A freelance photographer who has been working with the NBA for several years has been kicked out of the league’s Orlando “bubble” after he was called out
A freelance photographer who has been working with the NBA for several years has been kicked out of the league’s Orlando “bubble” after he was called out for re-sharing an offensive meme about Joe Biden’s running mate Kamala Harris on his Facebook page.
Magnum Photos and prominent photojournalist David Alan Harvey are under scrutiny online today after some of Harvey’s photographs labeled as ‘Teenage’
Magnum Photos and prominent photojournalist David Alan Harvey are under scrutiny online today after some of Harvey’s photographs labeled as ‘Teenage’ ‘Thai Prostitutes’ from 1989 surfaced in the Magnum archives, where users could purchase the images or share them online.
PhotoShelter’s Caitlyn Edwards interviews co-authors Jai Lennard, Jovelle Tamayo and Tara Pixley to discuss the Photo Bill of Rights.
via PhotoShelter Blog: https://blog.photoshelter.com/2020/07/photo-bill-of-rights/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
Recently I had the opportunity to virtually sit down with three of the co-authors of the Bill: Jai Lennard, photographer and founder of Color Positive; Jovelle Tamayo, photojournalist and founding member of Authority Collective; and fellow Authority Collective co-Founder, visual journalist and media scholar Tara Pixley to discuss the Bill.
Initiated by Canon with agency Uncle Grey Copenhagen, it allows photographers to upload images together with the stories and contexts behind them, aiming to curtail misappropriation.
Initiated by Canon with agency Uncle Grey Copenhagen, it allows photographers to upload images together with the stories and contexts behind them, aiming to curtail misappropriation.
Editor’s note: Photojournalist David Burnett recently penned a letter to the National Press Photographers Association in response to the discussion around photographic ethics and the publication of the Photo Bill of Rights. With his permission, we are rep
via PhotoShelter Blog: https://blog.photoshelter.com/2020/07/david-burnett-letter-to-the-nppa-on-ethics/
Editor’s note: Photojournalist David Burnett recently penned a letter to the National Press Photographers Association in response to the discussion around photographic ethics and the publication of the Photo Bill of Rights. With his permission, we are republishing it in its entirety.
As photographers responded to the controversial Poynter article entitled “Photographers are being called on to stop showing protesters’ face. Should they?” PhotoShelter co-founder Allen Murabayashi published a series of pieces that intensified the convers
As photographers responded to the controversial Poynter article entitled “Photographers are being called on to stop showing protesters’ face. Should they?” PhotoShelter co-founder Allen Murabayashi published a series of pieces that intensified the conversation around the First Amendment and the well-being of protesters and vulnerable populations.
A vigorous, sometimes vitriolic debate has erupted in photography circles around whether to photograph protestors’ faces.
via PhotoShelter Blog: https://blog.photoshelter.com/2020/06/on-ethics-the-first-amendment-and-photographing-protestors-faces/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
A vigorous, sometimes vitriolic debate has erupted in photography circles around whether to photograph protestors’ faces. As someone who’s written about the topic, I’m struck by the clumping together of disparate concepts and issues, which has made discussion difficult. People are arguing, but they are often arguing about different concepts simultaneously.
Editor’s note: Veteran photojournalist Yunghi Kim (@yunghi) sent me the following thoughts after the publication of my article about the ethics of showing protestors’ faces. My professional perspective is that there is a problem with the Poynter piece “Ph
A journalist’s job is to report and inform, not report and withhold or alter. People in a public space have no expectation of privacy nor should they. Nor should we as photojournalists get into the murkiness of negotiating or agreeing to shield IDs in a public space.
In the midst of global protests in support of #BlackLivesMatter, the Poynter Institute caused a ruckus within the photojournalism industry last week with the provocatively titled “Photographers are being called on to stop showing protestors’ faces. Should
In this episode of Vision Slightly Blurred, Sarah Jacobs and Allen Murabayashi discuss the ethics of showing protestor faces, the 17-year old who filmed the killing of George Floyd, John Edwin Mason’s essay on protest photos, the controversy at the Pittsburgh-Gazette and more!
For many, the argument is about rights vs. responsibilities. Journalists have a clear legal right to document faces. The question at hand is how and when.
via Poynter: https://www.poynter.org/ethics-trust/2020/should-journalists-show-protesters-faces/
Legally, there’s no question — when protesters are in public spaces engaged in newsworthy activity, visual journalists are well within their rights to document them. But protesters fear potential retaliation when images become public.
