None of the other refugees here pays her much attention. They are too busy with their own sorrows, their own desperate attempts to survive. But a few local men gather, surrounding her. They take out their phones to film and photograph her as she cries.
I feel sickened, disgusted by the scene, by the idea that people can feel so detached from the suffering before them that they would choose to record it rather than offer comfort.
I feel sick because surely this is what I, as one of the hundreds of journalists who have descended upon the refugee camps here, have been doing.
This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Tanya Habjouqa edits the work of her colleague, Nina Berman.
In today’s age of smartphones and Instagram, anyone can be a photographer and share images instantly. This might create the illusion that the role of the professional photographer—or professional photography as a whole—is dying, that it has been watered down. But when major events transpire, photojournalists are already there on the frontline, fitting into a few frames a whole story to be shared with those not present. Their images connect and allow the world to visually experience these events, no matter the distance.
Facing the dual challenges of changing demographics and technological innovations, new groups are taking steps to broaden opportunities for photographers of color.
Over the years, Brent Lewis has stood out in media scrums on assignment or in the audience at conferences and workshops: He’s usually among the very few photographers of color — or the only one — around.
“We are easy to spot in a crowd at photo events,” said Mr. Lewis, the photo editor for ESPN’s The Undefeated. “Yet I personally know many black photographers.”
Stephen Crowley, who has retired after 25 years of photographing Washington and politics, on working for The Times, the changes he’s seen in the country, and on what’s next.
After 25 years as a photographer for The New York Times based in Washington, D.C., Stephen Crowley has retired. His incisive and revealing photographs pierced the public veneer of Washington politics, bringing the viewer into the back rooms of power.
Gannaway ‘resolved to invest in a close relationship with my subject.’ That approach led to a Pulitzer Prize for her images of a mother struggling with a terminal cancer diagnosis, and an ongoing relationship with the family.
I know, however, that these 12 years and the time I spent at other papers have shaped who I am for the rest of my life, and that will live on long after I step away from the paper. I am a more compassionate, empathetic, well-rounded and knowledgeable person because I have met so many people on this journey and have had so many experiences I wouldn’t have had otherwise. They have changed me.
In 2011, Chatelin, a successful photojournalist and author of the photobook Israel Borderline (2008), was sent to Libya to cover the uprising at the beginning of the war. After a few months he became frustrated with the work he was producing and decided t
A successful photojournalist, Julien Chatelin grew frustrated with his work after being sent to cover the war in Libya in 2011; taking a step back, he started producing slower work
Alsultan also talked to us about how her dual perspective shapes the work she’s done in the US. And she touched on another topic we’ll be covering in our September issue: how photographers cover stories about vulnerable subjects without stereotyping or re-victimizing them. While she’s examining a culture we rarely see, she hopes her images inspire us to examine ourselves
Earlier this year the New York Times’ Lens Blog shared some thoughts from Donald Winslow, a long-time photojournalist and former editor of the National Press Photographers Association’s “News Photographer” magazine, about the “uncertain future of photojournalism.” A few days later, they published a rebuttal of sorts by Leslye Davis, a NYT staffer, who begged to differ.
The pieces felt like polar opposites. “Everything is terrible” or “everything is awesome.” The truth, however, was likely somewhere in between. A friend and I chatted about these posts, and about our industry, and because we’d both been trained at the Missouri School of Journalism to back our journalism with research, we wanted some data. So, one Sunday afternoon during March Madness, we cobbled together some basic survey questions (nothing scientific) to try to get some actual numbers. We thought maybe a few dozen folks would respond, but at least we’d have a starting point.
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.
Mills’ photos give us the opportunity to think about how journalists can use photographs and videos taken from above — whether by helicopter, plane or drone — in really creative ways to break news and tell stories. How does shooting from above help the audience? How does it help tell a more nuanced story? And what kinds of stories can local newsrooms tell with these shots beyond tracking traffic, animals escaping, or the latest local fire?
My name is Kainoa Little, and I am a Shoreline, Washington-based conflict photographer. I was in Mosul in April and May 2017, documenting Iraqi forces as they fought Islamic State militants to liberate the city.
NOOR photographer Alixandra Fazzina edits the work of her colleague, French photographer Benedicte Kurzen. Kurzen began her career in Gaza, covering the Middle East, before moving to South Africa in 2005. There she spent six years, focusing on conflict and social issues
For this post, my last as editor of TIME LightBox, I asked 13 of my colleagues – some of the many photographers and photo editors who have influenced and inspired me over my last ten years in this industry – to answer these essential questions: Why do they do it? Why do they wake up every morning ready to take photographs, to edit them, to publish them? Why is photography important to them and, by extension, to all of us?
The Visa Pour l’Image festival returns for the 29th time – to ‘turbulent time’, in which ‘photojournalists are obviously needed, and play an essential role which is now more important than ever’ as the co-founder and director general Jean-François Leroy p
“In these turbulent times, photojournalists are obviously needed, and play an essential role,” says Jean-François Leroy as Visa announces its programme
This installment of In Sight’s series, “PHOTOGRAPHERS edit PHOTOGRAPHERS,” pairs Francesco Zizola and Pep Bonet from the international photo agency NOOR. Italian photographer Zizola has selected images from Spanish photographer Bonet’s extensive archive of projects.
Since its formation, in 1947, the Magnum photo agency, or, more accurately, the work of its photographers, has contributed to the formation of a shared visual consciousness. Many of the definitive images of the past half century were taken by Magnum photographers, even if we never knew their names: W. Eugene Smith’s photos of an exhausted country doctor, taken in 1948; Raymond Depardon’s picture of Lee Evans raising a black power salute, at the 1968 Mexico City Olympics; the fall of the Berlin Wall, in 1989, chronicled by Mark Power; Paolo Pellegrin’s harrowing portraits of refugees making a desperate crossing from Libya to Europe, in 2015. Magnum photographers, it seems, have always been there to document a moment of crisis, a moment for change.
The City of Paris wants to shut down the legendary Roger Viollet Agency it inherited in 1985, following the murder of the owner by her husband and the suicide of the latter in prison
