Posts were created to promote a photography festival
via Time: http://time.com/3982506/immigrant-instagram-migrant-journey-abdou-diouf/
“We were shocked to see it published,” Spanish producer behind “Abdou Diouf” account tells TIME
VICE sent two photographers to Appalachia and all we got are these cheap, damaging stereotypes?
via Medium: https://medium.com/vantage/taking-liberties-taking-shortcuts-and-taking-advantage-of-people-1d5f5bea4c55
VICE sent two photographers to Appalachia and all we got are these cheap, damaging stereotypes?
WaPo deletes trippy photos of GOP presidenital candidates that were processed through Google’s neural networks
via Medium: https://medium.com/vantage/photojournalism-on-acid-e93ea2e2d64a
Fooling with Google’s neural networks, WaPo deletes post after armadillo-faced treatment of GOP pack
Drug addicts. Bronx. Vulnerability. Exploitation. Power. Journalism. The Bronx Documentary Center (BDC) is running a show. Here’s the message they…
via duckrabbit: https://www.duckrabbit.info/2015/07/politics-power-photography-and-people/
Do you think the (un-named) mentally ill (or mentally handicapped) ‘patient’ pictured here gave informed consent? I doubt it. Does that matter? For some people, yes. For others, probably not
© David Pace David Pace: I would not pay anyone to take their portrait. That would make it an impersonal business transaction. I believe in establishing a relationship with the…
via Feature Shoot: http://www.featureshoot.com/2015/07/we-asked-19-photographers-would-you-ever-pay-someone-in-order-to-take-their-portrait/
Meridith Kohut is one of the most sought-after and prolific photojournalists in the world, and she almost missed her calling.
For a (self)-publisher who has disavowed any similarity to the media, the pairing of this photo with that quote at this point in time demonstrates, in no uncertain terms, an editorial decision to post material with no editorial context.
via Reading The Pictures: http://www.bagnewsnotes.com/2015/07/hony-gay-schoolboy-photo/
From the perspective of a viewer though, there is still not a solid story being told about this boy. In that the photo is heart-rending, it’s done it’s job. One can’t NOT feel something when looking at it. That said, there are too many assumptions: He’s crying because he’s gay. His being comfortable enough to have this conversation with a stranger. His maturity to agree to be photographed. That maturity allowing him to reveal himself honestly to the photographer and audience.
Introduction Following some recent discussions about the way I created an image of an Aurora (see video below) using Photoshop layers and the post-processing work I undertook on an image I captured in the Antelope Canyon in Page, Arizona (where I introduc
via Luminous Landscape: https://luminous-landscape.com/the-very-old-debate-of-image-manipulation/
All arts have always involved some level of manipulation; be it painting, writing, drawing, stone carving etc., they all involve manipulation. Creation involves choices and decisions and interpretation.
But the growing popularity of image manipulation (widely used in the magazine industry) has raised a few concerns as to whether it allows for unrealistic images to be portrayed to the public
Last week, TIME published a photo story (Besieged by ISIS: Photographs From Inside the Syrian City of Deir ez-Zor) that raises concerns for me about objectivity. It’s hard to see the seventeen images or the words as doing more than serving the propaganda aims of the Assad government, making me further wonder if the sympathy for the Syrian government and the Syrian Army wasn’t, at least tacitly, the price of access.
Doan Cong Tinh, 72, says the controversial photo was not meant to be sent out to an international exhibit
via Thanh Nien Daily: http://www.thanhniennews.com/arts-culture/vietnamese-journalist-apologizes-for-photoshopped-war-picture-46669.html
A photojournalist has apologized for “mistakenly” sending a photoshopped picture of Vietnamese solders during the war to an international exhibition, saying it was a “big lesson” for him.
The WikiLeaks bounty for a TPP leak challenges us to rethink media ethics.
Setting a bounty on the treaty text turns journalistic mores on their head. In traditional newsrooms, the idea of offering a cash incentive for the leaking of confidential documents is anathema. But WikiLeaks, like other media disrupters, leaves us no choice but to reconsider this prohibition. If journalism organizations refuse to do so, they relegate themselves either to secondhand reporting on documents obtained by those outside journalism or to being left behind.
The Kremlin’s network of professional propaganda-spewing internet trolls is large. According to one former insider, there are thousands of Russians who work full-time jobs publishing social media updates, internet comments, and blog posts specifically des
via Gawker: http://internet.gawker.com/was-russias-propaganda-troll-army-behind-this-new-york-1708449101
Though it purported to give an unbiased look at the recent violent unrest in each of the titular countries, Material Evidence stunk unmistakably of pro-government propaganda. The Ukraine section of the exhibition broadly depicted all Euromaidan protesters as neo-Nazis, and several of the Syrian photos were provided to organizers by the Syrian government itself.
