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The brutality of South Africans turning on their neighbours was brought home yesterday morning as people stood by while a Mozambican man was stalked, stabbed and killed as he lay in township filth, pleading for his life.
It is just the third time the magazine has used amateur images on the cover. It’s generated a lot of publicity for TIME, which issued a press release about Allen’s photo the day the issue came out. “[Allen’s image] was just beautifully composed and it was compelling, and it caught my eye immediately and summed up the story in a really interesting way,” says TIME deputy director of photography Paul Moakley.
Michael Christopher Brown has been made an Associate Member
Carolyn Drake has been made a Magnum Nominee
Matt Black has been made a Magnum Nominee
Newsha Tavakolian has been made a Magnum Nominee
Max Pinckers has been made a Magnum Nominee
Richard Mosse has been made a Magnum Nominee
Lorenzo Meloni has been made a Magnum Nominee
via Correspondent: https://correspondent.afp.com/
It is 35 degrees out, and the humidity is close to 100 percent. We are tracking a freight train known as “La Bestia” (The Beast), as it rumbles from the southern border of Mexico towards the United States. This train is part of the history of migration. Hundreds of thousands have ridden it in pursuit of their American dream. Many have been attacked, robbed, mutilated or even killed in the process.
They have learnt how to deal with all this, from still photography to their own videos, from web-docs to new ways to present images, using all the potential of new technologies. A contemporary photojournalist is a producer who provide the money to create stories to be sold , an art director that will find the best way way to present the work, a web designer, post producer, video maker, writer, designer…
Isn’t the market asking too much of photojournalists?
Photojournalism is in transition as a profession and remains an unorthodox career for most. It is certainly not a stable way of life. It has always been a competitive, challenging and dangerous career path, and today it’s never been more dangerous and it’s too often deadly. And it will never return to what it was. In some ways that’s refreshing and presents new opportunities to develop the medium artistically and find a newly relevant and more vibrant place in the expansive media landscape of the digital age.
Brooklyn’s fourth annual free outdoor photo festival, Photoville, opens its gates for the second and final weekend later today. This year’s festival features over 60 exhibitions housed inside shipping containers and plastered on the outside walls, a number of hands-on workshops as well as panels. It’s also a pretty great places to brush shoulders with some of the most important documentary photographers working today. Here are 12 things we saw that we found particularly impressive.
Lexington, KY-based photographer Michael Reaves attended the Eddie Adams Workshop and shares his experience.
via The Photo Brigade: http://thephotobrigade.com/2015/10/the-eddie-adams-workshop-by-michael-reaves/
I am still processing (and recovering from sleep deprivation) from what was an amazing, inspirational, and challenging weekend at the Eddie Adams Workshop
In 2014, the Columbia Journalism Review published an article Building a New Storytelling Movement about the rise of a new journalistic approach called the “Restorative Narrative.” The trend, noted…
Have academics uncovered a new genre of news, or have they merely relabeled a long-practiced approach to storytelling?
In a changing media landscape, photographers need to be distributors too.
via Medium: https://medium.com/vantage/i-m-challenging-photojournalists-to-take-it-a-step-further-6fe804d400ee
In a changing media landscape, photographers need to be distributors too. And know their targeted audiences.
A look at Gordon Parks’s first photo essay for Life shows how editors’ choices of words and pictures can manipulate meaning.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2015/11/11/gordon-parkss-harlem-argument/
Fresh from assignments at Vogue and Glamour in 1948, Gordon Parks appeared one morning at Life’s New York headquarters, determined to show his portfolio to Wilson Hicks, the magazine’s esteemed picture editor. Mr. Hicks was initially reluctant, but he warmed to Mr. Parks’s work and the story he pitched about the gang warfare then plaguing Harlem.
World Press Photo Launches a Database of African Photojournalists
via Time: https://time.com/4078637/world-press-photo-database/
World Press Photo is teaming up with popular social media movement Everyday Africa to launch a new database of news photojournalists from Africa.
Jared Moossy was injured in a dramatic road accident
via Time: https://time.com/4088697/jared-moossy-photo-fund/
Yet, it was closer to home, in South Austin, that Jared Moossy came close to losing his life. On Sept. 3, six weeks before his wedding day, while riding his motorcycle home, he was struck by a car driven by a 31-year-old man allegedly under the influence of alcohol.
John Florea directed some of the most famous American TV shows of the 1960s, ’70s and ‘80s, but he spent his early years as a photographer in World War II.
via CNN: https://www.cnn.com/2015/10/27/world/cnnphotos-john-florea-ww2/index.html
John Florea directed some of the most famous American TV shows of the 1960s, ’70s and ’80s, like “Mission: Impossible,” “The Dukes of Hazzard,” “CHiPs” and “MacGyver,” but he spent his early years as a photographer on the bloody battlefields of World War II
She had an alluring persona, inherited a love and talent for photography and possessed a deep desire to find the human condition within conflict and war. Dr. Anthony Feinstein explains why an iconic photograph from the Balkans’ Civil War leads him to find out more about the photographer
via The Globe and Mail: https://www.theglobeandmail.com/news/national/a-passionate-eye/article26923985/
She had an alluring persona, inherited a love and talent for photography and possessed a deep desire to find the human condition within conflict and war. Dr. Anthony Feinstein explains why an iconic photograph from the Balkans’ Civil War leads him to find out more about the photographer (Alexandra Boulat)
This photo of migrant children at the Gevgelia camp on the Macedonia/Greece border uniquely captures the more daily highs and lows of this historic period.
via Reading The Pictures: https://www.readingthepictures.org/2015/10/the-new-europeans/
I imagine the hopeful and forward-looking tone, filled with casual, friendly and quietly-poignant moments, comes from the fact Ashley Gilbertson was photographing the migrant crisis on assignment for UNICEF