In this unnatural state of isolation, photographers show us the things that bind.
In this unnatural state of isolation, photographers show us the things that bind.
Photographs of Donald Trump and his supporters are dominating the top prizes so far at the 74th Pictures of the Year International competition.
An ongoing list, comparing and contrasting, through diptychs …
“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
What makes the APhotoADay listserv unique is community. Since 2001, I’ve watched people grow up on there. Find their voice. Come into their own. Some have grown from young college photographers into...
This year’s auction will be held online through Paddle 8 and includes photographs contributed by Ed Kashi, Vince Musi, Melissa Farlow, Randy Olson, Damon Winter, Todd Heisler, Ami Vitale and many, many other accomplished photographers. The auction will begin on September 2, 2014 and will end on September 16.
Damon Winter covered the election of Senator Barack Obama in 2008, for which the photographer won a Pulitzer Prize. The experience this time, in 2012, is very different.
Damon Winter returned to the campaign trail this time to find a different tone and candidate
Artists in "Take Ten" by The International Center of Photography (ICP) are female alumnae of ICP, and explore topics like sex trafficking, identity, beauty, and religion.
The exhibit “Politics in Play” presents three very distinct styles of campaign photography by Damon Winter, Lauren Fleishman, & Ricardo Cases. Looked at side by side, their three approaches can serve as vibrant shorthand for some of the messages, stances, and moods of this election
The New York Times has assembled a “Convention Storybook,” an online archive of the conventions. It is a look inside the two parties as they sought to articulate their platforms and positions as clearly as possible, without interference. The “Convention Storybook” presents photographs by Stephen Crowley, Josh Haner, Todd Heisler, Doug Mills, Damon Winter, Mike Appleton, Travis Dove, Edward Linsmier, Luke Sharrett, Robert Stolarik, Max Whitaker and Jim Wilson. Michael Barbaro provided audio and it was produced by Nick Corasaniti, Jacqueline Myint and Cornelius Schmid
We were so taken by Damon Winter’s photo essay in the New York Times Magazine that we recently featured on The Daily Edit (Where Steel Meets The Sky) we decided to ask him a couple questions about it: Heidi: How long did the project take? I was given acce
We were so taken by Damon Winter’s photo essay in the New York Times Magazine that we recently featured on The Daily Edit (Where Steel Meets The Sky) we decided to ask him a couple questions about it:
Damon Winter of The New York Times and Barbara Davidson of The Los Angeles Times are among those honored by the National Press Phoographers Association.
On Thursday, Damon Winter of The New York Times was named photojournalist of the year (large markets) in the association’s Best of Photojournalism contest, for his work in Haiti and Afghanistan. A series on the victims of gang violence by Barbara Davidson of The Los Angeles Times was named the best published picture story (large markets) by the photographers association.
Damon Winter of The New York Times was selected today as the National Press Photographers Association's Best Of Photojournalism 2011 Photojournalist of the Year (Larger Markets), and Michael Holahan of the Augusta Chronicle was picked as the Photojournalist of the Year (Smaller Markets).
Damon Winter, 1974, USA, is a photographer who is highly competent in various kinds of photography. He is based in New York City and works a...
I remember my mother pulling a picture out of our local Seattle Times newspaper for me, running large on the third page. A news picture tucked inside the paper, sitting on its own, was odd to see. It was as if the editors thought they had to get a great picture published even if it wasn’t ‘newsworthy’ for a local paper. I was blown away, I’m sure I said outloud that this picture would win a Pulitzer.
Amid all our positive observations, we became concerned about the state of photojournalism in the pages we saw. We missed emotional photographs. Glossy magazines and newsprint pages with vast, luxurious expanses of space were largely devoid of powerful photojournalism. The lack of strong, documentary images puzzled us. We wondered if this has something to do with reduced investment. The industry has lost so many positions for picture editors and others, and yet great photographs can’t be made without time, care and commitment. Perhaps in places where the work is being done, print space to showcase it is no longer available.
Damon Winter, a New York Times staff photographer, on the validity of an iPhone image.
I have stayed away from much of the online discussion of the use of camera phones and apps in photojournalism largely because I have not wanted to be seen as an advocate for their use and because I have wanted to avoid any appearance of endorsing any particular product or technique — which I absolutely do not. It was never my intention for these photos to be seen only in the context of the tool by which they were made. Having said that, I will always stand behind these photographs and am confident in my decision that this was the right tool to tell this particular story. Any discussion about the validity of these images comes down to two basic fundamentals: aesthetics and content.
In the middle of photographing for the “Year at War” series, Damon Winter was confronted by choices that could have made the difference between life or death.
It was probably the toughest situation I’ve ever been in as a photographer. When the first mine went off, it was surreal. I think I was just completely shocked. Petty Officer Kremer was maybe about 50 feet away from me.
(amended title because Joerg’s was MUCH better) Take a look at this picture by Damon Winter, as featured on the...
Once again we are talking about how ‘beautiful’ the photos are, or what a great device the iPhone is, but not about the war in Afghanistan (although many people do comment that the photos bring them close to the lives of the soldiers). Would we really be talking about these pictures if they hadn’t been processed by an app on the iPhone?
Frédéric Sautereau, Stephanie Sinclair and Damon Winter were among the top award winners at a photojournalism festival in France.
Frédéric Sautereau, Stephanie Sinclair and Damon Winter were among the top award winners at the annual Visa Pour l’Image photojournalism festival in Perpignan, France, last week.
Damon Winter is part of The Times team following the First Battalion, 87th Infantry in northern Afghanistan.
In “A Year at War,” The New York Times will trace the steps of the men and women of the First Battalion, 87th Infantry of the 10th Mountain Division during their yearlong deployment in northern Afghanistan. Damon Winter, the winner of the 2009 Pulitzer Prize for feature photography, followed the battalion in late March and early April as it made its way from Fort Drum, N.Y., to Kunduz Province. Over the weekend, as the first installments of the series were published, he spoke about the project with James Estrin.
Damon Winter and Shaul Schwarz are veteran photojournalists, and have seen more death and misery in foreign lands than most professional soldiers and aid workers would see in 10 lifetimes. But they were both unprepared for the catastrophe they found in Haiti in early January.
With the inmates all gone, Damon Winter was able to portray the Civil Prison of Port-au-Prince; a view that few people have ever had.
The main prison in Port-au-Prince emptied after the earthquake last week. Those inmates who weren’t killed were free to walk through the rubble, into the heart of the city. And an estimated 4,000 of them did just that.