For a long time, Ami Vitale’s dream was to be a war correspondent. After graduating with an International Relations degree from UNC-Chapel Hill, she worked as an Editor at the Associated Press and then moved abroad to pursue journalism, eventually becomin
For a long time, Ami Vitale’s dream was to be a war correspondent. After graduating with an International Relations degree from UNC-Chapel Hill, she worked as an Editor at the Associated Press and then moved abroad to pursue journalism, eventually becoming a war correspondent during the War in Kosovo. She was on a clear path forward, with hopes of shining a light on human tragedies through her writing and photography. But one phone call changed everything.
With more cameras than citizens, why do governments still find themselves unable to catch criminals and why do we as a society still struggle to define the “truth” about what really happened in major societal events?
David Pace got his first camera when he was just eight years old — a little plastic Kodak Brownie Hawkeye. Since then, he has displayed an exceptional ability to portray…
David Pace got his first camera when he was just eight years old — a little plastic Kodak Brownie Hawkeye. Since then, he has displayed an exceptional ability to portray raw, lingering emotion through his photographs.
Our fascination with the relationship between photography and technology is no secret—in fact, it’s the subject of our latest podcast. We believe that understanding the impact of technology on society at large and our daily interactions with visual media
Our fascination with the relationship between photography and technology is no secret—in fact, it’s the subject of our latest podcast. We believe that understanding the impact of technology on society at large and our daily interactions with visual media is essential to understanding the future of photography.
I went to Don McCullin’s current retrospective at Tate Britain with some trepidation. Both in terms of the things I knew the exhibition would ask me to look at, but also in terms of the stance the …
I went to Don McCullin’s current retrospective at Tate Britain with some trepidation. Both in terms of the things I knew the exhibition would ask me to look at, but also in terms of the stance the exhibition would take on photojournalism itself.
This week on Photojournalism Now: Friday Round Up – Format Festival in the UK and the Australian and New Zealand Photobook Award. Plus check out my review for Australian Book Review of a new …
This week on Photojournalism Now: Friday Round Up – Format Festival in the UK and the Australian and New Zealand Photobook Award. Plus check out my review for Australian Book Review of a new academic text, Visualising Human Rights. Next week there won’t be a blog post as I’m taking the weekend off for a family wedding!
This astonishing photo from the Ethiopian Airlines crash site hits me two ways. The expression of grief is so intense, I cannot forget it, all the way down to the tension in this woman’s cheek, jaw, and neck, and the dirt that misses her face and seems permanently suspended. At the same, however, I feel challenged looking at the photo as a westerner.
Diversity, inclusion and representation have become increasingly salient topics as many organizations – from government to restaurants – grapple with a generational shift that is forcing a re-examination of institutional bias, racism, sexual harassment an
Diversity, inclusion and representation have become increasingly salient topics as many organizations – from government to restaurants – grapple with a generational shift that is forcing a re-examination of institutional bias, racism, sexual harassment and assault, misogyny and more. After many years of “open secrets” in the photojournalism industry, a scathing report from the Columbia Journalism Review revealed how pervasive and insidious the issues are within the industry.
These are Goya’s Disasters of War, a series of 82 prints made between 1810 and 1820 that show the horrors of war and its aftermath during the Spanish Napoleonic Wars. They are etchings, not photographs, but they are complete in their depiction of atrocity; there is death, mutilation, torture, execution, rape, pillage, starvation, sorrow, disgust and despair in unflinching detail. They show the effect of war on the civilian population and, in his etchings of the aftermath of the war and the restoration of a flawed monarchy and church, the ways in which suffering, corruption and war are linked to wider structures of power.
This week on Photojournalism Now: Friday Round Up – the MiamiPhotoFest opens next week with 16 exhibitions including works by Kerry Payne Stailey and Maggie Steber. Plus the 2019 winner of th…
This week on Photojournalism Now: Friday Round Up – the MiamiPhotoFest opens next week with 16 exhibitions including works by Kerry Payne Stailey and Maggie Steber. Plus the 2019 winner of the FotoEvidence World Press Photo Book Award Patrick Brown.
Mario Cruz (Instagram) is a 31-year-old photographer based in Lisbon, Portugal. Starting in 2006, he worked with LUSA, a Portuguese news agency, and European Pressphoto Agency, before starting to work on his own personal projects more fully in 2012. “The talibes project appeared naturally,” he remembers:
The Authority Collective, whose members are women, transgender or nonbinary photographers, is building a supportive community while challenging industry leaders’ thinking about diversity and representation.
Tara Pixley often felt isolated in the newsrooms where she worked as a photographer or photo editor. As a “black woman who was the child of immigrants, raised by a single mom, and also a first-generation college student,” she struggled for a decade to fit in. She was the only woman of color in the photo departments where she worked and was ignored or treated dismissively.
In our story about how Sergey Ponomarev documented the arctic village of Shoyna being swallowed by sand, we mention New York Times photo editor Gaia Tripoli’s role in assigning and editing the story.
Here, Tripoli explains in detail how she edited and sequenced Ponomarev’s take, which included Polaroids, images of the landscape and village life, and videos.
Grinning, he said that his name was Desmond Boylan, that he was Irish but had been raised in Spain and that while he was studying at a Madrid university, his passion was photography.
According to data compiled by the organization Women Photograph, San Francisco Chronicle was far and away the leader among major newspapers in publishing A1 lead photographs shot by women in 2018. Forty-one percent of the Chronicle’s A1 images were shot by women, which nearly doubled their 2017 mark of 23.4 percent. According to Women Photograph, which promotes women journalists, other publications showed slight increases in 2018, but most continued the practice of publishing A1 images made by men more than 80 percent of the time; for several publications that number was more than 90 percent. At 26 percent, The Washington Post had the second-highest percentage of A1 lead images by women. Just 5.4 percent of The Wall Street Journal‘s lead images were by women, according to the Women Photograph data.
Darcy Padilla: We can walk into a room, we see things, we know in this one setting what we’re going to do. [Reed was saying] to think of all the possibilities, and how that [eventually] takes you to these things that you don’t know.
As a child of the post-apartheid generation, photographer Sydelle Willow Smith has found that her relationship with home poses more questions than answers.
As a child of the post-apartheid generation, photographer Sydelle Willow Smith has found that her relationship with home poses more questions than answers.
How do you photograph systemic failure? Chris Gregory does it through juxtaposition, capturing natural calamity and colonial neglect, both fast and slow.
How do you photograph systemic failure? How do you photograph the long tail of the United States’ brutal, gradual, incompetent betrayal of Puerto Rico after Hurricane Maria? Christopher Gregory does it through juxtaposition. He moves from portraits to infrastructure and back again. He pairs photographs in diptychs that simultaneously jar and gel. He pictures Puerto Rico one year after Hurricane Maria but makes the hurricane seems like yesterday.
But that age has come to an end: Digital journalism and social media have changed the way we consume images. Each day, audiences are bombarded with photos. Many are shocking, inspiring and heartbreaking. But in their overwhelming volume, they’re easily forgotten.
