The afternoon of July 28, 1985 would change my career. I was 27. I have told the story about this photo so many times, in interviews, at conferences, at gatherings with friends and colleagues and a…
In 1985, I shot a picture at the scene of a drowning in Hart Park in Bakersfield. The picture became one of the most controversial of the decade, and at age 27 and just four years into my career, I was thrust into the national media spotlight
As a new photo editor at National Geographic, I was eager to learn more about the photographers we work with, many of whom I haven’t met in person. In honor of Thanksgiving, I asked ten of them to share an image that they were especially thankful for havi
As a new photo editor at National Geographic, I was eager to learn more about the photographers we work with, many of whom I haven’t met in person. In honor of Thanksgiving, I asked ten of them to share an image that they were especially thankful for having taken – one that had perhaps changed the way they thought about something, or had a large impact on the trajectory of their career. Below are the stories and images they shared.—Jessie Wender
More members of the photography staff at Thomson Reuters have been shown the door this week as the picture service continues a downsizing that first gained public attention last summer.
The photo cuts in North America are part of a Thomson Reuters plan to eliminate jobs globally, including possibly photographers in Europe and the Middle East.
In Ferguson, Missouri, a grand jury will soon decide whether to indict police officer Darren Wilson for killing an unarmed teenager in August. Photojournalist Jon Lowenstein talks about what happened.
This year, RISC is holding a benefit auction of photographic prints to raise money to help pay for the training it provides. (Each training session costs $24,000 for 24 New York-based students; overseas sessions cost $36,000.)
I had a wonderful opportunity today in that I got to enjoy the company of Pulitzer Prize-winner photojournalist David Turnley in the setting of my very
David Turnley had so much to say on the matter of street shooting and his experiences of so many decades of work, and I was so overloaded with joy and the relevant information he brought to the table based on real experience from a career as a humanitarian and war photographer, that it was hard to capture everything he was saying, but some important things he shared with us did manage to stick with me.
Today David Lama is one of the most successful professional climbers in Europe. But at age 19, his climbing career almost ended before it even began. In
Rich Clarkson: “Let me just make something real clear guys,” he said. “You know, I’m tired of hearing people talk about how the future is not bright. The future for photography and filmmaking and journalism has never been brighter!
Makeshift schools, water pumps, bubble-blowers and balloon sellers … the award-winning AP photographer tells Lizzie Tucker what it’s like to live and work in the world’s largest community of refugees
Makeshift schools, water pumps, bubble-blowers and balloon sellers … the award-winning AP photographer explains what it’s like to live and work in the world’s largest community of refugees
“I knew this work was going to be darker,” says the visual artist Doug Rickard. “As I started to dive into the footage, I realized that there was an extra motive for posting videos on YouTube, and often it was a rather dark motive in itself.”
Photographers, if they can master the ways these digital systems work, “can become the masters,” Mayes said, and argued that smartphones had opened a “doorway into a rich area of image-making and communication with a power beyond anything we can imagine at this point.” Stay tuned.
I’m not going to go into the details of the entire weekend, but I want to take a moment to reflect on some things that I learned while there and will never forget:
Photography is powerful because we can place ourselves into the perspective of those we see in an image. Whether it’s street photography, photojournalism
Photography is powerful because we can place ourselves into the perspective of those we see in an image. Whether it’s street photography, photojournalism or portraiture, we use photography to understand ourselves in relation to people around us.
On the way home, photographers should expect to face three levels of screening: in the hot zone, in a transit country, and in their home country. I just returned from a week-long trip to Liberia where I saw everything from an Ebola vomit-stained mattress being dragged out of an Ebola ward to bodies being hauled out of someone’s home. It was challenging, but not quite as challenging as trying to leave the country.
National Geographic photographer John Stanmeyer recently witnessed the exodus of more than 100,000 Kurds from Syria as they fled from ISIS into neighboring Turkey. This is his first-person account of the momentous scene that took place at the border in mi
National Geographic photographer John Stanmeyer recently witnessed the exodus of more than 100,000 Kurds from Syria as they fled from ISIS into neighboring Turkey. This is his first-person account of the momentous scene that took place at the border in mid-September.
If you came of age in the 1970’s, as I did, it was hard to escape Simon and Garfunkel going on and on about the virtues of that ubiquitous slide film, what with those nice bright colors and greens of summer. Ten times a day you’d hear that damn song emanating from some transistor radio, and I’d always cringe when they got to the lyrical punchline, “Everything looks worse in back and white.”
I guess what I miss most is the solitude. I remember standing alone in the pitch black of a hotel road darkroom after a dangerous day, with my arms thrust deep into a sink of 68-degree wash water for no reason while I waited for the fixer to clear my film. There, in the absence of every sight, of every sound, it was peace.
