoked while he awaits sentencing.
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.
I think the obvious answer is that media organizations, even though they’ve made movements to become more diverse, ultimately aren’t the most diverse places
The New York Times staff photographer Josh Haner was an early adopter of drone photography. His earliest forays were with a $60 gadget that he maneuvered around his living room. Since then, he has aimed ever higher, doing videos and stills high above the Gobi Desert and the Marshall Islands. He has embraced the technology in ways that add a stunning dimension to his storytelling, while at the same time presenting unforeseen challenges
Women Photograph, a database launched by photographer Daniella Zalcman to promote the representation of female photographers in the industry, has launched two grants to finance new or in-progress projects.
Belgian photographer Kevin Faingnaert has won the 2017 ZEISS Photography Award for his project, “Føroyar,” a series about life on remote and sparsely populated villages on the Faroe Islands (an archipelago located between Iceland and Norway in the North Atlantic Ocean). The prize includes more than $3,100 US to complete the project. Faingnaert will also receive over $12,700 in lenses from ZEISS.