The stakes are high: We now experience fake photos daily. Mostly in the form of politically motivated memes, which have damaging long-lasting effects on the opinions of unsuspecting voters. Insurance companies, who rely increasingly on visuals to process claims, lose $40 Billion a year on frauds. Ebay and other “items for sales” apps repeatedly suffer from false advertising. Dating apps used malignantly with fabricated or stolen profile pics. The list goes on. The current lack of ethics is profoundly eroding our trust in photography. It is up to technology to restore it.
Online photo contests are a popular way for photographers to test their skills and vie for global recognition and bragging rights. But some contests are
Online photo contests are a popular way for photographers to test their skills and vie for global recognition and bragging rights. But some contests are more reputable than others. A number of popular photo contests are now at the center of a growing controversy, and all indications seem to point to the fact that there may be one mysterious man behind all of them.
Photographers who were asked to judge the Monochrome Awards, a black-and-white photography competition that charges entry fees ranging from $15-$25 tell PDN that they never judged the competition.
Photographers who were asked to judge the Monochrome Awards, a black-and-white photography competition that charges entry fees ranging from $15-$25 tell PDN that they never judged the competition. The stories of these photographers, and the refusal of Monochrome Awards representatives to respond to PDN’s questions about the organization and one of its organizers, Sebastian Markis, suggest there may be a connection between the Monochrome Awards and the International Photographer of the Year awards, another competition that came under scrutiny recently and is suspected of falsely promoting its jurors. Markis is also involved in a third organization, Monovision Magazine, which runs a black-and-white photography competition, PDN has learned.
There’s something strange going on with the International Photographer of the Year (IPOTY) photo contest. 11 of the 14 photographers listed as judges for
There’s something strange going on with the International Photographer of the Year (IPOTY) photo contest. 11 of the 14 photographers listed as judges for the IPOTY 2017 contest say they weren’t asked to judge a single thing before the winners were announced in February (and the other 3 couldn’t be contacted).
National Geographic made ripples today by acknowledging that the famous yellow-bordered magazine spent decades of its history publishing photographs and
National Geographic made ripples today by acknowledging that the famous yellow-bordered magazine spent decades of its history publishing photographs and stories that were racist.
When Mehrdad Oskouei, a well known Iranian filmmaker, was planning to produce his last film Starless Dreams he asked one of his former students, Sadegh
As Oskouei completed his film and entered it into international festivals, Souri wrapped his photo essay Waiting Girls (Persian: دختران انتظار), a series of black and white images from the correctional facility. In all international publications and contests, Souri’s photo series has a more provocative title, Waiting for Capital Punishment. Souri never informed the director nor asked for his permission to publish his pictures.
After the photo collective dropped a member without a public announcement, other women photographers came forward alleging he pressured them to pose nude.
Prime, the cooperative photo agency, announced this week that it has dropped Christian Rodriguez from its roster in October 2017 after an unnamed female photographer reported he had tried to pressure her into posing nude. In an article posted March 7 on the website Medium.com, members of the collective noted that they had voted to remove him in November; his work was taken off the collective’s website. Since then, other women shared similar complaints about Rodriguez. “To date, approximately 32 women have come forward to share their stories,” the article states. Prime states that some incidents occurred within recent weeks, others took place years ago.
This week, TIME magazine published James Nachtwey’s photo essay on the opioid crisis. Over his decades-long career, Nachtwey has carved out a reputation as a stoic and relentless documentarian of conflict and pain. His latest effort took over a year to pr
Do Frayer’s images pop? Yes, they do – especially when compared to Nachtwey’s. But does the retouching style support or detract from the content of the photos? And more importantly, does it matter? I would suggest that if any material percentage of the public believes that the scene has been staged, then insofar as photojournalism is concerned, there is a problem. But in today’s world where punchy Instagram-style images have influenced a news-weary public’s perception of photography, perhaps the discussion is moot.
Fundamental questions remain: What is the line between informing audiences and exploiting victims and their families? Should the media find a balance between shocking and shielding audiences? And when it comes to mass shootings – and gun violence more broadly – if outlets did include more bloody images, would it even make a difference?
As the U.S. grapples with yet another mass shooting at a school – this time 19-year-old Nikolas Cruz killed 17 students and teachers with an AR-15 semiautomatic rifle in Florida – the media must ponder how to cover the tragedy, and consumers have to grap
The “common sense” position rejects publication of death photos out of respect for the victim and their families, but the truth is that the media has had an uncomfortable relationship with images of violence, murder and death almost since the inception of photography.
Notable American photographer Kalliope Amorphous has published a warning to other photographers who are considering protecting their copyright using ImageRights International. She accuses the company of an “egregious grab” that forces photographers to use the company’s legal services.
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.
Within minutes of the school shooting at Parkland High School in Broward County, Florida, video of the shooting, including shots and screams flowed online. Graphic video of a bloody body gave a hint of the horrors that would unfold. Another student snapped photos while crouched in a classroom while another recorded SWAT officers herding children out of an auditorium. I am not linking to those images here. You can find them easily if you want to.
Put aside the intellectual laziness of using an interview format for an expository piece on how to illustrate the news, but this Poynter piece entitled “These Tools Will Help You Find the Right Images for Your Stories” is garbage. In their About page, Poy
Put aside the intellectual laziness of using an interview format for a expository piece on how to illustrate the news, but this Poynter piece entitled “These Tools Will Help You Find the Right Images for Your Stories” is garbage.
A number of observations are being made about this photo — many of them arguments as to why it can’t possibly be real. One of the most glaring ones for many people is the fact that some of the clouds in the photo appear to be behind the moon.
With each iteration of Photoshop, it is easier and easier to alter images, making it impossible to spot the alterations. Soon, with AI generated images taking over in many fields, it will be impossible to trust if an image is an actual photograph or a complete fabrication. Photography is in danger of losing its essential tie to reality and truth. Enters TruePic. With an array of patented technologies, the company offers a solid counterbalance to this seemingly unstoppable wave of reality-altering technologies. It certifies that a photograph is 100% original and has not been tampered with. We spoke with CEO Jeff McGregor to learn more:
In light of another prominent figure in the photography industry being accused of sexual misconduct, I feel compelled to pen my feelings about it all, specifically what it has done to MY profession of choice; photojournalism.
Vanity Fair just unveiled its latest Hollywood issue, which features a cover photo of 12 Hollywood stars captured by photographer Annie Leibovitz. But people are talking about the photos today for all the wrong reasons: the cover photo (shown above) appears to show Reese Witherspoon with a 3rd leg and another photo definitely shows Oprah with a 3rd hand.
