Our recent statements defending ethical practices in photojournalism triggered some lively reactions, and we must have heard every argument possible. The world is on the move, so it’s time for photojournalism to move too. We are allegedly the protectors of an old-fashioned, narrow-minded vision of photojournalism. That’s quite a charge!
Such scathing criticism neither concerns us nor upsets us. Au contraire! We see these comments as expressions of encouragement, bolstering our belief in a vision of photojournalism which we have been advocating, in no uncertain terms, over the last 27 festivals.
Today was a tense morning. I found myself in the middle of clashes between protesters and police in Burundi where some people were injured by grenades and a protester was shot in the head right in front of me. Ugly scenes.
Visa pour l’Image, the world’s largest photojournalism and press photography festival, plans to open an International Center of Photojournalism in Perpignan, France.
Ten months ago, the Chicago Tribune simultaneously launched two accounts on Instagram, the photo-sharing social media platform: one showcasing the work of the paper’s staff photographers and another highlighting old photos from the basement archives. I
“In a way, you can’t blame Instagram for not being all that for professional photographers,” Zajakowski said. “As a social network, it’s a lot bigger than us, and isn’t about photography per se anyway. It’s about making connections and sharing visual information and lightening your day.”
I feel like with every new project or venture or anything digital, someone in the room should look around and ask, “Where is our visual expert?” We need them in the chair. We need to think about it before we start reporting. We need to think about it after we’re reporting. We need to think about it when we’re designing and making.
What was particular to the photo coverage of protest violence this week was the portraiture. I don’t recall citizens so willing to share their venom with news photographers in an actual pose.
It’s this degree of anger that translates into a singular derision I don’t remember seeing before in the coverage of the last few incidents — of black and brown citizens willing to pose for news photographers in deep enmity. The photo leading this post, for example, was a first for me in what’s become the most popular popular genre of both news and personal photography, the “looting selfie.”
In wake of the events taking place in Baltimore, MD NPPA General Counsel, Mickey Osterreicher, has put together a document with advice on how to cover high conflict news stories.Issues covered:
In wake of the events taking place in Baltimore, MD NPPA General Counsel, Mickey Osterreicher, has put together a document with advice on how to cover high conflict news stories.
These are some images and thoughts that struck me about the visual media coverage of the catastrophe as photos filled galleries and illustrated news stories this morning.
If you’re not following the story, more than 7,000 migrants have been pulled from the Mediterranean in the past week and several boats have capsized drowning up to 700 people. In a striking example of visual language, the UNHCR is describing it as a “massacre.” These are some images and thoughts that struck me about the visual media coverage as photos filled galleries and illustrate news stories this morning.
James Oatway, a photographer with the Sunday Times of South Africa, managed to capture a mob of men fatally attacking a Mozambique man on April 18 in Alexandra township. Oatway’s photos, published on the front page of the Times yesterday, lead to the arre
Oatway says the attack lasted “two minutes.” After Sithole collapsed, Oatway got the bleeding-but-still-conscious man into his car and drove him to a nearby clinic where he was told they couldn’t treat him
Eric Feferberg tells the extraordinary story of this picture, taken on March 13, 2003, in a US military camp in Kuwait where 130,000 troops were preparing to invade Iraq. Invited to photograph this officers’ briefing – and the top-secret map in the background – he had little idea of the storm that would ensue
Rogers, an Arkansas entrepreneur who bought the predigital photo archives of both the Star Tribune and the Pioneer Press, is facing more than a dozen lawsuits and a pile of unpaid bills.
The thought that big-city newspapers like the Star Tribune and Pioneer Press here in Minnesota — and others in Chicago, Detroit and Denver — were willing to hand over (for a nice price) one of their (and their community’s) most valuable historical archives to a character like Rogers is startling in itself, and may explain why so little has been said about the deal.
Almost all the recent flare-ups started with the looting of foreign stores. That is what happened in Durban, in the country’s east, where xenophobic attacks left six people dead in recent days, including an Ethiopian burned alive as his store was torched.
The hardest thing for me to come to terms with was that I was a newspaper photographer, and now I am not. And I loved being a newspaper photographer. Loved. Loved covering my community
Apart from a few thousand people willing to risk their lives to bear witness at any cost, nobody is interested in the World Press Photo today. Photojournalism bores everyone, and now the only appeal of Perpignan is nostalgia. It’s sad but true
World Press Photo, please stop letting people like this, people who are destroying our industry, and the craft of photojournalism use your (still) good name to legitimize their bad behavior.
We had big questions as we started our research on photojournalism funded by the National Press Photographers Association back early in 2014: What are people drawn to in a photograph? How long do they look? Do they read captions? How do they perceive qual
There were five elements to the testing, including eye tracking with an invisible, infrared camera that captures the gaze of the eyes, ratings for quality and the likelihood that a photograph might be shared, a test asking participants to guess the source of a photograph and an exit interview.
