“When all the world’s media leaves, this is still our neighborhood,” the St. Louis Post-Dispatch’s director of photography Lynden Steele recently told TIME. “We have to work knowing that what we do now will come back to us a month from now. We have to be able to stand by what we’re doing now because we’re going to be in that neighborhood weeks, months, years from now.”
I’d like to focus on a few main topics in relation to the aftermath of the police killing of Michael Brown, a young unarmed black man: the representation of black men in the media, the “Don’t shoot me” extended arms pose, the look of militarized police, and police targeting of reporters
I was told to pack my riot gear and head to Ferguson, a suburb of St. Louis in Missouri, to cover unrest that had broken out there following the fatal shooting of an unarmed black teenager by a police officer.
As I was behind a hedge taking photos of a television position that had been abandoned when reporters fled from the tear gas, police caught up with me.
Many reading this blog are familiar with the protests in Ferguson, Missouri over the shooting of an unarmed teenager a few weeks ago and the heavy police action with both the community and the press covering the news. Three regular contributors to this blog give their tips on dealing with spot news, often with police in a riot or crime scene.
The photographs of unrest in Ferguson after the fatal shooting of an unarmed black teenager by a police officer have drawn comparisons to pictures of the Deep South in the 1960s.
“It didn’t look like America. It looked like Soweto,” Danny Lyon said, referring to the South African township that was a hotbed of protests against apartheid. “It looked like soldiers. And soldiers’ job isn’t to protect. Their job is to kill people and to be ready to die.”
Reading a Philadelphia Magazine report about the decision by editors at the Philadelphia Daily News to change a cover photo in response to some outrage on social media left us wondering: Did photo editors at the Philadelphia Daily News change their minds
Did photo editors at the Philadelphia Daily News change their minds because they thought they’d made a mistake? Or did they change their minds to avoid controversy and public outcry?
I am troubled by what I have seen. In recent weeks, we have witnessed terrible, on-going episodes within our borders through photos and video that speak volumes about the tragedy of race. Racism is as old as human history, and there is a long, rich histor
Photos have been historically considered as a means to record history. But the proliferation of digital devices and social media have turned photography into a visual language. Photos go viral for a multitude of reasons (e.g. humor), but it’s often storie
I’ve recently come across two examples where good stories arguably beat out better photos as shown by the viral spread throughout social media. Do you agree?
After three days of very loud and very angry protests, St. Louis Post-Dispatch Director of Photography Lynden Steele followed his staffers’ Twitter feeds, text messages and listened to scanner chatter for perspective.
After the Michael Brown killing, the symbolism that emerges as standing for the systemic dehumanization of young black males is the gesture of extending one’s arms to the sky.
GeekFest is a 3-day celebration featuring inspiring photographers and visual journalists. And this year, it’s taking place in PHILLY — Sept. 12-14, 2014. Temple University is generously hosting our…
GeekFest is a 3-day celebration featuring inspiring photographers and visual journalists. And this year, it’s taking place in PHILLY — Sept. 12-14, 2014. Temple University is generously hosting our Saturday and Sunday presentations.
Another photographer, Adam Ferguson, and the New York Times’ Paris bureau chief Alissa J. Rubin were also on board and sustained minor injuries. “If we had been another 50 meters higher we’d all be dead,” Ferguson told the Times.
This is, after all, the game we’re now engaged in, a game photographs have become an integral part of: flood the internet with images around major events, and question any photograph that appears to not support your own position. Who is to say who is right or wrong, especially given how fast everything is moving now?
I think what I have to say and what a lot of older photographers have to say is still relevant, especially the Magnum photographers who have embraced the Magnum spirit and the Magnum approach. I think it will be forever valid because the world is only changing superficially. We still have people, human beings, and it is really about the human condition which is the main subject of Magnum photographers
David Carson hid across the street from a gas station in a patch of trees. No one could see him there as he transmitted his first batch of photos from the looting of a Quik Trip back to the St. Louis Post Dispatch. It was just after 10 p.m. on Sunday night. More than 24 hours had passed since police shot and killed teenager Michael Brown in Ferguson, Missouri.
Where will this lead? Well, how about embedding EEG signals in the image metadata? Allowing the image user to determine what your mental state was at the time of capture and deciding whether to use your image or not. Shouldn’t be too hard I’d imagine. Far-fetched? Well, I did a search and…….Slate carried a recent article that mentioned this very thing
I’m writing this from the perspective of someone who is trekking through the process. I’m not sitting on a high horse. I can’t even afford a horse. It is
It is often said that you have to be partially insane to be a creative. I’m not sure if that idea is influenced by the odd forms of modern art, or if someone recognized the risk of choosing fields with high unemployment rates.
By dealing with the emotional roller coaster of being a creative, I have in fact, gone a bit crazy.
While media consumers are bombarded daily with the most gut wrenching images of dead and injured Palestinians, especially children, the battle rages as to whether the images represent atrocities or collateral damage and the use of human shields.
As the Gaza conflict is fought just as much online and in social media as on the ground, partisans on both sides have focused their ire on the depiction of events as much or more, perhaps, than the events themselves
Almost 200 columns later, this is my last photo “tip” here at the Chicago Tribune. To be sure, it’s the one principle that has carried me through many situations in a career at newspapers.
How the Post-Dispatch’s photo staff is covering Ferguson
