Touching on a missing generation of mid-career journalists, new standards of safety and liability, and the increasing importance of serial storytelling, a veteran photojournalist offers wisdom and insight in this wide-ranging interview
Freelance photographer Bryan Denton has spent most of his career photographing news in Afghanistan and the Middle East.
Now a mid-career photojournalist, he is one of the few who makes a living on assignments. Blink’s Laurence Cornet chats with him about the evolution of journalism in the region, the current challenges for young photographers on the field and his future plans
“Conflicts and wars are fought for the old reasons: man’s desire for dominance over men,” Eros Hoagland says in this short film, We Fear Wolves Because We Never See Them. With a baby on the way and a lifetime of traumatic memories from war, however, Hoagland is ready to move on to the next thing: “Enough is enough. I did it. I did it well.
The photograph and the words arrive simultaneously. They guarantee each other. You believe the words more because the photograph verifies them, and trust the photograph because you trust the words. Additionally, each puts further pressure on the interpretation: A war photograph can, for example, make a grim situation palatable, just as a story about a scandal can make the politician depicted look pathetic. But images, unlike words, are often presumed to be unbiased. The facticity of a photograph can conceal the craftiness of its content and selection.
From the over 300 applicants from more than 30 countries, VII members voted in Arnau Bach, Linda Bournane Engelberth, Luisa Dorr, Mojgan Ghanbari and Esa Ylijaasko
I very hesitantly related my story about the paralytic fear I’d experienced that first day in New Orleans, even then fearful that my reputation would be tarnished by such “child-like” behaviour. Immediately after I’d done my mea culpa, both Sam and Jodi related the same exact stories on jobs which they’d done for the Magazine
Photojournalist Pieter Ten Hoopen has worked around the world for Le Monde, The New Yorker, The New York Times Magazine and international aid organizations. “When it comes to my documentary projects, I like to do portraits because it gives me a great opportunity — in Nepal or Sudan or Sierra Leone — to have a meeting with people and slow down, to observe the tiny details,” he says.
“Western European newspapers became significantly more sympathetic towards migrants and refugees immediately after photographs of a drowned boy on a Turkish beach were published at the beginning of September, but within one week most had reverted to their original editorial position,” says the report by the European Journalism Observatory, a Swiss-based media institute.
I’m excited to announce that Matt and I will be showing some of our recent work this Sunday, Oct. 18, 2015, in Seattle at Machine House Brewery as guests of the NW Photojournalism community. The event starts at 7pm and is at Machine House Brewery. The address is 5840 Airport Way S., Seattle, WA, 98108. Here is the facebook event page. We hope to see you there!
How can it be that in such a visual age, American newsrooms are eliminating visual reporters/storytellers and editors from the ranks of full-time workforce in unprecedented numbers?
One of the main highlights of Visa Pour L’image was seeing and meeting dozens of freelance photojournalists roaming the streets of Perpignan during the professional week hoping for an opportunity to connect and share with other photographers and editors. Of the work I saw and the dozens I met with, I want to highlight three freelance photojournalists, whose work moved me to the core.
When I took this picture, I thought China would always be like this. Wrong, of course. I also imagined I would always shoot black-and-white film and be in my 20s.
What’s the current state of photojournalism, and where is the industry headed? That’s what a major survey recently attempted to answer, and the result is
Researchers had 1,556 news photographers from over 100 countries answer a 63-question survey on everything from how much they earn to whether or not they stage photos. The results are pretty eye-opening. Here are are 20 key findings from the report
A new study released by Oxford University’s Reuters Institute for the Study of Journalism in association with World Press Photo offers a conflicting view of the lives of today’s photojournalists.
Copyright infringement is a problem: “Most of the photographers in this study agreed their images had been used without authorization and, overwhelmingly, where this had been the case, no remedy or payment had been forthcoming.”
Want to see what it was like to work as a photographer at a major newspaper back in 1983? Check out this blast from the past: it’s a 20-minute video by
Want to see what it was like to work as a photographer at a major newspaper back in 1983? Check out this blast from the past: it’s a 20-minute video by photographer Hugh Wesley, who spent 28 years at the Toronto Sun before retiring as the director of photography in 2001.
Todd Heisler, a New York Times staff photographer, worked with the reporter Dave Philipps on a report about suicides in the Second Battalion, Seventh Marine Regiment. In 2008, the 2/7 deployed to a wild swath of Helmand Province in Afghanistan and suffered more casualties than any other Marine battalion that year. Below, Mr. Heisler recounts his experiences during the reporting of the article.
