Although easier access to digital equipment led to a surge of local photographers in Africa, it has yet to result in more opportunities for aspiring photojournalists.
Mr. Akinleye, who has spent the past decade covering West Africa for Reuters, said as digital cameras have become more accessible, he has seen a surge in the number of local photographers in the field. But better equipment hasn’t necessarily equated to more opportunities for aspiring photojournalists
Giles Duley believes his work can create change. But when he returned to Lebanon two years after his first trip, he found the subjects of his portraits – now his friends – still in dire straits. This is what happened next
Giles Duley believes his work can create change. But when he returned to Lebanon two years after his first trip, he found the subjects of his portraits – now his friends – still in dire straits. This is what happened next
The New York Times 2016 Pictures of the Year is posted online today and is scheduled to appear in print on Sunday. Jeffrey Henson Scales of the Sunday Review, who was the lead photo editor, spoke with James Estrin about the challenge of encapsulating 365 days in a few photos
“I was initially reluctant to cover another election, but I quickly realized that this year it was more important than ever to be out there with a vigilant, thoughtful and critical eye. As the restrictions on the press tightened, I felt it was my duty at every possible moment to subvert them, to find photographs that were honest and telling. Every situation, no matter how controlled, contrived or mundane, was an opportunity to make something real.” — Damon Winter
Associated Press photographer Burhan Ozbilici was covering a photo exhibition in Ankara when a gunman opened fire, assassinating Russia’s ambassador to Turkey. He recounts the chaos that unfolded as he captured the scene.
The gunshots, at least eight of them, were loud in the pristine art gallery. Pandemonium erupted. People screamed, hid behind columns and under tables and lay on the floor. I was afraid and confused, but found partial cover behind a wall and did my job: taking photographs.
The chilling murder of the Russian Ambassador in Ankara yesterday was a photographic event, as much as it was a serious political event. But the overlap between online and social media, visual culture, and war and terror is so complex, it’s actually hard to make sense of what we’re looking at.
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.
On Wednesday, AMG announced efforts to bring millions of images, most never before published, out of hiding. The news organization has donated more than 3 million images to Alabama Department of Archives and History.
Sometimes it can be something as prosaic as a phone line being cut. You just cannot always know what it means, so you grab you camera, and try to figure it the hell out. When you see the small crowd outside the cathedral, with candle-lanterns trying to shed a bit of light in the oncoming night, make a few frames. You just never know
George Etheredge’s photos aren’t the only example of good religion photojournalism to accompany or stand in for dwindling religion reporters. San Antonio Express-News photographer Lisa Krantz made an ALS victim’s Christian faith tangible not by simply photographing him in prayer but, incredibly, by making him a kind of Christ. Celebrity photographer Danielle Levitt set up a portrait studio at New York’s hottest megachurch to break out of millennial evangelical caricatures and give the rest of us a sense we might have something in common with these people. Rivard Report photographer Scott Ball discovered profound community and meaning-making at a simple Sikh construction project (he wrote the accompanying article, too). Several photographers clued into the shared belief — both religious and non-religious — in the sanctity of land at Standing Rock
On Monday afternoon the International Center of Photography and Reuters hosted ‘Iconic in an Instant? One Trillion Images’ which brought Pulitzer Prize-winning photographers and photo editors together to discuss the media landscape and the critical issues facing photojournalism today.
Sometimes I wish I could write a letter to all the people I’ve met over the years — strangers who were so generous with their time, open to letting me into their lives. I want them to know what an honor that’s been — how it’s filled my life with purpose, made it decent and meaningful.
This week on Photojournalism Now: Friday Round Up I’m sharing a couple of stories I wrote that were published recently in New Zealand Pro Photographer – a book review on Stuart Franklin’s The Documentary Impulse and also a Q&A with Susan Meiselas. But first, Donna Ferrato…
One important question has come up consistently throughout Pulitzer Prize winning photojournalist Deanne Fitzmaurice’s career: Can she remain objective while engaging with her subjects? “I c
One important question has come up consistently throughout Pulitzer Prize winning photojournalist Deanne Fitzmaurice’s career: Can she remain objective while engaging with her subjects? “I come from a newspaper background which has a really strict policy about not getting involved with subjects—you could get fired. It’s all about credibility and our photographs being believable,” the photographer and Nikon ambassador told the audience at PhotoPlus Expo during her presentation, “Honest Photography: Learning from a Long-Term Pulitzer Winning Project.”
Over the last three years, TIME has worked with international curators, historians, photo editors and photographers around the world to answer that question and draw up a list of the 100 most influential photographs of all time. Their thoughtful nominations whittled the field.
