Larry Sultan once said he “always thought of a great photograph as if some creature walked into my room; it’s like, how did you get here? … The more you try to control the world, the less magic you get.” Winogrand had no objection to staging things; it was just that he could never come up with anything as interesting as what was out there in the streets. But when does the staging start?
Another Crimea brings together six photographers from the prominent photographic agencies Noor, VII and Magnum. The photographers (Christopher Morris, Francesco Zizola, Gueorgui Pinkhassov, Olivia Arthur, Pep Bonet and Yuri Kozyrev) each produced a documentary photo series, or in one case a film, in the region over ten days in summer 2014
It’s rare as a photographer you are in the position where time, space, and circumstance intersect, and that you can make a picture which reflects it all.
It’s an organic interpretation, framing the situation as a hardened inevitability because these fatal incidents just don’t stop, in spite of the efforts by earnest and identifiable community leaders, elected and legal officials, as well as law enforcement by the light of day
An early adopter of mobile technology, Benjamin Lowy was the first person to have a cell phone photo make the front page of a major magazine. He has since taken this fresh approach to the front lines in Iraq and Libya.
With the increasing popularity and accessibility provided by digital photography, can a photograph actually create the sort of change that the masterful pieces of the past are believed to have been capable of?
Ohio University photojournalism student Sarah Stier asks how to react in situations where one’s ability to work as a photojournalist is questioned because of gender.
One of the best compliments I’ve ever been given came from a woman who had previously worked for the Baltimore Ravens. While at a high-profile event, the woman leaned over to my boss and said, “Your photographer right there? She’s got something that many women struggle with, she’s got confidence. She’s gonna be able to make it in this field.”
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.
Earlier that day, photographer Andy Mills flew by Christie and his family — twice — while taking photos from the open door of a small plane. Christie and his wife were catching some rays on an otherwise deserted shoreline behind a state-provided beach house.
Trade associations in almost every industry have suffered drastic membership loss in the past decade, and photography is no exception. As users moved online and “precious” information became freely available, many photographers have questioned why they should pony up money for an occasional happy hour and conference in an outdated hotel. I’ve personally maintained my…
And for many photojournalists (whether freelance or not), work environments are becoming increasingly hostile. Thus the advocacy work of the NPPA for everything from press freedoms to copyright legislation has also become more directly relevant. It’s a level of protection that can’t be gleaned from watching a YouTube video or downloading a PhotoShelter guide.
With the threat to visual journalists never greater than today, our ability to advocate on your behalf has never been more important. But, ensuring the stability and continued work of the NPPA comes with increasing costs.
That is why the NPPA board voted to increase annual dues for the first time in 11 years. This is not a decision we made lightly; rather, it was a step necessary to ensure the future of this organization.
As tensions mounted around Charlottesville’s Emancipation Park on Saturday, Ryan M. Kelly stepped onto the sidewalk. Photographing Saturday’s rally was to be his final assignment for the The Daily Progress newspaper in Charlottesville; he had accepted a job as the digital and social media coordinator at a brewery, where, as he noted on Twitter, he would “get paid to geek out about beer.”
Photographer Robert Shults, who was once homeless, explains the ethics of photographing homeless people, with good and bad examples of homelessness stories.
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.
Ms. Pixley is now circulating a survey to examine issues of class, race, ethnicity, gender and sexual orientation in photography. It includes questions about background, experience and income; about who gets opportunities for success; and about perceptions of inclusiveness. She has joined with Native Agency, Women Photograph, Majority World and Everyday Projects to form Reclaim — a loose association of like-minded organizations dedicated to promoting diversity in visual storytelling. Together, they hope to get thousands of photographers around the world to respond, said Shahidul Alam, founder of the Majority World agency, and the photography school Pathshala in Bangladesh.
Five organizations committed to making the photojournalism community more inclusive are joining forces. Reclaim, the umbrella organization, is comprised of Women Photograph, The Everyday Projects, the new photo agency Native, Majority World and the yet-to-be-launched publication Minority Report. They announced yesterday that they are “working together to diversify our community of visual storytellers, making sure that the lens through which we interpret our world are as diverse as the people and places we hope to document.” To start, they’re circulating a survey, and asking photojournalists, photo editors, curators and other members of the photojournalism community around the world to answer questions about their work and career paths. The goal is to understand the barriers to inclusion of more diverse perspectives in documentary photography.
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.
Louis DeLuca was drenched. Two of the Dallas Morning News photographer’s three lenses had fogged over from the rain and humidity. He stood on a Houston highway Sunday watching boats leave and return with people stranded by the catastrophic flooding. He shot on the only lens he had left, a 200 to 400mm telephoto zoom.
Reporting on a natural disaster is a different challenge when your own home and community are under threat. For photojournalist Marie D. De Jesús and her colleagues at the Houston Chronicle, Hurricane Harvey has meant balancing work and home life.
As journalists head to south Texas and Louisiana to cover the continuing floods and the damage from Hurricane Harvey, photographers who have been on the ground since the storm made landfall on Friday say they are managing with lack of gas, power and transportation, and using various communication methods to stay in touch with each other to work safely in hazardous conditions.
By the end of the week, we learned Harvey was a “1000 year” flood, not just a “500 year” one. Educated by the outstanding ProPublica-Texas Tribune project, “Hell and Highwater,” that was published in March 2016, we sensed from the beginning that Harvey would be physically, socially and politically devastating. Our weekly social media roundup usually offers a wider sweep. This week though (starting from radar maps on Thursday, August 24th, to be specific), we were fixed on this one historic event. We tracked Harvey on Twitter and Instagram, and we did an article for Columbia Journalism Review yesterday looking at key social and political photos. Here, culled from our social media feeds and starting from the beginning, we offer you the 12 most powerful photos of Harvey you were least likely to see.
