There’s no need for a new and improved photojournalism. It’s the Great White shark of visual communication. It doesn’t need to evolve, because when it’s done right there’s nothing that can compete with it. That’s why photographers working in other disciplines relentlessly try to associate their work with photojournalism.
Blink’s Kyla Woods spoke with the founders of Documenting Detroit, Karah Shaffer and Alan Chin, about the importance of documenting Detroit’s rebirth and of cultivating a community of photographers who can tell the untold stories of a people on the up again.
As you probably know, Instagram is pretty freeform when it comes to commenting on one’s photo, even if the creator is a photojournalist and the words sound like a caption.
To date, the Pulitzer Center has given out more than $1.5 million in grants. We’ve written about many Pulitzer Center-funded projects in the pages of PDN over the years, so we thought we’d join in the celebration by sharing those stories and saluting the organization’s commitment to funding the work of photojournalists.
Ruddy Roye is a photographer who believes in busting stereotypes wide open. The self-described Instagram activist rose to prominence a few years ago while documenting the effects of Hurricane Sandy with his iPhone. Since then he has done work has for The New York Times, Time, National Geographic—often traveling to communities in turmoil in the wake of police shootings involving men and women of color.
In a new video from Time’s Red Border Films, photographer Richard Drew reflects on what it was like to capture his iconic and controversial image known as Falling Man on the morning of 9/11.
Astonishingly, some big players in this drastic change who deal with photography every day were present at Visa: Google, Yahoo, Facebook, Instagram. None of them are showing up as sponsors of Visa while they cannibalize and suck the life blood out of modern photography
Craig Allen, a Times photo editor, attempts to explain why, among the countless heartbreaking images of children and others in war-torn areas every day, this particular one stood out and landed in the top spot on The Times’s home page and front page
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.
“It’s always the smell that gets me, more than the sites. It’s a smell,” said Chris Granger, a photojournalist for The Times-Picayune and nola.com. “You smelled it before you saw anything, and you knew you were about to get into a mess.”
Mahmoud Raslan’s photograph of “the boy in the ambulance” from Aleppo has struck a chord with viewers in a way that we haven’t seen since Nilüfer Demir’s image of 3-year old refugee Alan Kurdi in 2015. The photo and accompanying video of 5-year old Omran
Mahmoud Raslan’s photograph of “the boy in the ambulance” from Aleppo has struck a chord with viewers in a way that we haven’t seen since Nilüfer Demir’s image of 3-year old refugee Alan Kurdi in 2015. The photo and accompanying video of 5-year old Omran Daqneesh covered in dust and blood and sitting motionless is a stark reminder of a desperate war that started the year he was born.
Almost a half century later, Ut is driving east of Los Angeles International Airport, past the Forum in Inglewood where he once photographed Lakers games during the “Showtime” era. He has lived in L.A. for more of his life than in his native Vietnam. He knows its streets so well he never uses a GPS or maps.
I am also fortunate to know a handful of other photojournalists who often cover this sort of thing. Trading tips is a great way to pay things forward and get a lot in return.
World Press Photo, one of the oldest photo organizations in existence, is now looking to new horizons. So, what’s in store? Now that the photo ethics conversation is over, Blink’s Kyla Woods speaks with the Managing Director of World Press Photo Foundation Lars Boering about changes in the organization, the new business model and offers insight for emerging and established visual storytellers.
Curating the most unique perspectives from some of the world’s leading photographers, “1,000 words and then some” is AP’s monthly photo series that takes a look beyond the lens and camera data at the stories behind some of our favorite shots.
The challenge for me visually is to peel back the curtains and show my perspective on what I’m seeing and experiencing…hopefully offering some insight not always seen in media coverage.
Even for the most seasoned photographers, understanding the value of a photo editor can be fleeting. Photojournalists regularly work with photo editors, but the average photographer relies on their own eyes to edit even in situations where an editor could
The Olympics provide an excellent example of the value of photo editing because organizations seeking to publish images are basically working from the same pool of images from the major wire services like Getty Images, AP, AFP, Reuters, etc. The ability to comb through thousands of photos to create a coherent gallery – one that is both visually stunning while simultaneously telling the story of the Games – is a perfect test for understanding the value of editing.
As soon as the photograph of Ieshia Evans began to circulate online, people said she looked like a superhero. There she stands, slim and straight, on a street in Baton Rouge. Her dress, abstractly patterned in black and white, swirls around her. She seems almost to be levitating
It’s July 23, 2016, and being a former math major I started doing the obligatory backtracking, and realized that this week is the 45th anniversary of my first TIME Magazine cover story. Forty five years. It’s not Diamond, nor Silver, and probably not even Tin. But it might be The Plastic Stuff Film Cans Were Made From. Yeah, forty five.
Nicole Bengiveno, who is leaving The New York Times, feels duty-bound to stay with her subjects so long that they trust her enough to let her capture authentic, intimate moments.
Nicole Bengiveno has the rarest of skills for a photojournalist: the ability to do nothing at all. She can sit still for hours in someone’s living room, waiting for a telling moment, being fully present yet almost invisible to her subjects
