Best known for moving pictures of Vietnam, McCullin says photography has been hijacked by digital cameras and art world
via the Guardian: http://www.theguardian.com/artanddesign/2015/nov/27/don-mccullin-war-photographer-digital-images
Best known for moving pictures of Vietnam, McCullin says photography has been hijacked by digital cameras and art world
Reuters has implemented a new worldwide policy for freelance photographers that bans photos that were processed from RAW files. Photographers must now
via PetaPixel: https://petapixel.com/2015/11/18/reuters-issues-a-worldwide-ban-on-raw-photos/
“As eyewitness accounts of events covered by dedicated and responsible journalists, Reuters Pictures must reflect reality. While we aim for photography of the highest aesthetic quality, our goal is not to artistically interpret the news.”
While RAW images provide far more latitude for post-process manipulation, those edits are also harder to disguise. Edits to JPEG images, however, are easier to mask and most pro cameras have JPEG profiles which can boost contrast and saturation without ever needing post process manipulation–which was one of the reasons World Press Photo changed its submission rules in 2015 to require only RAW image submissions for most categories
The photojournalism contest unveils a new set of standards for visual journalism.
via Time: https://time.com/4125893/world-press-photo/
The world’s most respected photojournalism contest unveils a new set of standards for visual journalism.
After two years of controversy over images submitted to the World Press Photo contest, the organization has announced major changes to the competition’s rules.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2015/11/25/world-press-photo-introduces-new-ethics-guidelines-for-contest/
The new rules also include an independent fact-checking process for the captions of winning photos and a 36-hour period for entrants whose images may have been unduly altered to explain their process.
Valencia, Hefe, X-Pro II — such obscure names are familiar to the hundreds of millions monthly active Instagram users around the world, including a growing population of photojournalists who are…
via Medium: https://medium.com/vantage/put-a-filter-on-it-instagram-as-photojournalism-1319e21481e8
And as social media and photojournalism continue to evolve and intertwine, Instagram is still considered a trend.
“It’s a fad,” said Hernandez. “We’ll all look back and think, ‘Oh my gosh, we were all wearing tube tops and leg warmers’ as a photographic movement.”
Social media and new editing tools are recasting the digital landscape—and its rules—for photo journalism
via WSJ: http://www.wsj.com/articles/do-digitally-altered-photos-represent-fact-or-fiction-1470940019
A new wave of digital manipulation—and the blood sport of hunting for it—is roiling the world of photojournalism. Some of the industry’s biggest names and most established contests have been tarnished recently by accusations of tampering
Ukrainian photographer Dmitry Muravsky has been dismissed by his country’s Ministry of Defense after his viral combat photos became the center of
via PetaPixel: https://petapixel.com/2016/08/30/controversial-combat-photo-leads-ukrainian-photographers-dismissal/
Ukrainian photographer Dmitry Muravsky has been dismissed by his country’s Ministry of Defense after his viral combat photos became the center of controversy regarding whether or not they were staged.
The controversy over a white artist’s painting of Emmett Till’s corpse raises issues of appropriation without historical context.
There are few photographs more consequential in African-American history — and our nation’s — than those of Emmett Till’s mutilated corpse. The images from 1955 are gruesome and emotionally devastating, coming as they did after the 14-year-old was beaten and shot by two white men. And while authorities in Mississippi tried to bury the teenager as quickly as possible, his mother, Mamie Till Mobley, insisted otherwise, allowing photographers to commemorate the ghastly scene.
Visual evidence of Aleppo’s horrors has not produced compassion fatigue but doubt in the ability to intervene. That is what the rescue photos demonstrate.
via Reading The Pictures: https://www.readingthepictures.org/2017/05/photographer-rescue-syria/
Abd Alkader Habak runs from the explosion site, cradling a boy in one arm and gripping a camera in his free hand
Right now, a conflict photographer named Eduardo Martins is supposedly driving around in a van somewhere in the Australian outback. And you probably won’t
via PetaPixel: https://petapixel.com/2017/09/04/fake-war-photographer-gets-exposed-fooling-world/
Right now, a conflict photographer named Eduardo Martins is supposedly driving around in a van somewhere in the Australian outback. And you probably won’t see any new work from him anytime soon: he’s in hiding after pulling off one of the craziest cons in the history of photojournalism.
Photographer Bill Frakes, whose career has included shooting for the likes of Sports Illustrated and Coca-Cola, has been removed from his position as visiting professor at the University of Nebraska – Lincoln. The decision was made by the university after it judged that a report claiming sexual harassment against Frakes was credible. News of the allegations first surfaced in documents obtained by The World-Herald.
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.
via Poynter: https://www.poynter.org/ethics-trust/2017/the-poynter-institute-code-of-ethics/
These guidelines describe the values, standards and practices we pursue in our journalism, our teaching and our fundraising to support our mission. It is a living document that we expect will mature and evolve with our work. It is broken into three sections: core values, business practices and privacy.
In the wake of a tragedy, the media universe is grappling with an issue it has avoided for years.
Link: https://www.nytimes.com/2017/08/17/business/media/charlottesville-deadly-protest-media.html
It took the death of a young woman at the hands of one of the neo-Nazis she was protesting to force the ever-expanding media universe to face a question it has been evading for years: Where’s the line?
Photographer Robert Shults, who was once homeless, explains the ethics of photographing homeless people, with good and bad examples of homelessness stories.
via PDN Online: https://pdnonline.com/features/photographer-interviews/formerly-homeless-photographer-not-photograph-homeless-people/
Photographer Robert Shults, who was homeless and living on the streets for several months in 2001, explains the ethical challenges of photographing homeless people, and points out good and bad examples of photo projects about them.
FacebookTweet We’re seeing a lot of commentaries triggered by the Souvid Datta episode, where he is accused of both photographing unethically, and of passing off…
via Luminous Landscape: https://luminous-landscape.com/ethical-photography-go/
We’re seeing a lot of commentaries triggered by the Souvid Datta episode, where he is accused of both photographing unethically, and of passing off collaged and plagiarized material as his own. This has led to a great deal of hand-wringing and upset, with many people making observations about the state of the photojournalism industry, about the awards-driven nature of certain areas of documentary photography, and so on. What nobody seems to be doing is proposing solutions.
Ken Geiger’s image of Grand Teton and the eclipse is beautiful.
Is it art? A composite? Photoshop? Multiple exposures, shot with different lenses in different directions at different times of day on two different frames? An impossible scene? I suppose “illustration” is the best description. Whatever it is, it’s gorgeous, but it’s certainly not photojournalism. It’s not reality, but the artist defines it as art and intends it to transcend reality.