So look. Then turn away. If you don’t need to look, I’m with you. If you need to look, you don’t have to apologize. Whatever you do, realize that the stakes are higher than had been imagined. For the same reason, know that it becomes all the more important to understand why ISIS exists at all, and how to break the cycle of violence and the downward spiral that serves them all too well. For that, we need many other images, and much more as well. Not least, we need to appreciate how civilization is a way of seeing
Quality. We know it when we see it, right? That’s what we set out to discover with our eyetracking research described last week in Part One. But just because we recognize quality doesn’t necessarily mean we can articulate it to others.
But just because we recognize quality doesn’t necessarily mean we can articulate it to others.
So let’s see if we can build an actual vocabulary to describe the power of good photojournalism. It’s important —especially now, when the digital world is flooded with mediocre images.
This week my colleague Celia Lebur travelled to Chad’s border with Nigeria to hear the tales of men and women who escaped what may be the worst atrocity in Boko Haram’s six-year Islamist insurgency, the assault on Baga
Jeca Taudte, one of the Instagrammers featured, said the Times didn’t contact her prior to publishing her photo. “Another gracious Instagrammer [commented] on my photo, which alerted me to the fact that me submission had been selected for the online slideshow,” she said. It wasn’t until a Facebook friend posted a photo of the paper that Taude realized that her shot made it on the Times’ front page.
One photographer has taken the mantra that “Home is where your story begins,” and expanded it to include not only his own neighborhood…but all fifty states! Enter Rob Hammer and his new book, “Barbershops of America.”
You have two options when you approach a hostile checkpoint in a war zone, and each is a gamble. The first is to stop and identify yourself as a journalist and hope that you are respected as a neutral observer. The second is to blow past the checkpoint and hope the soldiers guarding it don’t open fire on you.
What makes a photograph worth publishing in an age when images are shared in an instant, around the world? Quality matters, they said. And quality in photojournalism is all about strength of story, a genuine moment, rare access and a perspective on what’s
Can people differentiate between professional and amateur photographs? Yes, quite definitely. Study participants were able to tell whether a photograph was made by a professional or an amateur 90 percent of the time.
The magazine will still arrive in mailboxes each week, and its pages will still be stuffed with images; to most readers, the loss will be vague at best, symbolic at worst. Sports photographers nearly have always been less famous than their subjects
The new structure is this: You’ll no longer pay benefits or salaries to photographers and you’ll hope these veterans will continue to fill your pages as freelancers who are struggling to make ends meet.
Many Poynter readers expressed shock and sadness Friday after a National Press Photographers Association report revealed that the magazine was cutting its entire photo staff.
Staff photographers Robert Beck, Simon Bruty, Bill Frakes, David E. Klutho, John W. McDonough, and Al Tielemans were informed of the decision around noon Eastern time on Thursday.
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.
The bulletin from the Associated Press flashed across the computer in The Bakersfield Californian’s photo department a few minutes after 9 am on Friday, April 23, 1993. I was alone and raced …
Don’t involve editors until it’s too late for them to screw it up. Never again did I ask an editor if I should head out on a newsworthy story. I just did it, then when I got there, I’d call and let them know I was there. They would grumble a little, huff and puff, you know, “you should have told us first, but stay there and get the photos.” Bingo. And they don’t stay mad for too long. They probably forget all about it by the time they get to the next editors’ meeting
What’s noteworthy about this photograph though, isn’t the extraordinary resolve of those willing to put themselves at risk on the front lines. Rather, it’s the way this image captures how quickly world leaders can come together when it’s time to jump on the visual bandwagon
Clinching a spot on board a helicopter, watching world leaders march under tight security, or melting into the heart of the crowd, three AFP photographers share their experience of the historic January 11 unity march in Paris.
With all of this description of lead pictures, turns, weather shots, etc., it is easy to get lost in the main goal of a successful story – to give the reader a sense of the place and make them feel good that they live on a planet with such beauty
