we spotlight various best-photos-of-the-year lists from around the web
House Republicans have put forward a proposal to fine representatives who shoot photos or videos on the floor of the chamber — a move widely viewed as a response to House Democrats staging a sit-in in June to demand a vote on gun control legislation.
The 2016 recipients are:
Copyright dispute, the continuing controversy over for-profit art schools, Richard Prince (again), First Amendment protections and the President-elect: We look back on the stories that attracted the most attention in 2016.
As photo editors, we see millions of photos through the year. Many of the images never make publication. Some are inspirational and happy, and some are tragic and terribly graphic. As we tell stories with the photos we choose, there are always images that resonate with us, change us and are sometimes hard to forget. Here are those images.
Some of 2016’s most defining moments shared on social media
Photographer couple Benjamin Lowy and Marvi Lacar created this inspiring short film with Sony about how Lowy’s vision of the world as a conflict photographer changed after he entered the world of fatherhood.
Lunchtime, created between 1977 – 1980 on the streets of New York, Chicago, and Europe. These portraits have aged well, revealing our humanness, our foibles, and flaws, but photographed with compassion and curiosity. He has a monograph under the same title, published in 2015
What was truly significant in media this year? Was it a development in journalism, or corporate moves, technological advances, social media or something else? What insight might we place into a personal time capsule? Here we go:
Burhan Ozbilici’s stunning photo of a gunman moments after assassinating the Russian Ambassador to Turkey Andrei Karlov spread like wildfire over social media. While many within the photojournalism community quickly declared the image as the “photo of the year,” and worth of top prizes, one voice offered dissent. Matt Slaby is a photographer and founding member of Luceo Images, a creative visual agency that originally started as a collective of top photojournalists.
The New York Times 2016 Pictures of the Year is posted online today and is scheduled to appear in print on Sunday. Jeffrey Henson Scales of the Sunday Review, who was the lead photo editor, spoke with James Estrin about the challenge of encapsulating 365 days in a few photos
“I was initially reluctant to cover another election, but I quickly realized that this year it was more important than ever to be out there with a vigilant, thoughtful and critical eye. As the restrictions on the press tightened, I felt it was my duty at every possible moment to subvert them, to find photographs that were honest and telling. Every situation, no matter how controlled, contrived or mundane, was an opportunity to make something real.” — Damon Winter
“I wish this hadn’t happened, and I hadn’t taken those photos”
When Hengki Koentjoro makes pictures, he relishes loneliness. Being solo with only the rustle of the wind and the rolling of the tides isn’t painful; it’s reassuring and life-sustaining.
Back to 2012, near Cape Canaveral, where we witnessed the mission ART4SPACE being born. This film unveils the incredible journey of the artist Invader and his obsession: send one of his art pieces to space and bring back the footage.
My main journalistic lesson of 2016 is to brace for massive upheaval and redefinition. What we’ve just seen — the election, fake news, red feeds, blue feeds, mistrust, niche sites, the so-called end of the mainstream — have implications for all of us in the fourth estate.
When arriving in London in 1972, Brian Griffin received an assignment from the English magazine Management Today to photograph the working world. For Griffin, failure was hiding everywhere. Even though the artistic director ( formerly of Camera, a trilingual photo-magazine) often compared him to Robert Frank, nothing satisfied Brian Griffin. People posed motionless before the camera.
The gunshots, at least eight of them, were loud in the pristine art gallery. Pandemonium erupted. People screamed, hid behind columns and under tables and lay on the floor. I was afraid and confused, but found partial cover behind a wall and did my job: taking photographs.
The chilling murder of the Russian Ambassador in Ankara yesterday was a photographic event, as much as it was a serious political event. But the overlap between online and social media, visual culture, and war and terror is so complex, it’s actually hard to make sense of what we’re looking at.
Burhan Ozbilici kept his lens trained while those around him dove for cover