We know what poverty looks like: unpainted boards, empty windows and door frames, broken roofing. Or it could be sagging fences and telephone poles, or cracked pavement and graffiti-stained concrete walls. Or faded billboards and backlot signage with their ironic injunctions to “dream” or “save.” Or worn faces and bodies scarred by years of hard labor, want, and worry. Such stark, black and white images of abandonment and desolation have become the iconography of documentary photography. They also were a genuine artistic achievement and a major contribution to public life. If you doubt that, consider what it would have been to see only the sunny faces, gleaming suburbs, and beautiful vistas of commercial advertising.
The great photographer has spent five decades capturing ordinary people caught in the turbulence of history. As a retrospective opens, she reveals the ways being a woman helped
The great photographer has spent five decades capturing ordinary people caught in the turbulence of history. As a retrospective opens, she reveals the ways being a woman helped
Saadia Sehar Haidri’s story is one triumph over agony, a journey borne out of the emotional depths of losing her husband in a terrorist attack that reached the professional high point of becoming Pakistan’s first-ever female photojournalist.
Saadia Sehar Haidri’s story is one triumph over agony, a journey borne out of the emotional depths of losing her husband in a terrorist attack that reached the professional high point of becoming Pakistan’s first-ever female photojournalist. But despite Saadia’s many achievements, hers remains a rocky road given the prevailing stereotypes in a male-dominated society.
Canada’s helicopter deal may be on the rocks, but concerns about human rights abuses in the Philippines remain. Daniel Berehulak is a photojournalist who won a Pulitzer for his photos documenting extrajudicial killings under President Duterte.
The bodies pile up in morgues and on the street, hands tied behind their backs, their faces wrapped in tape. They’ve been executed, sometimes in their own homes, often as their families watched in horror.
These stories come to us through the photos of Daniel Berehulak
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.
LaForme: We are, indeed! I called up Cathaleen Curtiss, the photography director at the Buffalo News, which is, by the way, my hometown newspaper. I called to talk about photo policies and how newsrooms generally create the rules and guidelines about how to use visuals. But we ended up having a great freewheeling conversation about her career, the photojournalism industry and how modern journalists relate with photos.
Each of these journalists has moments they’ll remember for the rest of their lives; for Campbell, it was David Wells’ perfect game at Yankee Stadium in 1998, an event he almost missed. For Garcia, it was the 2005 Liverpool win at the UEFA Champions League Final in Istanbul. He’s has photographed football (soccer) games so intense they “sent shivers up his spine and brought tears to the eyes.”
Chang Lee, a staff photographer for The New York Times, recounts how he covers the drama, the spectacle and a unified Korean team at the Winter Olympics.
Chang W. Lee cried as he photographed the opening of the Winter Olympic Games.
He had grown up in Busan, South Korea, where his parents rarely spoke about the war that cleaved his homeland in two. His mother had fled the North, leaving behind family members; his paternal uncle was never seen again after being taken prisoner by the North. In elementary school, his teachers had him draw posters and write essays against the communists.
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.
I think we’d also like to get into how to make sure we’re giving proper treatment to visuals when websites and social sites demand them for everything, when and why to use photographs versus illustrations and also speak to a designer, perhaps in online and print, about some of their visual pressures and how they’ve been changing.
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.
The Poynter article dismissed and degraded the power of authentic visual journalism. It recommended that the solution to illustrating news stories was to find free stock images online via a handful of dubious photo sharing websites. The authors carelessly glossed over the potentially serious legal and ethical consequences of using such content.
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.
With one post, two people who I have worked closely with attempted to raze everything I have done over the last quarter century.
Their story, titled, “These tools will help you find the right images for your stories,” contradicts everything I hold true about journalism — textual and visual
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.
We heard loud reminders that stock images can be ethically questionable, especially if you can’t verify the original source. So it was insufficient to talk about those issues only from the standpoint of copyright. Given the proliferation of these sites (and likelihood they are not going away), it’s time for a more robust conversation about how relying on generic photo archives for presentation (as so many organizations do) could degrade the “journalistic validity” of a news site.
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.
We’ve got a problem. It’s 2018, but it feels like 1975 in the land of visuals. What’s old is new again: a nearly nonexistence of visual judgment in newsrooms. Who would have thought that the phenomenal benefits of technology would negate the common sense of picture selection? The role of the photo editor has nearly disintegrated in the most newsrooms, including that of Poynter. It’s time to stop and take inventory.
“I’m pretty sure most people have no idea what a photo editor actually does,” says photographer David Guttenfelder at the beginning of this short video recently published by National Geographic. In the video, photographers and photo editors explain a bit about the how the photographer-editor relationship works at National Geographic. “It’s a complete partnership,” says Erika Larsen. “It’s just as personal to them as it is to me.”
Put aside the intellectual laziness of using an interview format for an expository piece on how to illustrate the news, but this Poynter piece entitled “These Tools Will Help You Find the Right Images for Your Stories” is garbage. In their About page, Poy
Put aside the intellectual laziness of using an interview format for a expository piece on how to illustrate the news, but this Poynter piece entitled “These Tools Will Help You Find the Right Images for Your Stories” is garbage.
I have long been concerned with what photographs do—and what we want them to do—in visualizing human rights issues. I think by reframing the conversation about photography to focus on the image’s purpose and impact, away from a preoccupation with what pictures are, we can have a much more productive discussion.
I’ve been a professional photojournalist for 24 years and I’ve seen major changes in my industry. I’ve gone from film to digital. I’ve seen the reduction
I recently made a video of clean-up after a mudflow and posted it on my personal Facebook page. Shortly after my posting, a news producer from TIME Magazine sent me a message asking if the video was mine and if they could use it with proper credit throughout their platforms.
The end of the year brings about the annual deluge of “Pictures of the Year” packages. Teams of picture editors scour through thousands of photos to assemble jumbo-sized galleries filled with images that are supposedly representative – or at least eye-cat
Each image and the galleries as a whole can be viewed for content and historical context. But for this exercise, we’ll look at the look-and-feel of the images to see how aesthetics, taste and technology have shifted what photojournalism looks like to the consumer.
This week on Photojournalism Now: Friday Round Up – renowned architecture photographer John Gollings’ retrospective opens at MGA. Plus Mindaugas Kavaliauskas’ travel’AIR project S…
“How often now does a professional photographer get the above response from a client who wants an image from their stock? The common plea somewhat expected from NGO’s and charities now seems to be the norm from film and documentary makers to book publishers and specialist print magazines. In between, there are educational bodies and institutions that put out both public and academic works. All claim to be penniless though some are supported by massive philanthropic contributions.
“She had a warm, generous personality, a great sense of humor and connected easily with all kinds of people,” said N&O Executive Editor John Drescher. “She left her mark on our journalism and on all of us. We mourn for our loss and especially are sad for (husband) Michael (and sons) Brady and Cooper.”
