On the third full day of judging at NPPA’s Best Of Photojournalism competition at The Poynter Institute for Media Studies, judges picked winners in the categories Domestic News Picture Story, International News, General News, Enterprise, Natural Disaster, and Environmental Picture Story.
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Photographer and photo editor Geoffrey Hiller has created Verve to feature photos and interviews by the finest young image makers today. Verve is a reminder of the power of the still image. Verve will also point you to new photo agencies, publications and inspiring multimedia projects.
Check it out here. Via Tim Gruber.
On the second full day of judging at NPPA’s Best Of Photojournalism competition at The Poynter Institute for Media Studies, judges picked winners in the categories Sports Photojournalist of the Year, Non-Traditional Journalism Publishing, Sports Picture Story, Sports Portfolio, Celebrity Picture Story, Natural Habitat, Domestic News, Serial Portrait, Local Portrait & Personality, and The Road To Office.
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Photojournalists— #4 on the list:
Photogs like Dead Rising’s Frank West and Disaster Report’s Keith Helm embody what every photojournalist wants to be; in the thick of the action, kicking some ass (objectivity be damned), and taking the controversial shot that blows a worldwide conspiracy wide open. Sure, some war photojournalists get to take some pretty gripping shots, but most are stuck taking pictures of blue-haired elderly ladies complaining at town hall meetings or sleeping in their car waiting for Britney Spears to leave her house and (hopefully) leave her baby on the roof of the car as she drives off to Starbucks.
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I started shooting this series my first trip to Iraq and always enjoy the diversion of shooting while stuffed into the back of a Humvee. It helps keep the mind off things that tend to happen while riding in the back of a Humvee. And usually, as a journalist, you end up sitting in the seat that is on top of the gas tank. Not the best place to be if something bad is to happen.
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This month we focus on John Moore, a senior staff photographer with Getty Images based in Islamabad, Pakistan. Before joining Getty, Moore was a staff photographer with the Associated Press, and was on a team that won the 2005 Pulitzer Prize in Breaking News Photography for their coverage of the war in Iraq. Having lived in Nicaragua, India, South Africa, Mexico, Egypt and Pakistan, as well as the United States, Moore estimates that he’s worked in over 80 countries throughout his career. Most recently named Magazine Photographer of the Year in POYi, Moore was awarded two first place prizes at the 2008 World Press Photo Contest for his coverage of Pakistani Prime Minister Benazir Bhutto’s assassination. Taking some time while on a layover in Johannesburg in route to Zimbabwe, Moore provides some insight into what it’s like to work as an international conflicts photographer.
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Judging in the Still Photography and Web categories of NPPA’s Best Of Photojournalism competition started today at the contest’s host site, The Poynter Institute for Media Studies in St. Petersburg, FL, and it’s NPPA’s biggest Best Of Photojournalism contest to date.
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By Rick Loomis, LA Times
How can you never forget someone you never knew?
I did take Marine Lance Cpl. Aaron Austin’s photo, but I take photographs of people every day and I can’t say I knew him.
It’s the picture I didn’t take that has left Austin burned forever in my memory.
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What started out as an assignment for school has produced a piece that has changed my life and hopefully will do the same for the people that view it. That was my hope when producing it at least. Ten weeks ago, we (my grad class at OU) were given the assignment to create a magazine including the brand, the mission statement and of course the content.
For this project, I decided to focus on the mental health crisis, specifically in prisons. This brought me to the CPTU inside the Kentucky State Reformatory.
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After nearly 20 years at the Monitor, the last 13 as photo editor, Dan Habib has left to pursue a career as a filmmaker. For us, it is as though a member of the family has moved out. For readers, it is a milestone, too.
Dan raised photojournalism at the Monitor to heights seldom reached by a newspaper our size. He seemed to lead the photo staff without effort, but there was always effort. He just figured out how to make a difficult job look easy.
It is hard to know where to begin to describe what Dan did for us and our readers, but the one trait that connects all his talents is humanity. He is the most decent person most of us know. His caring for others governed the way he dealt with the community and with his colleagues.
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Yesterday I wrapped up a rather anticlimatic day of covering the rising floodwaters in St. Louis. For days my name was missing from the flood coverage roster until Friday morning when the word came down that I was set to ride with the U.S. Coast Guard (Air Station New Orleans) air group who are up here staging in Chesterfield while conducting search-and-rescue operations.
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I must say that I have never lived in a place that has flooded before. After the midwest rains finally stopped coming down, I was amazed at what parts of town looked like.
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Judging in the Still Photography and Web categories of NPPA’s Best Of Photojournalism competition will start Monday at the contest’s host site, The Poynter Institute for Media Studies in St. Petersburg, FL, and it’s NPPA’s biggest Best Of Photojournalism contest to date.
“More than 4,000 people entered the contest, up more than 25 percent over last year,” NPPA executive director Jim Straight said. “There are more than 21,000 entries totaling over 58,000 individual items (photographs, clips, and Web sites). That’s up 3 percent over last year, with a 20 percent shorter entry period.”
Photographers from more than 140 countries entered this year’s Best Of Photojournalism competition, which has remained a free contest with no entry fees since its beginning.
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photo by Veronique de Viguerie
The French Association of Women Journalists (AFJ) and Canon France are launching, with Images Evidence, the eighth Canon Female Photojournalist Award.
The Award is open to professional women photojournalists of any age and nationality and is supported by Le Figaro Magazine. It is presented every year during the Visa pour l’Image Festival in Perpignan, France. Canon France grants the winning photographer €8,000 to help her complete a photojournalistic project.
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By MICHAEL KAMBER
Photojournalist Joao Silva and I jumped in a car and searched the streets. We found U.S. soldiers towing a damaged Humvee. It had been struck by a roadside bomb. Days later we were nearly knocked off our feet by the Red Cross bombing, which killed scores. Bodies were scattered across an entire city block.
Joao, myself and Dexter Filkins were set upon by a crowd and nearly killed as we covered the attacks that morning.
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I am a photographer and have captured thousands of images of Iraq and the war there since that day. But when I stop reading about the war, I guess I get that faraway look I always saw, as I grew up, in the eyes of countless veterans and civilians who lived through war, including my mother. I don’t wonder what they see anymore. I see images. Not the images I took, as the shutter is closed the moment I capture a photograph. I see the images and feel the sensations I keep mentally when I am without the help of a lens. Sometimes they are still images and sometimes they are short movie clips of the people on all sides of the war who are no longer living.
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WARS, the inaugural series will launch on the Magnum In Motion home page, March 19, five years after the war in Iraq began. It will be published on Slate as four episodes.
The point of departure was a quote extracted from Magnum photographer Philip Jones Griffiths from a 2006 interview conducted in London by Magnum In Motion.
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I feel like a child holding a camera for the first time. But I have only one roll of film. My interests are sparked with every sound, smell and sight. But I have to be diligent and make every frame count. My camera lays in slumber till I am truly ready to photograph this city, this country.
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