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
This summer I have done a couple things that I believe have really helped me during my internship at The Washington Post and I wanted to share some of them:
“You can be upset that the picture get stolen, but can you be upset too long when you find out that it has gone viral with your name on it?” Walker says in the video.
If you were considering doing some visual analysis this week then there would be one overwhelmingly obvious candidate for it. A photograph by Reuter’s photographer Jonathan Bachman which shows prot…
It is a potent image, and like many great ones it is ripe for reading and counter-reading. It is a remarkable example of what the camera can do so well, an episode which by the accounts of bystanders lasted less than half a minute has been made permanent and indelible by the camera’s mechanism. It is also though an example of what the camera does so badly, in this image is only a sliver of time, shorn of context, which explains little of the wider cause or aims of these protests
“I shipped all my AP cameras to New York,” Ut told News Photographer magazine tonight. “After 51 years I have a lot of vacation time to take before I retire,” he said with a big laugh. “I’m going to be taking a lot of days off until the end of the year.”
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.
Coverage of the attack on Dallas police tested several things at the Morning News Thursday night: an aging site, its new replacement, a commitment to experiment on new platforms and the ability to put out a quality print product while simultaneously providing minute-to-minute coverage of the story.
I met Chris Arnade at the McDonald’s near the 6 train, under the bridge that breaks Hunt’s Point off from the rest of the Bronx. Arnade calls it the most dysfunctional McDonald’s in the United States, and he would know. His latest photo essay demonstra
Arnade is a former Wall Street banker—wealthy, confident, middle-aged, white—who lives upstate. These days, his full-time, poorly-paid gig is driving his light-blue minivan around the country to photograph its ugliest, poorest places. It started as a hobby about five years ago, while he was still at the foreign exchange desk at Citigroup. He would come up to the Bronx on evenings and weekends with a Nikon D700 and a fearless, even brusque curiosity to discover how the other half lived. He spent several years documenting the lives of addicts and sex workers in Hunt’s Point, posting prolifically to Flickr in a collection called Faces of Addiction.
During the four days the following membership motions were executed:
• Bieke Depoorter was made a Magnum Member
• Jérôme Sessini was made a Magnum Member
• Diana Markosian was made a Magnum Nominee
• Matt Stuart was made a Magnum Nominee
The candid conversation between Christopher Morris and MaryAnne Golon at the LOOK3 Festival of the Photograph in Charlottesville, Viriginia, highlighted the varied paths Morris’s career has taken, from documenting conflict and politics to shooting fashion
“I was always in pursuit of the ultimate conflict photography, basically pursuing the man with the gun,” said Morris of the years he spent covering conflict. “Eventually I started to realize I was pursuing a bunch of idiots with a gun.”
“There was a big debate,” recalls Sam Nzima. “This picture is going to horrify the people,” one editor said. “If we use this picture, it’s going to spark civil war in South Africa.” Another countered that there was no better illustration of what was happening in Soweto. Children had been killed by the apartheid police. The latter argument won, and The World published an evening Extra edition
This Memorial Day weekend, Todd Heisler, a New York Times staff photographer, was part of a team that looked closely at the people and neighborhoods affected by that city’s wave of gun violence.
Last Memorial Day weekend, a team of New York Times photographers and reporters fanned out through Chicago to document how that city’s violence had affected people and neighborhoods. New York Times staff photographer Todd Heisler describes how he and his colleagues sought to portray the story in new ways.
Photographers seem ever more aware of the representational responsibilities which comes with their craft, but the question of who is actually doing this representing remains just as important as wh…
Photographers seem ever more aware of the representational responsibilities which comes with their craft, but the question of who is actually doing this representing remains just as important as who is being represented and how
AP’s chief photographer and acting bureau chief for East Africa Ben Curtis was in Nairobi covering demonstrations against Kenya’s electoral commission when he witnessed police kicking and beating fleeing protestors with wooden clubs. One image captured the brutality so vividly that Kenya’s police chief has called for an internal investigation.
Freelance photojournalists Chris Gregory, Natalie Keyssar, and Jake Naughton cover Puerto Rico, Venezuela and LGBT issues respectively. But after spending the majority of their careers working alone, the three decided to join forces with designer Alejandro Torres Viera to create a new collaborative method of documenting and disseminating visual stories
The Rochester Institute of Technology is about to send you on a journey through Light, Movement, Emotion, and Connection, as captured over the course of
The Rochester Institute of Technology is about to send you on a journey through Light, Movement, Emotion, and Connection, as captured over the course of one year by the university’s 70 photojournalism students.
The intellectual milieu that gives rise to a technology or a practice leaves fingerprints on that thing which last for a long time, indeed which sometimes might even be impossible to completely rem…
The real problem with McCurry’s photography isn’t down to the use of the clone tool to create them, it’s a problem embedded even more profoundly in his way of making photographs, and goes right back to those latent fingerprints