This week has been unusually difficult for photographers who are trying to cover the George Floyd protests. Essay and images by photographer Alan Chin.
via Reading The Pictures: https://www.readingthepictures.org/2020/06/photographing-protest/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28Reading+The+Pictures%29
In a recent Facebook post, New York Times writer David Gonzalez confronted photojournalists who make photographs of protests. “Fotogs: What do you value?” he asked. “Now is not a good time to start handicapping which image of Black suffering will get a Pulitzer. Especially when your POC [people of color] colleagues are worried about their families, lives and community.” Veteran photographer Joseph Rodriguez suggested in response to the post that photographers are making the “same ol’ same ol’ images of death, disease, poverty, violence. It is the DNA of several news photo contests.”
Filmmaker Francesca Tosarelli, who has covered COVID-19 in Bergamo, Italy, one of the hardest-hit areas to date, considers her role in chronicling a crisis where the best course of action is to remain home
via British Journal of Photography: https://www.bjp-online.com/2020/04/on-the-ethics-of-documenting-a-pandemic/
Filmmaker Francesca Tosarelli, who has covered COVID-19 in Bergamo, Italy, one of the hardest-hit areas to date, considers her role in chronicling a crisis where the best course of action is to remain home
After World Press Photo announced its finalists this year, Iranian photographer Solmaz Daryani came forward and accused German photographer Maximilian
After World Press Photo announced its finalists this year, Iranian photographer Solmaz Daryani came forward and accused German photographer Maximilian Mann of plagiarizing photos from her personal project for his environmental photos of Lake Urmia in Iran. Now Mann’s collective is firing back, accusing Daryani of fabricating the controversy with previously unpublished photos.
Decisions made by photojournalists and their editors define traumatic events in the cultural consciousness. Throughout coverage of COVID-19, many news outlets have published photographs that reiterate racist tropes, suggest a false gap between “East” a
via Columbia Journalism Review: https://www.cjr.org/opinion/covid-19-photos-distance-bias.php
DECISIONS MADE BY PHOTOJOURNALISTS and their editors define traumatic events in the cultural consciousness. Throughout coverage of COVID-19, many news outlets have published photographs that reiterate racist tropes, suggest a false gap between “East” and “West,” and fail to engage a fuller range of human efforts to respond to a pandemic.
The prestigious World Press Photo competition has been plagued by several controversies in recent years, and it looks like this year’s contest is no
It all started when Iranian photographer Solmaz Daryani came across a photo project titled “Fading Flamingos” by German photographer Maximilian Mann, who’s a finalist in the Environmental category of this year’s World Press Photo contest.
Late Winter brings about a new crop of contest winners and nary a season goes by without a whiff of controversy in some form or fashion. Yesterday World Press Photo announced its 2020 Photo Contest and Digital Storytelling Contest nominees. Among the fift
via PhotoShelter Blog: https://blog.photoshelter.com/2020/02/what-is-this-halo-around-a-world-press-photo-nominee/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
Finally, for those who don’t understand what the big deal is, consider that even though we bandy about the term “fake news” with abandon, most journalists and photojournalist work within an ethical framework set out by their professional organizations and/or publishers. When a visible aberration like this halo appears without explanation, we have to wonder what else might have been edited within the frame.
Trust in visual content is quickly eroding. Technology can help by enforcing authenticity, authorship, and integrity. But only if everyone agrees.
via Kaptur: https://kaptur.co/can-visual-content-remain-trustworthy/
Out of six senses, vision is, by far, the one we trust the most for critical information. Studies show that if receiving conflicting information from our senses of sound and touch, for example, vision is always the sense we rule correct. It is our primary source of trust. If we see it, it exists. If not, it might not be real. If we can no longer believe what we see, our world will be torn apart.
Fujifilm found itself in the middle of a heated debate about ethics and street photography yesterday, when one of the promo videos it released for the
Fujifilm found itself in the middle of a heated debate about ethics and street photography yesterday, when one of the promo videos it released for the Fuji X100V sparked outrage among a certain segment of the company’s fans on YouTube. The video has since been taken down.
The company, owned by Google’s parent, introduced a free tool it calls Assembler to sort out real images from fake ones.
Link: https://www.nytimes.com/2020/02/04/technology/jigsaw-doctored-images-disinformation.html
The company, owned by Google’s parent, introduced a free tool it calls Assembler to sort out real images from fake ones.