I came across two thought-provoking image series one day last week. Each one was technically superb, the result of painstaking…
via duckrabbit: http://www.duckrabbit.info/2015/06/fact-fiction-manipulation/
I came across two thought-provoking image series one day last week. Each one was technically superb, the result of painstaking work by talented and committed photographers. Both dealt with difficult and contentious issues, of (sexual) exploitation, rural isolation and social marginalization. Both were ‘documentary’ projects, made by photojournalists. However one was ‘fact’ but presented as ‘fiction’, the other ‘fiction’ but presented as ‘fact’.
“We need rules that are understandable and practical for photographers.”
via Time: http://time.com/3897858/photo-expert-a-manipulated-image-is-not-necessarily-a-lie/
“We need rules that are understandable and practical for photographers, for agencies, and everyone interested in the image in general.”
There is a struggle going on in documentary photography between proponents of journalistic ethics and practices and those who believe that new visual and storytelling strategies are needed to communicate effectively in the modern world. The controversies surrounding this year’s World Press Photo awards have amplified this debate.
Photographer Sara Naomi Lewkowicz discusses her controversial documentary coverage of a domestic violence incident she photographed when she was a student at Ohio University with Esquire.com photo editor Elizabeth Griffin.
via The Photo Brigade: http://thephotobrigade.com/2015/04/sara-lewkowicz-documenting-domestic-violence-navigating-a-controversial-career-break/
Photographer Sara Naomi Lewkowicz discusses her controversial documentary coverage of a domestic violence incident she photographed when she was a student at Ohio University
Pictures of the Year International director Rick Shaw today confirmed that Italian photographer Giovanni Troilo’s “The Dark Heart Of Europe” essay, entered in the 72nd Pictures of the Year International Visual Editing Division in the Motion Issue Reportin
via NPPA: https://nppa.org/news/troilos-dark-heart-europe-was-awarded-then-disqualified-poyi
Shaw says the judges initially awarded Troilo’s entry 3rd Place, but then two of the four judges “became uneasy” with the project and asked Shaw to contact the photographer for more information and clarification.
Michele McNally, director of photography and assistant managing editor of The New York Times, offers this perspective: “The vast majority of the 20 percent were obvious deceptions – there were addition or subtraction of material, that was really evident.”
“Digital darkroom processing…is not the same as the old wet, analog darkroom,” said McNally. That is why the rules are outdated: “So much does not apply and we need clearer standards.”
Italian photographer Giovanni Troilo’s series The Dark Heart of Europe was stripped of its prize from the World Press Photo Awards after being revealed as having crossed photojournalism’s ethical line
via The Globe and Mail: http://www.theglobeandmail.com/arts/books-and-media/is-a-memoir-ones-own-personal-truth-or-is-it-reporting/article23314553/
Then I spoke to Canadian photojournalist Donald Weber, one of the judges for the World Press Photo Awards. He was a jury member at both stages of the process that selected Troilo as the winner of his category. Weber took a more philosophically complex view (or a sophistic one, depending on your stance). He described, in e-mails, how he shot the EuroMaidan protests in Kiev and saw the whole thing, with its costumes and its audience, as theatre on a vast stage. “The whole goddamn thing is staged, Gaza was staged, large news events by their very nature are theatrical … As a photographer, you have to spend time with a subject to gain trust, you have to earn their comfort and their freedom to allow you into their lives … so, there’s a ballet, a dance, a theatrical element to our relationship … Is this not staged? … The only photographer that is offering a pure image is that of a Reaper drone in Pakistan, flying 20,000 feet above, undetectable … That’s total neutrality. Is that what we want?” Weber points out that the “photo of the year” winner, shot in a private St. Petersburg apartment with the consent and collaboration of its two subjects, could easily have attracted the ire of what he calls the “fundamentalists.”
It was stated that over 20% of the finalists were “disqualified” for manipulation of some sort. Again, Kudos for making a stand. But without showing examples or defining exactly what was done that was considered egregious, you have actually done a disservice to the photographic community.
The photography organization said Giovanni Troilo’s entry in the Contemporary Issues category failed to comply with its contest rules.
The decision to rescind the award came a day after a leading photojournalism festival, Visa Pour L’Image, said it would not show any World Press Photos this year to protest what it said were staged photos