The most gruesome images of COVID-19’s wrath in the Western press have originated from the formerly colonized nation and stand in contrast with an imageless COVID-19 crisis in the United States.
The most gruesome images of COVID-19’s wrath in the Western press have originated from the formerly colonized nation and stand in contrast with an imageless COVID-19 crisis in the United States.
Sometimes people say these photos are beautiful, but I just want to show people what’s happening. Right now you don’t want to show people how good you are, with composition or whatever. What matters is how well you can convey the message through your pictures that it’s not safe out here. If people see my pictures on social, maybe they will be more cautious. Photographers are the ones who see everything—hospital, graveyards, cremation grounds.
That’s how AFP photographer Luis Robayo captions two Instagram posts featuring recent images of himself on assignment covering protests in Columbia (1, 2). The protests started in opposition to a tax reform bill and then quickly escalated into expressions of outrage against police violence, government corruption, a poorly handled pandemic, and increasing poverty.
News Corp Australia has reportedly laid off the last of its staff photographers and converted fully to using freelancers according to a new report. The last eight photographers were informed last week that their positions were being made redundant.
There are many ethical debates linked to portraying tragedy but it’s these shocking photos coming out of India that are pushing the world to sit up and take notice. And they come at a grave personal cost for those taking these photos. via Petapixel
In a new four-part webinar, Magnum Photos brings together Colby Deal, Jim Goldberg, and Rafal Milach along with advocates, leaders, and grant-makers to help photographers in the fight for social change.
In a new four-part webinar, Magnum Photos brings together Colby Deal, Jim Goldberg, and Rafal Milach along with advocates, leaders, and grant-makers to help photographers in the fight for social change.
Reading Time: 5 minutes From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital ag
From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital age
While overall hate crime dipped in 2020, hate crime against Asians increased dramatically in a number of cities around the country. That trend has unfortunately continued into the early parts of 2021, most visibly manifesting itself with the killing of 8
As the 24/7 cable news coverage receded, the Washington Post assigned Philadelphia-based freelance photographer Hannah Yoon to cover the aftermath with a more nuanced take on the lives of Asians and Asian-Americans in the local community. Her photos stopped me in my tracks because they looked and felt so different from other images I had seen.
I think of this while looking at Lange’s iconic image of the “Migrant Woman”(1936). I think about it again while I delete, with embarrassment, a photograph I had enthusiastically shared on my social media. The highlighted, and now deleted, photograph was supposedly of a working-class Turkish family, but not just any family, one that arrived as saviors of the pandemic. The image was made into a fast-accelerating meme with the following caption: “This is an immigrant family, newly arrived in Germany. The boy in the yellow shirt will go on to invent the COVID vaccine.” In late 2020, the natural impulse was to share this image because it perfectly combined an uplifting and politically charged story. And yet, it is exactly because of the enthusiastic caption that the image needed to be deleted.
Photographing the punk and hardcore scene is far from the only work Egan has done, though. As a photojournalist for the Tribune, he has documented everything you can possibly think of, such as local festivals, events, protests, unsheltered communities and more. It was his college advisor that first told Egan he should be a professional photojournalist, but Egan wasn’t quite convinced until he went to a workshop with Anthony Suau, a photojournalist who documented the famine in Ethiopia. It was there he realized photojournalism isn’t really about photography at all.
In 2020, swaths of our planet were ravaged by wildfires and hurricanes as global temperatures soured. The Australian bushfire crisis killed or displaced almost three billion animals, and California experienced…
As the connection between climate change and extreme weather events becomes increasingly clear, ethical and comprehensive coverage of these disasters has proved more urgent than ever. These are the images that will inspire action today and bear witness a hundred years from now. We asked four photojournalists about their work on the frontlines of fires, floods, and hurricanes. Read on for their tips and insights for documenting some of the most important stories of our time.
“I’m used to being a war reporter in countries where there were no institutions, or the institutions shattered very rapidly,” said Ms. di Giovanni, now a senior fellow at Yale University’s Jackson Institute for Global Affairs. “This is a country that had, until recently, extremely strong institutions that protected us descending into the abyss, and to see what’s happening now is disturbing beyond belief.”
Reporters and photojournalists assigned to cover the Electoral College vote count found themselves thrust into a riot against Congress, and found themselves attacked as well.
Congress was on break when Tom Williams, a photographer for CQ Roll Call, stepped out of the House chamber to file some shots of the vote to certify the election. Then he noticed something out a window facing east: a skirmish between dozens of cops and
The crowd seemed ready for a photo opportunity; democracy was under siege by a spectacle of costumes, body paint, and an unknown number of weapons. Some of the insurrectionists wore maga hats or camo-gear; they brandished flags for Trump and for the Confederacy; few wore masks. Williams headed out to find a good vantage point and saw people with bleary eyes—the rioters and the police had exchanged pepper spray, he later learned—and bloodstained faces. He captured some images of rioters shoving their way through a wall of police. Soon, an officer escorted Williams and a few other photographers to the third-floor gallery of the House chamber, then told them to lie low. He clenched his equipment. “I was trying to quickly and surreptitiously take pictures the whole time,” he said. “We were like, Holy shit.” A throng had entered the Capitol.
Jane Bown looking at a contact sheet by the lightbox, using her monocle eyeglass. Motorcycle couriers flirting with picture researchers. Reporters massaging the egos of alpha-male photographers, vying to become the next Don McCullin, the great photojournalist whose career began here. Men in shabby suits from now-defunct picture agencies, cigarette in hand as they hawked photo-essays from battered suitcases. The picture librarian ferrying files of black and white prints to the man who was at the centre of everything, the revered picture editor, Tony McGrath.
Last fall, I marked my 25th anniversary with The Post-Crescent. It’s incredible how quickly time passes. I’ve spent close to half my life documenting the Fox Cities, Wisconsin and beyond. This journey has given me the privilege to tell the stories of so many.
The recently published monogram features 35 reportages and 15 photographers’ work over a climactic six months as the pandemic hit the Democratic Republic of Congo.
The recently published monogram features 35 reportages and 15 photographers’ work over a climactic six months as the pandemic hit the Democratic Republic of Congo.
Jan Šibík, one of the Czech Republic’s top photojournalists, talks about the demise of photojournalism, mobile phone pics and documenting the coronavirus crisis.
Jan Šibík is one of the Czech Republic’s top photojournalists. He has undertaken assignments in hotspots around the world, including Rwanda, Afghanistan, Chechnya and Iran as well as capturing the tumultuous events of the Velvet Revolution in his own homeland. In a recent interview for Czech Radio, the photographer spoke about the demise of photojournalism, what he thinks about mobile phone pics and his plans to produce a book of photographs about the ongoing coronavirus crisis.
