For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.
“To find silence, you need silence,” Pellegrin had observed, and as we drove in darkness no one spoke. An hour later, Anthony parked in the sand. Pellegrin handed me a flash and a tripod, and we set off on foot into the dunes. Here there was no sky; a thick fog obscured it. Individual particles cascaded in front of us, refracting light from the headlamps—tiny droplets, seen but not quite felt. Nearby was a brown hyena, sensed but not yet seen.
For the first time in my career I decided not to cover a major event. I'm seeing something more timeless and universal.
I was in Australia, working on a photographic project on the aftermath of the wildfires, and there was a moment when I realized that this pandemic was not being contained. It was spreading everywhere. My family was back in Switzerland, and I was playing these scenarios through my mind: Borders being closed. What if I get sick? What if I get stuck? What if my wife, Kathryn, gets sick, and I can’t reach her?
This week on Photojournalism Now: Friday Round Up – Paul Blackmore’s exhibition opens next week in Melbourne, plus Paolo Pellegrin’s (Magnum) new work on Europe’s largest pr…
When I was commissioned to interview Paolo Pellegrin back in 2008 it was a turning point in my career. I remember placing a call to Pellegrin who was in Jordan, at 5am my time. When he learned how early it was he told me he wasn’t worth getting up that early for. Wrong! Since then photojournalism and social documentary in particular has become a passionate pursuit that inspires both my journalistic work and my scholarly research. So when I saw this new work from my dear friend, I wanted to share it with Photojournalism Now readers.
For L’Italia di Magnum. Da Henri Cartier-Bresson a Paolo Pellegrin, an exhibition currently on view at CAMERA – Centro Italiano per la Fotografia, in Torino, twenty photographers have been called upon to recount events, great and small, through Italian figures and localities from the post-war years right up to the present day, in a blend of famous and less familiar photographs, of places known throughout the world and of ordinary citizens who make up the social and visual fabric of Italia.
The story of more than a decade of war, terror and revolution in the Middle East, seen through the eyes of six people whose lives were changed forever.
Scott Anderson’s story gives the reader a visceral sense of how it all unfolded, through the eyes of six characters in Egypt, Libya, Syria, Iraq and Iraqi Kurdistan. Accompanying Anderson’s text are 10 portfolios by the photographer Paolo Pellegrin, drawn from his extensive travels across the region over the last 14 years, as well as a landmark virtual-reality experience that embeds the viewer with the Iraqi fighting forces during the battle to retake Falluja.
From person-to-person coaching and intensive hands-on seminars to interactive online courses and media reporting, Poynter helps journalists sharpen skills and elevate storytelling throughout their careers.
Not long after Jake Silverstein was named editor of The New York Times Magazine in 2014, he had a dinnertime conversation with writer Scott Anderson and photographer Paolo Pellegrin, two longtime contributors to the magazine.
The subject? "A big, epic project," timed to the fifth anniversary of the Arab Spring, that would take over the entirety of the magazine
The duty of a photojournalist, according to many, is to remain detached in a moment of crisis, to compartmentalize scenes of violence and war from the goings on of everyday life. As suggested by Italian journalist Mario Calabresi in his extraordinary book
As suggested by Italian journalist Mario Calabresi in his extraordinary book Eyes Wide Open, however, the best storytellers are those who allow themselves to be submerged within often painful events, to forgo absolute objectivity in favor of something rarer: a precarious marriage of impartiality and intimate involvement. In interviews with ten photographers who have not only documented but in many ways shaped the course of history—Steve McCurry, Josef Koudelka, Don McCullin, Elliott Erwitt, Paul Fusco, Alex Webb, Gabriele Basilico, Abbas, Paolo Pellegrin, and Sebastiao Salgado
Editions lamaindonne presents the work of Ljubiša Danilovic in this book entitled Le Desert Russe (The Russian Desert). As the author explains, “By 2050, Russia will have lost a third of its current population. The largest country in the world will then have just a hundred million citizens.
Compared to its larger Central African neighbor, the Democratic Republic of Congo, the Republic of Congo has not been widely documented. Alex Majoli...
Compared to its larger Central African neighbor, the Democratic Republic of Congo, the Republic of Congo has not been widely documented. Alex Majoli and Paolo Pellegrin provide plenty of visual records in their book, Congo, which Aperture published in May, but they don’t seek to illuminate much, at least in terms of names, places, and historical context. Their photographs, a mix of captivating city scenes and tropical landscapes, are uncaptioned and untitled. An interview with Majoli over email yielded little more in the way of concrete information. Their goal, he said, was to leave viewers with only “what is necessary” to draw their own conclusions—namely, images—and nothing more.
Magnum photographers Paolo Pellegrin and Alex Majoli present a collaborative document of the Congo and its people. Bringing together the best of each photographer’s personal styles as well as experimental forays into abstraction and collage, this volume captures what Alain Mabanckou describes as a full range of the landscape, “from urban scenes to great forests and back, reflecting the way it is in most African societies today.” With no captions or individual photo credits, the densely printed images—presented on full-bleed pages, as gatefolds, or as double-spread gatefolds—become wholly immersive.
There are a lot of great pictures in the colossal new book by the photographers Alex Majoli and Paolo Pellegrin, and yet you never know exactly what you're looking at.
There are a lot of great pictures in the colossal new book “Congo” (Aperture, 2015), by the photographers Alex Majoli and Paolo Pellegrin: pictures of immense panoramic scope and texture, pictures of deep, elaborate landscapes and of the human dramas that play out across them, scenes of labor, scenes of commerce, scenes of festivity, and scenes of tranquility, crowd scenes and portraits, interiors and exteriors, urban, rural, and wilderness, day and night, life and death.
Top honors in the 70th annual Pictures of the Year International contest went to Paolo Pellegrin of Magnum Photos for freelance photographer of the year and Paul Hansen of the Swedish newspaper Dagens Nyheter for newspaper photographer of the year.
Pictures of the Year International organizers have finally weighed in on the controversy surrounding Paolo Pellegrin’s prize-winning contest entry. And they dodged the issue that is central to the debate: the legitimacy of one particular documentary-like
they dodged the issue that is central to the debate: the legitimacy of one particular documentary-like image of a subject posing with a gun in a parking garage–at Pellegrin’s request. (The subject told PDN that the image “put him in a bad light.”)
The Pictures of the Year International director has issued a statement today addressing the Paolo Pellegrin photography and caption controversy, waiting until last night to issue their findings after POYi finished announcing all of their category winners
Today a statement from POYi says, "The spirit of Pictures of the Year International is to honor photojournalists and celebrate their outstanding documentary photography. We do not probe for reasons to disqualify work."
Last week, debate erupted over an image Paolo Pellegrin had entered as part of a portfolio that won prizes at both the World Press Photo and Pictures of the Year International competitions. He had apparently cribbed his captions from the New York Times, m
Today, World Press photo organizers issued a statement that said, “The jury is of the opinion that although a more complete and accurate introduction and captions should have been made available by the photographer, the jury was not fundamentally mislead by the picture in the story or the caption that was included with it.”