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.
Last week at a Dart Center for Journalism and Trauma event, a coalition of publishers and journalism organizations released a set of Global Safety Principles and Practices intended to guide news organizations in how to work with freelancers and local journalists on dangerous assignments. It’s an ambitious but needed step, as so many deaths reminded us last year.
Photojournalism can be like “trying to play Rachmaninoff while wearing boxing gloves,” as former photojournalist Simon Norfolk put it. One looks for the dramatic, the iconic, the universal, and in doing so the photographer then often simplifies the situation, removing it from a specific context that may help explain what the viewer will be seeing.
One of the first photographers to work for the modern-day AFP, founded in 1944 as France was freed from Nazi occupation, Eric Schwab was among the very first witnesses to the boundless horror that Allied forces uncovered as they advanced into Germany, liberating the death camps one after the other.
Middle-aged, financial journalist Felix Salmon stirred the pot on Monday with the following tweet: Advice for budding journalists, from @felixsalmon. (tl;dr: don’t do it!) http://t.co/lJmQ02MdNT — Felix Salmon (@felixsalmon) February 9, 2015 His longer po
32-year old Slate staff writer, Will Oremus, points out that the traditional paths to journalism success are indeed harder for the “traditional” candidate – that upper middle class, liberal arts educated, white male. The counterpoint is that many more non-traditional (but representative) journalists have a means to success (e.g. women, people of color, etc), and the criteria for success isn’t confined to tenure
The question an NPPA-funded study looked at is, “What makes a photograph worth publishing in an age when images are shared in an instant, around the world?” The study has gone beyond the anecdotal to provide some scientific facts.
Most people didn’t need to pause for a second before they started to talk about the photographs that had stayed with them. Images they cited most often involved emotion, story, moment and unique perspective that had drawn them in.
Most people didn’t need to pause for a second before they started to talk about the photographs that had stayed with them. Images they cited most often involved emotion, story, moment and unique perspective that had drawn them in
How the inspiring photojournalist responded when one of her photos was pulled from the cover of the New York Times Magazine for questions of authenticity.
“I would never think of myself as a role model,” says Lynsey Addario. The 41-year-old, twice-kidnapped, mother-of-one, award-winning photojournalist has released, this month, her first book: an autobiography of her life as a Connecticut-born photographer who has spent the last 15 years witnessing the true human cost of war, particularly for women across the world.
