In Congo Tales: Told by the People of Mbomo, Pieter Henket has created a visual library of personal histories, telling the story of one small town in the Republic of Congo.
The cost of war reporting and investigative journalism is becoming prohibitive for media outlets, campaigners have warned. With Internet giants like Google and Facebook soaking up advertising revenue while using the content of traditional media for free,
The cost of war reporting and investigative journalism is becoming prohibitive for media outlets, campaigners have warned.
With Internet giants like Google and Facebook soaking up advertising revenue while using the content of traditional media for free, quality journalism has been caught in a double bind, experts say.
This week on Photojournalism Now: Friday Round Up – part two of the Visa pour l’image feature celebrating the international festival of photojournalism’s 30th edition. Plus Magnet…
This week on Photojournalism Now: Friday Round Up – part two of the Visa pour l’image feature celebrating the international festival of photojournalism’s 30th edition. Plus Magnet Docklands launches with a fundraiser for the Human Rights Law Centre. Next week, 7 September there won’t be a post as we’re taking a short break!
This week on Photojournalism Now: Friday Round Up – part one of the Visa pour l’image feature and in Melbourne Punkulture opens at Sun Studios. Feature: Visa pour l’image – …
The 30th edition of the world’s preeminent photojournalism festival opens in the southern French town of Perpignan on 1st September for two weeks. For those who have not attended, Visa is amazing, overwhelming, fantastic!
While the issues, regions and approaches of this month’s stories are incredibly diverse, a passion for visual storytelling links the four APJD members — Eman Helal, Nourredine Ahmed, Etinosa Yvonne and Victoire Douniama. Each began a career in a different field before deciding to pursue photography full time.
For the entire month of August, photographers will be interviewing photographers–sharing image makers who have inspired them, who they are curious about, whose work has impacted them in some way. I am so grateful to all the participants for their efforts,
It was in 2011 at the Lishui Photo Festival in China, where I first met Isabel Corthier. I was drawn to her black and white portraits and her positive energy that comes with a wonderful Belgian-French accent and carefree laugh. It was obvious how anyone would be at ease in front of her camera. She had just received the Golden Award from the China International Digital Photography Art Exhibition Contest for her photographs in Africa. She told me her plans to sell off her worldly possessions in Belgium, for an upcoming move to Africa, and I thought she was courageous. We haven’t seen each other since parting ways in China, but we have stayed in touch via the internet and are now working together for her photographs to appear in an upcoming Smithsonian exhibition.
As a photojournalist, Carol Guzy has documented an incredible amount of turmoil, upheaval and human suffering in her long career—first for the Miami Herald in the early 1980s, and then, beginning in 1988, at The Washington Post, where she was a staff photographer for almost three decades.Along the way, Ms. Guzy racked up some very impressive accolades, chief among them four Pulitzer Prizes for photography. She is one of just four people and the only journalist to have won that many.
One of the most talked about photos in the ongoing immigration debate has been Getty Images photographer John Moore’s iconic photo of a 2-year-old Honduran girl crying at the feet of her mother and a border patrol agent. It has become a symbol in the debate over family separations, but it has now come to light that the girl was never separated from her mother.
There is, however, a powerful urge to see, a demand for pictures that is both catalyzed by the pictures we do have and premised on the idea that seeing pictures will spark action.
Getty Images award-winning photojournalist John Moore has traveled the world capturing horrific scenes of violence from war zones to egregious human rights violations. For the past decade, Moore has been photographing the migrant crisis, and ended up in R
Getty Images award-winning photojournalist John Moore has traveled the world capturing horrific scenes of violence from war zones to egregious human rights violations. For the past decade, Moore has been photographing the migrant crisis, and ended up in Rio Grande, TX last week where he encountered a Honduran refugee breastfeeding her 2-year old child while trying to cross the border.
One of the most viral and talked about photos this week is of a 2-year-old daughter looking up and crying at her mother at the US-Mexico border. The Honduran mother and child were being taken into custody by federal agents when they were photographed by Getty Images photographer John Moore, who shares the story behind the shot in the 7-minute CNN interview above.
Over the past 18 months I have continued to teach visual narrative to young photographers and completed writing a book in which I once again address the issue of visual narrative and the development of a personal visual language. I have also made a feature-length documentary film that relies on the successful representation of a man’s life as its central narrative. I therefore think that I may have something to add to my initial thoughts.
Cape Town is the most dangerous city in South Africa and one of the most dangerous cities in the world. Freelance photojournalist Leon Knipe follows the
Cape Town is the most dangerous city in South Africa and one of the most dangerous cities in the world. Freelance photojournalist Leon Knipe follows the police to crime scenes and works to document as many murders as he can. The 5-minute video above by Shaun Swingler is about Knipe’s life and work (warning: it contains graphic photos of horrific crime scenes).
A photograph of a group of suffering people: We look at them, and from the sadness of their expressions and gestures, we know something awful has happened. But finding out exact details, through the photograph alone, is more difficult. Who these sufferers are, why they suffer, who or what caused the suffering and what ought to be done about it: These are entirely more complex questions, questions hard to answer only by looking at the photograph.
One day in Cambodia, Renée Byer watched a child running happily alongside a pool of green, polluted water. Human instinct began to tug at her. She wanted to help. She wanted to put an arm out to prevent him from tumbling into the muck. But she knew she had to capture the moment.
Guest post by: Thierry Secretan, photographer, journalist, filmmaker. Only 3% of the photographs published on the web still have their metadata — The remaining 97% are stripped of all metadata. Why? How? By whom? What are the solutions? In a time where we
Unfortunately, not much will be made of these long hours devoted to informing his images as accurately as possible – the famous metadata – giving all their journalistic value to Olivier’s photographs. The metadata will be deleted, discarded, erased by the news sites who will publish them. This is also the case for the vast majority of the three billion photos published daily on the web, whether yours or mine, those of professionals published on The New York Times’ website or Liberation’s or those of amateurs exchanged by smartphone, published on Facebook, Instagram, Snapchat, etc.
For millennia, artists have used the diptych to explore duality. During medieval times, diptych panels were often connected by a hinge – part protection, part transportation-friendly design – and featured ecumenical themes. Nowadays, photography is often
The intrinsic storytelling potential of diptychs make them a powerful and obvious format. Nevertheless, I was surprised to see three examples published within a 24-hour span that explored such a wide range of subject matter.
Gordon Parks’s photograph “American Gothic” afforded rare attention to a black female subject who was not a celebrity or entertainer, but a mother and a worker.
Gordon Parks’s photograph “American Gothic” afforded rare attention to a black female subject who was not a celebrity or entertainer, but a mother and a worker.
This week on Photojournalism Now: Friday Round Up part two of the Head On Photo Festival preview. Tonight is the opening of the Festival in Sydney and the announcement of the Head On Photo Awards, …
This week on Photojournalism Now: Friday Round Up part two of the Head On Photo Festival preview. Tonight is the opening of the Festival in Sydney and the announcement of the Head On Photo Awards, which I’ll blog about next week. This week check out work from multi-award winning photojournalist Paula Bronstein from her 15 year survey of Afghanistan, as well as Belgian photojournalist Alain Schroeder’s Living for Death, Japan-based American photojournalist James Whitlow Delano’s body of work Normalizing Extrajudicial Murder in the Philippines, images from Patti Boyd’s George Harrison, Eric Clapton & Me and Garrett Hansen’s HAIL.
