Tenderly Photographing the End of Her Father’s Life – The New York Times

With a Ph.D. from Berkeley, and a long career as an engineering professor at U.C.L.A., Aly H. Shabaik might be called a genius.

Safi Alia Shabaik just called him dad.

Crippling costs of war reporting and investigative journalism

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.

Lies at the Colorado Photographic Arts Center | LENSCRATCH

As photographers, we are well aware that the camera lies. It is a tool of manipulation, of misrepresentation, of deceit and fiction. But the camera isn’t the only thing that lies. We tell false truths, stir up fabrications and forgeries. And that makes things interesting. The Colorado Photographic Arts Center, presents a new exhibition, Lies, featuring the work of 10 contemporary artists who explore photography’s complex relationship to the truth and the effects of misinformation on American culture. The exhibition is juried by Richard McCabe, Curator of Photography at the Ogden Museum of Southern Art in New Orleans and runs through October 6th, 2018.

Trump’s Attacks on the News Media Are Getting Even More Dangerous | The New Yorker

Donald Trump picked an awkward moment for his latest tirade against the news media. On Twitter, early on Thursday morning, he lashed out at CNN and NBC News, two of his favorite targets, singling out their respective top executives, Jeff Zucker and Andy Lack, for ridicule. In a separate tweet, Trump wrote, “I just cannot state strongly enough how totally dishonest much of the Media is. Truth doesn’t matter to them, they only have their hatred & agenda. This includes fake books, which come out about me all the time, always anonymous sources, and are pure fiction. Enemy of the People!”

Photojournalism Now: Friday Round Up – 31 August 2018 – Photojournalism Now

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!

Trailer: The First Documentary About Street Photographer Garry Winogrand

Garry Winogrand: All Things Are Photographable is an upcoming documentary film about the life and work of famous American street photographer Garry Winogrand. You can watch the 2-minute trailer above.

The Anxious, Hopeful Faces of Young People in Shenzhen, China | The New Yorker

In Chinese, the name of Shenzhen, the sprawling, coastal megatropolis famed for its affluence and factories, means “deep drains.” A generation ago, Shenzhen was an impoverished fishing village of thirty thousand and relied on these drains, which flowed from surrounding rivers and streams, to feed its paddy fields. Today, the city teems with twenty million inhabitants, a symbol of both miraculous transformation and the excesses of vertiginous development. In October of last year, the photographer Christopher Anderson received an open commission from Shenzhen’s Daken Art Organization to document life in China. For three weeks, he walked streets that “seemed to have been built overnight,” snapping the photos that are collected in “Approximate Joy,” his book due out in September. (An exhibition at Danziger Gallery, in New York, opens September 13th.) Instead of panoramas of glittering skylines and cloud-piercing towers, though, Anderson chose to tell the story of Shenzhen through the study of faces. Many of his photos are tightly cropped, decontextualized portraits that feel at once unnervingly intimate and otherworldly.

“A Sense of Real Fear”: Climate Change Photog Katie Orlinsky on Documenting Arctic Melt | PDNPulse

Photographer Katie Orlinsky has been documenting the impact of climate change for four years, but says what she recently witnessed on assignment for National Geographic frightened her like no other assignment has. National Geographic sent Orlinsky and writer Craig Welch to northern Russia and Siberia for a look at permafrost: the layer of ground below the soil that (usually) remains frozen solid throughout the year. This year, however scientist Nikita Zimov and his father, Sergey, drilled into the ground and found soft mush where the earth should be frozen solid. Welch writes, “For the first time in memory, ground that insulates deep Arctic permafrost simply did not freeze in winter.” Story editor Sadie Quarrier explains that National Geographic plans to publish Orlinsky’s and Welch’s full story in fall 2019. However, “The pressing nature of their discoveries made our coverage of this specific aspect of story more urgent, which is why we decided to file a digital story just days after they returned from the field.”

Forgotten Images of the Vietnam War Made for the Americans Who Fought In It – The New York Times

For more than four decades, Art Greenspon kept his recollections of photographing the Vietnam War for Overseas Weekly tucked away deep in his memory, as inaccessible as the images themselves. Then, in 2014, a treasure trove of 35 mm negatives emerged from the gloom of a Scandinavian cellar, vividly reminding Mr. Greenspon of his time working for the scrappy little alternative tabloid.

Instagram’s Boundary-Pushing Documentary Photographers – VICE

In 1967, MoMA curator John Szarkowski organized “New Documents,” an exhibition featuring Diane Arbus, Lee Friedlander, and Garry Winogrand. The exhibit presented a new generation of photographers who were making documentary work with a more personal approach. These photographers went on to have a remarkable influence on contemporary photography and their legacy continues to shape visual representations of the world. A decade later, Susan Sontag added a new layer to the conversation in her apt, yet scathing essay “On Photography,” which heavily questioned documentary (or any genre of) photography’s ability to tell the truth.

In Nia Wilson murder, an urgent social media lesson – Columbia Journalism Review

DAYS AFTER NIA WILSON, age 18, was murdered at the MacArthur BART stop in Oakland, protesters marched to the offices of KTVU, the Bay Area’s local FOX affiliate. The group sought retribution for an editorial decision made in KVTU’s coverage: in a segment that aired a day after Wilson’s death, an image pulled from her Facebook account showed her holding what appeared to be—but likely wasn’t—a gun. “I immediately felt there was something wrong,” Richard Koci Hernandez, a longtime Oakland resident and an associate professor at UC Berkeley’s School of Journalism, says of the report. “But it’s not a new phenomenon, if you’re paying attention to images.”

A Photographic Duet Inspired by the Glittering “Violet Isle” of the Caribbean – Feature Shoot

Over a period of 15 years, American photographers Alex Webb and Rebecca Norris Webb made 11 trips to Cuba, each drawn to difference elements of this multi-faceted gem. Alex Webb explored the country’s street life, capturing scenes of everyday life set in a prism of vivid colors that glow under the Caribbean sun, while Rebecca Norris Webb was drawn to the resounding presence of animal life, photographing tiny zoos, pigeon societies, and personal menageries.

Corruption In Photography – by BP Miller | The Photo Brigade

After polling our other photographers, I found out only about half of them shoot to two cards. So that got me thinking. I did an informal poll of some of my photojournalist buds. The answers went anywhere from “It slows down my shooting” to “I’ve never had a card corrupt, so why mess with it” to “who are you, and how did you get my number?”

Photographers on Photographers: Paul Matzner on Niall McDiarmid | LENSCRATCH

Niall McDiarmid popped into my life on a Facebook feed one day in January, 2016. I have no idea how that happened, but since we are both photographers there must be some sort of internet alchemy at work. Niall does a lot of street portraits in Britain (he is based in London) and I do street photos in the USA.

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