Category: Photojournalism

  • What lockdown looks like in Afghanistan : A photographer’s view

    War and peace: What lockdown looks like in Afghanistan
    For photographer and writer Andrew Quilty – an immigrant living in war-torn Kabul – the prospect of Covid-19 was panic-inducing. But the reality was an entirely different story.
  • Photojournalism Now: Friday Round Up – 3 July 2020 – Photojournalism Now

    Photojournalism Now: Friday Round Up – 3 July 2020
    This week on Photojournalism Now: Friday Round Up – the tenth anniversary exhibition of the Carmignac Photojournalism Award. Also, a reminder to check out the new Photojournalism Now: In Conversation video interview with Robin Hammond.
  • A conflict photographer’s guide to shooting protests
    Plan ahead, pack well, and check in with a buddy: Cengiz Yar shares the lessons he’s learned so far.
  • WATCH: Safety for Photojournalists Attending Protests – PhotoShelter Blog

    WATCH: Safety for Photojournalists Attending Protests
    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.
  • Mental health in lockdown: What now for… photojournalists?

    What now for… photojournalists?
    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.
  • Free Webinar: A Discussion About Safety for Photojournalists Attending Protests – PhotoShelter Blog

    Free Webinar: A Discussion About Safety for Photojournalists Attending Protests
    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.
  • Dorothea Lange and the Afterlife of Photographs – Aperture Foundation NY

    Dorothea Lange and the Afterlife of Photographs
    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.
  • In a pandemic, many photojournalists face an impossible choice: Stay safe or get out there to pay the bills? – Poynter

    In a pandemic, many photojournalists face an impossible choice: Stay safe or get out there to pay the bills?
    “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?”
  • John Moore on documenting epidemics at home and away – British Journal of Photography
    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 coronavirus outbreak in New York
  • Photojournalists Struggle Through the Pandemic, With Masks and Long Lenses – The New York Times

    Assignments have dried up for many photographers. Others risk going into the fray to capture images of a changed world.
  • Context Matters When Viewing COVID-19 Photos – PhotoShelter Blog

    Context Matters When Viewing COVID-19 Photos
    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.
  • My job was to cover the coronavirus pandemic, until I became part of it – News – Austin American-Statesman – Austin, TX
    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.
  • Getting creative to fund and engage audiences on under-reported stories
    “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.”
  • Photojournalists Publish Guidelines for Editors During COVID-19 Crisis
    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.”
  • Every Inch of Earth – Guernica

    Every Inch of Earth
    Sebastian Meyer and Kamaran Najm co-founded a photo agency in Iraq and teamed up to document a new era in Kurdistan, a region with a long history of suffering. Until Kamaran was captured by ISIS.
  • FotoEvidence — The First Decade – Witness
    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.
  • Photojournalist Lynsey Addario has made a career of exploring places that are ‘off limits’ | THE CONNECTICUT STORY |
    Whether in a war zone or refugee camp, Pulitzer Prize-winning photojournalist Lynsey Addario has spent her career on the front line armed with little more than a lens. While covering the Arab Spring uprising in Libya in 2011, Addario and her colleagues were kidnapped and beaten for days and their driver was killed. Her 2015 memoir, It’s What I Do, is a New York Times bestseller, and she put out a coffee table book of her photographs in 2018 titled Of Love & War. A native of Westport, Addario currently lives in London with her husband and two children.
  • Pulitzer Prize photographer Cathal McNaughton shares why he hasn’t lifted a camera since returning to his native Glens of Antrim –
    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 an iPhone in over a year.
  • Photography in the Time of Brexit: The Curious Case of Mark Duffy
    When former Houses of Parliament photographer Mark Duffy heard a knock on the door at 8am on Wednesday, the 12th of February, he thought it was an Amazon delivery. Instead, he found eight black-clad police officers standing in his doorway, at their head a plain-clothes officer clutching a court order in search of “Pugin-designed furniture, candlesticks, ceramics, clocks or lamps” allegedly stolen by Irish-born Duffy from the House of Commons.
  • ‘Trailblazers of Light’ Recognizes the Pioneering Women of Photojournalism
    The site was started by Yunghi Kim, a Special Contributor to Contact Press Images who has been active since 1984, who was bothered by what she saw as a revisionist narrative and inaccurate portrayals of women in the industry over the past few years.