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.
Photographer Cengiz Yar has spent years working on stories around situations of unrest and conflict; from the wars in Iraq and Syria to protests in Thailand and Ferguson, MO. As the Black Lives Matter movement spreads around the world, photographers have
Plan ahead, pack well, and check in with a buddy: Cengiz Yar shares the lessons he’s learned so far.
Since May 26th, there have been 291 recorded incidents of police attacks on journalists covering the George Floyd protests around the country. That amounts to a staggering average of 19.4 events per day. We have seen journalists wrongfully arrested, shot
Joined by NPPA’s Executive Director Akili Ramsess, Director of Newsroom Digital Security at Freedom of the Press Foundation Harlo Holmes, and founder and executive director of Global Journalist Security Frank Smyth, our latest webinar featured a panel discussion all about protective measures photojournalists should take when photographing protests.
Kiana Hayeri’s professional routine has always been stressful. The Iranian-Canadian photojournalist has been working for the past six years in Kabul, Afghanistan, where security protocol is rigorous. Every job requires calculated risk. Now, with the added
Huck is exploring the impact that the coronavirus pandemic is having on different communities – and on our mental health. In the latest instalment, photojournalist Daniella Zalcman investigates how exposure to trauma and risk is starting to take its toll.
Freedom of the press is a foundational value of the United States’ democracy, enshrined in the First Amendment along with the right to assemble peaceably. In recent days we have seen journalists wrongfully arrested, shot with rubber bullets and pepper spr
Tomorrow, we’re sitting down with Akili Ramsess, Harlo Holmes and Frank Smyth to discuss strategies journalists can use to stay safe while covering protests. PhotoShelter co-founder Allen Murabayashi will be moderating.
A new exhibition reveals how Lange's concern for the dispossessed has never been more relevant.
Confronting the economic crisis of the Great Depression, Lange produced some of the most influential photographs of the twentieth century. A new exhibition reveals how her concern for the dispossessed has never been more relevant.
Many photojournalists are still on their own with procuring protective gear they need to keep safe. But the NPPA is helping. And so are some news outlets.
“Being a photojournalist right now, covering coronavirus is incredibly challenging,” Akili Ramsess, executive director of the National Press Photographers Association, told me. “Right now, that’s our main topic of conversation and concern. How are we keeping safe? How can they do their jobs and stay safe?”
Special Correspondent for Getty Images John Moore was one of the first photographers to cover the 2014 Ebola outbreak in Liberia. “I learned a skill set that I never expected to use in my hometown,” he says, as he reflects on the process of covering the c
Since mid-March, various policies have been implemented at the state and federal level in the U.S. to mitigate the spread of the coronavirus and the disease it causes, COVID-19. Photojournalists initially covered long lines at big box stores then vanishin
Insofar as photojournalism is concerned, the best photos of the crisis avoid using photography as “facile ‘signifiers'” a term that Fred Ritchin, Dean Emeritus of the International Center of Photography School, used in a recent CJR article. Ritchin bemoans the use of images of a discarded mask or the early use of Chinese people as symbols of the outbreak, rather than “coverage” that advances photography as a way to understand a story.
I know how to prepare for a disaster.My first job as a photojournalist was in Florida, where on top of weathering hurricanes, I covered them. When the
My first job as a photojournalist was in Florida, where on top of weathering hurricanes, I covered them. When the coronavirus began to get close to the United States, I thought I was ready. I had food, medicine and first-aid kits to get me through.
But nothing could have prepared me for the pandemic we’re now experiencing, including my own positive COVID-19 test.
Sean Gallagher, a British photographer who’s been based in China since 2006, has a policy that he works on one larger story every year…
“It’s difficult to say, ‘I want to change X number of minds on this issue or make a certain group of people think differently about an issue…I just think about making good work on issues that I’m interested in and then trying to get that work in publications that have a big audience. At the end of the day, if that’s happening, I have a small part in adding to the rising media dialogue about global environmental issues.”
Certain genres of photography have come to a screeching halt during the coronavirus pandemic, but there are still countless photographers on the front
Juntos Photo Coop, made up of photographers Noemí González, Laura Saunders, Ash Ponders, and Caitlin O’Hara, has published an open letter to seek “an equitable industry and a set of baseline standards that will improve safety and ensure dignity for all journalists risking their health to document the current COVID-19 pandemic.”
Ten years ago, Bulgarian photojournalist Svetlana Bachevanova invested her savings to launch FotoEvidence, then a web platform and photobook award competition dedicated to promoting photographic stories of social inequality. Twenty-seven printed books and seven digital monographs later, FotoEvidence has evolved as the only publishing imprint solely for stories about social injustice and human rights abuses.
Pulitzer Prize winning photojournalist Cathal McNaughton is back living in a cottage in the Glens of Antrim after pressing pause on his globetrotting career and says he hasn't owned a camera since leaving Reuters - or taken a photo that wasn't snapped on