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.
Last month, TIME was excited to welcome Alice Gabriner as our new International Photo Editor. No stranger to the publication, Gabriner photo edited TIME’s National section from 2000 to 2003 and then International from 2003 to 2009, including during the Iraq war.
He handed his memory cards to Carini and sipped coffee as the two of them looked over his pictures. Carini was amazed. He was struck by one shot in particular—the closest one he had ever seen from the frontline. In the image, a few peshmergas are ducking for cover behind sand bags while being shot at by ISIS. A fighter has just launched a rocket grenade. You can still see the smoke left in its wake
For the International Day of the Girl Child, we wanted to bring to light issues that are often hidden from view. So we turned to five photographers who devote much of their time to girls’ issues.
We asked five photographers, who devote much or all of their time to documenting the lives of global girls, to share photos with special significance and talk about the images
“Was this worth risking your life for? After a lot of worrying, I decided that it was.”Though the technology and methods of dissemination have changed (th…
“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:
