“Isn’t that dangerous?” people usually ask when I mention my recent trip to eastern Democratic Republic of the Congo. “Yes, though D.C. is pretty dangerous too,” I reply, usually playfully—although driving in the DRC can be rowdy even by Washington standa
If Everyday Africa and the rest of the “Everyday” sites can maintain their momentum, a revolution is coming to photojournalism and visual news. I say that insofar as Western news publications and the newswires continue to propagate an unconscious and inescapably ethnocentric and stereotyped view of the non-White, non-Western world.
As the Ebola crisis continues to develop, TIME asks ten photographers working on the ground to reflect on their experiences covering the outbreak—and to describe which of their own photographs moved them most.
Much of this ultra-violent imagery is unfit for publication under the criteria that AFP sets itself, and will end up in the bin. But not without inflicting a kind of repetitive shock to the journalists who have viewed it.
This week on #LightBoxFF, we speak with Annick Shen, the Senior Communications Coordinator for Photography at Open Society Foundations, an organization that promotes human rights and social reform. Shen manages the Open Society Foundations’ Instagram feed, commissioning photographers to share their photographs.
I disagree to some extent with the notion that images are losing their power. Quite the contrary. I suspect what we are witnessing is ‘simply’ * a change in the way that their power is being harnessed and used. (* except its not really that simple).
Agence France-Presse will “no longer accept work from freelance journalists who travel to places where we ourselves would not venture,” global news director Michèle Léridon writes. AFP has a bureau in Damascus. Leridon continues:
To celebrate James Nachtwey’s 30 years as a contract photographer for TIME, we have organized an exhibit of 54 layouts that have appeared in the magazine featuring his work from Chechnya to Somalia and from Afghanistan to Burma, along with a series of his powerful, previously unpublished photographs. Below, James Nachtwey, and TIME’s Managing Editor Nancy Gibbs, reflect on the relationship between photographer and publication.
“Since its inception, photojournalism has competed with the movies, then television, and always seems to have been facing a crisis,” says Samuel Bollendorff in the introduction to the fascinating exhibition Amateurs à la Une (Front-Page Amateurs), now on view at the Visa Pour L’Image festival in Perpignan
The PR war. The pixel war. The virtual front. The social front. The battle for thoughts and memes. The planting of minds. The ambient space. War jamming.
So Mr. Sullivan, along with Mr. Parry’s friends and family started the Ian Parry Scholarship to keep his memory alive and to help other promising young photographers follow their dreams.
A recent slew of situations resulting in catastrophic violence and death, including the Israel-Gaza war, the armed expansion of the Islamic State, the downing of a Malaysian Airlines plane in the Ukraine, the ongoing conflict in Syria, and also the spread of the Ebola virus, has led to a renewed debate as to what kinds of imagery media outlets should be expected to show.
“If Visa pour l’Image 2014 is violent, it’s because the world is violent,” said festival director Jean-François Leroy this week in an interview with the Catalan press.
For Samuel Bollendorff, a French photographer and documentary filmmaker, amateurs are just scapegoats for a profession that has refused to accept its share of responsibility in its economic struggles. “My role as a photographer, at least the way I see it, is to try to understand how people around me produce, distribute and consume images,” he tells TIME. “For the past few years, we’ve heard the worse things about amateurs, which are accused of having brought photojournalists to their knees. I thought it was important to take a look back at these claims and uncover these amateur images that have made the front pages over the years.”
I’ve spent the past week down in Ferguson, MO covering the protests and police response. What I never expect was to find myself embarrassed to photograph
I’ve spent the past week down in Ferguson, MO covering the protests and police response. What I never expect was to find myself embarrassed to photograph but it happened on Tuesday
