The Pulitzer Prize-winning photographer was killed in a clash between Afghan forces and the Taliban.
Mr. Siddiqui, an Indian national and Reuters staff journalist, was embedded with members of Afghanistan’s elite Special Forces in the southern province of Kandahar, a former Taliban stronghold. He was killed on Friday morning when Afghan commandos, attempting to retake a district surrounding a border crossing with Pakistan, came under Taliban fire, according to Reuters.
It is with pleasure that the jurors announce the 2021 Lenscratch Student Prize Second Place Winner, Dylan Hausthor. Dylan was selected for their lyrical and haunting project, What the Rain Brought, and has graduated from Yale this Spring (2021) with an MF
No matter your specialty, photographers have many shared experiences. We all remember getting our first cameras and where we were for that memorable photo. We’ve worried about whether or not our work mattered. At one point or another, we didn’t know anyth
A new exhibition at The Photographers' Gallery showcases works by artists active in Mozambique, South Africa and the Democratic Republic of the Congo,...
Presenting new and existing work by Amilton Neves Cuna, Anke Loots, Léonard Pongo, Mário Macilau and Nonzuzo Gxekwa, the exhibition is curated by Dr Julie Bonzon, founder of The Photographic Collective, in collaboration with Print Sales Gallery. The Photographic Collective is a not-for-profit enterprise which aims to bring visibility to artists living and working in Africa, especially those without gallery representation.
Seven photographers share some of the ethical considerations that are most present in their minds when working on stories close to home.
While turning the camera inward may alleviate ethical qualms about positionality, the influence of one’s identity on the way that we see (and thus represent) the world, photographing the people closest to us is not without ethical considerations of its own. As photojournalist and filmmaker, Amanda Mustard explains: “It’s a gift to have the perspective and personal experiences that allow access to important stories that may not be told with depth otherwise. But with greater depth comes the need for greater ethical care.”
Every year we seek to celebrate the next generation of photographic artists through our Student Prize Awards program. 2021 was a stellar year for photography, not only with a record number of excellent submissions, but the work itself reflected deep think
Strangers made his small-town portraits famous in the art world. Decades later, his heirs want control of the estate.
That changed in 2019, when, on a family trip to New York, Miller stopped by Howard Greenberg Gallery and learned that it had recently received a letter challenging the sale of Disfarmer prints. The author of the letter was David Deal, a lawyer who’d made his name leading a previous dispute over the estate of another Howard Greenberg artist, the photographer Vivian Maier. Maier, a nanny in Chicago, made no known attempts to sell or exhibit her work during her lifetime. Like Disfarmer, she became famous after her death. In 2014, Deal tracked down one of Maier’s distant cousins to fight for control of her archive. (A high-profile copyright-infringement case against one of the major collectors of her work was settled, confidentially, in 2016.) Now, as Deal’s letter informed Howard Greenberg, he was representing Disfarmer’s heirs—not one or two but nearly three dozen—in an effort to recover their “physical and intellectual property” and “any revenue generated by the appropriation” of copyrighted images. “He’s suing us,” a gallery associate told Miller. “And he’s gonna sue you.”
The agency is arguing that all photojournalism and news falls under public domain.
In a report from the Press Gazette, former photographer for AFP Francisco Leong — who started working for AFP in 2005 and left the agency in 2019 — is arguing that the contract he signed with the international news agency which gave copyrights to the agency and not the photographer was in violation of Portuguese law — specifically its Journalist Statue and Code of Copyright — which states that the ultimate rights to journalistic work even through the course of employment belong to the creator. As such, Leong argues that his contract is null and void and that the copyrights to the images should be returned to him.
Imperial County is one of the newest and poorest counties in America. Despite this, the local inhabitants still believe in the American Dream. Lars Borges's pictures speak of the resilience of people – and of everlasting hope and the search for happiness.
Years of complaints from colleagues and freelancers preceded the recent departure of a New York Times photo editor
The New York Times quietly parted ways with international picture editor David Furst in April after an investigation into his treatment of colleagues and freelancers, leaving many at the paper asking why his departure had taken so long.
David Furst, who served as international picture editor at the New York Times, had power. And he misused it.
Danielle Rhoades Ha, a spokeswoman for the Times, told the Erik Wemple Blog via email in April, “David Furst is no longer with The New York Times. As a general matter of policy, we do not comment on personnel matters.” Pressed further, the Times refused to answer all but the most basic questions and didn’t grant an interview request with a manager to discuss standard practices for assigning and editing photojournalism, inviting emailed questions instead. The institutional reticence may stem from the public tussles of previous months on the personnel front: When it commented on the departures of freelance editor Lauren Wolfe and longtime science reporter Donald G. McNeil Jr., the newspaper dug deeper public-relations trenches for itself.
Few things in photography are as impactful as a portfolio review. They provide assurance, offer tips for improvement and can put your work into perspective. We’re hosting a free portfolio review webinar with photojournalist Essdras M. Suarez on July 16th
We’re hosting a free portfolio review webinar with photojournalist Essdras M. Suarez on July 16th at 12pm ET.
In this second iteration of “Focus on South Africa” I wanted to include features on photography platforms, collectives, and teaching organizations in addition to artist profiles. In South Africa many photographers do not begin or advance their careers in
The Through the Lens Collective is a relatively new organization. The female-founded and managed group began in 2018 as what organizers describe as a “collaborative educational and developmental photographic space.” The collective works closely with all kinds of photographers, but focuses on individuals who have some experience with photography and are looking for the kind of direct feedback that will help them advance their practice. “A lot of the way we work,” says founder Michelle Loukidis “is very much one-on-one, in small classes.” The Collective’s focus on individualized attention, she says, “gives people an opportunity to really push their boundaries, experiment and work in as many ways possible.”
A new book brings together photographer Paul McDonough’s vibrant scenes of Los Angeles, Chicago, Austin, Portland, and New Orleans, as well as on the road, to offer an elegiac topography of the late 20th century.