Shahidul Alam, the acclaimed Bangladeshi photojournalist and activist, pushes against the limits of his medium to cast light on what is suppressed or has vanished.
Like Woody Guthrie, who called his guitar an anti-fascist weapon, the Bangladeshi photographer Shahidul Alam has used his camera for 35 years as a tool to advance social justice. He began by documenting street protests in Dhaka, the capital, in the mid-80s, making pictures in the tradition of the Magnum photographers, especially Henri Cartier-Bresson. But over time, he pushed against the natural constraints of a medium that registers what is seen, so that he might illuminate what is suppressed or has vanished.
It’s Martin Kaninsky from the All About Street Photography YouTube channel, and today I would like to talk about a series of photographs that placed 3rd
It’s Martin Kaninsky from the All About Street Photography YouTube channel, and today I would like to talk about a series of photographs that placed 3rd for Long-Term Projects, Stories in the 2019 World Press Photo competition. It’s State of Decay by Alejandro Cegarra.
The photographer “stayed focused” on Trump’s notes during a White House press conference, landing the latest revealing close-up on politicians’ scribbles.
Photographers Erin Scott and Mark Wilson managed to get the most talked-about photos at an impromptu White House press conference November 20, and captured nearly identical close-up photos of President Trump’s hand-written talking points about the day’s impeachment hearing. Scott’s image, distributed by Reuters, was quickly picked up by news media, and Wilson’s image, which was distributed by Getty, has appeared in news articles, feature stories and memes.
Media bias usually has to do with what’s in the frame–not whether there is one. Turkey’s Syria invasion is an example of bias for only showing one side.
There’s no question that the New York Times photo of American diplomats William Taylor and George Kent, where they detailed their uncomfortable and suspect dealings with President Donald Trump’s handling of a phone call with the president of Ukraine, is g
Ironically, the photo was shot by a woman staff photographer for the New York Times, Erin Schaff, who thought to get slightly behind the diplomats to photograph the gaggle of photographers from the other side. The photographers, about 27, or almost all of them that are visible in the photo, seem to be white males. There may have been a few minorities or other women in the group, but it’s hard to tell.
Welcome to the world of wildfire photography, a profession filled with furnace-hot temperatures, heart-stopping moments and opportunities to help others and show the world the intensity of the 21st-century wildfires tearing across California’s landscape a
As soon as the White House announced the death of Bakr al-Baghdadi, the Trump and the Obama bin Laden raid Situation Room photos became historical twins.
As soon as the White House announced the death of Bakr al-Baghdadi and released this picture, the Trump and the Obama Situation Room photos became historical twins. People have flocked to social media to draw comparisons. Given this is what we do, here is our first pass comparison. We will probably be updating this post, especially to consider if the photo was staged. If it was, though, it only brings those points and comparisons below into stronger relief.
Long after I became a photojournalist, I realized the influence that reading had on my career. Learning from photo stories became ingrained on my brain. I knew photo stories had beginnings, middles and ends, just like news stories. There’s a system.
This week on Photojournalism Now: Friday Round Up we celebrate the International Day of the Girl Child by drawing focus on the issue of child brides. Also, the Australian Photography Awards (APA) f…
Algerians have been peaceably protesting the current president’s fifth term, regime and corruption every Friday since February. But who are these protestors during the rest of the week?
This week on Photojournalism Now: Friday Round Up – Conversations on Conflict Photography, a new book and exhibition by Lauren Walsh launches in New York City; Lessons from the Arctic opens a…
This week on Photojournalism Now: Friday Round Up – Conversations on Conflict Photography, a new book and exhibition by Lauren Walsh launches in New York City; Lessons from the Arctic opens at Magnet Galleries Melbourne; and the suburb of Fitzroy comes under the spotlight in the Image Chasers latest group show.
Hubert Henrotte! He is one of the mythical names in the history of photojournalism! He too was swept away by the drastic technological changes of the 2000s. Today, he is publishing his beautifully titled book: Can photojournalime save the press? He asked us to publish this excerpt: the interview by Clément Thiery.
Today’s edition of Photojournalism Now: Friday Round Up is dedicated to an editorial on photography awards. Opinion: What is the value of photography awards? There’s been discussion on …
There’s been discussion on Facebook recently about the value of photography awards versus other means of promoting photography such as books. Criticism has been laid that photography awards that charge an entry fee are money-grabbers. That may be true of big international awards that attract thousands of entries by promising global exposure for a select few. The odds in these competitions are like a crapshoot, ridiculously slim.
Tiananmen Square 30 years ago with the Nikon F-801 is by Terril Jones who shot the fifth view of the “Tank Man”: Thirty years ago this week I left China after what was intended to be a week-long stay in Beijing had stretched to 59 days. As a reporter for
Thirty years ago this week I left China after what was intended to be a week-long stay in Beijing had stretched to 59 days. As a reporter for The Associated Press based in Tokyo, I had gone to Beijing to help with the coverage of the state visit to China by Mikhail Gorbachev, leader of the then Soviet Union. But that assignment quickly morphed from covering the historic mending of the three-decade-old Sino-Soviet split to the AP’s 24/7 reporting from Tiananmen Square covering the student-led protests that culminated in the Chinese army’s violent assault on the demonstrators in the square.
On Tuesday, June 25, Rosa Ramírez was filmed at home in San Martín, El Salvador. Ramírez stands by a doorway in a small interior. She is distraught, and her large brown eyes glisten in the glare of camera lights.
“The last message he sent me was Saturday. He said, ‘Mama, I love you.’ He said, ‘Take care of yourselves because we are fine here.’ ”
When the Associated Press published Julia Le Duc’s photograph of a drowned Salvadoran man, Óscar Alberto Martínez Ramírez, and his 23-month old daughter Valeria, it sparked outrage on social media. According to Le Duc, Ramírez had attempted to cross the Rio Grande after realizing he couldn’t present himself to U.S. authorities to request asylum.
Two weeks ago, we predicted in a post here that the photo of two drowning migrants, Óscar Alberto Martínez Ramírez and his daughter, represented a political tipping point. Below, visual scholar Jens Kjeldsen offers a different perspective, based on the workings of landmark news photographs.
