via Correspondent: http://blogs.afp.com/correspondent/?post/Simply-unimaginable-%3A-Chaos-descends-on-Kiev
“I’ve visited Kiev repeatedly since 2005 and – like everyone else who lives in Moscow – enjoyed the laid back vibe of the city and alluring provincial atmosphere,” says AFP Moscow correspondent Stuart Williams. “That barricades could be put up and pitched battles take place in the city was, for all the political turbulence that has always marked Ukraine, simply unimaginable.”
[First published April 2006] – Robert Capa, Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936 One of the fundamental problems of photography not necessarily encountered by any other type of artist is the problem of access:…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2014/01/vintage-top-access.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
My judgement is that by most indications Robert Capa was direct and honest as a man and a photographer. He was not interested in falsehoods and not petty about his ego.
The Proof blog takes you behind the scenes to tell the stories of what’s glamorous, and what’s definitely not, about being on assignment for National Geographic. In this two-part tale, photographer and documentarian Charlie Hamilton James tells the story
via Photography: http://proof.nationalgeographic.com/2014/01/23/charlie-hamilton-james-the-disgusting-disease-diaries-part-one/
In this two-part tale, photographer and documentarian Charlie Hamilton James tells the story of contracting not one, but two, rare and repulsive maladies while traveling on assignment in the Amazon—a botfly, and the flesh-eating disease leishmaniasis.
MIKE DAVIS is the newly-appointed Alexia Tsairis Chair for Documentary Photography at Syracuse University, where he’s teaching, working with the Alexia Foundation and overseeing the Alexia grant…
via APAD blog: http://blog.aphotoaday.org/post/72657021371/5-questions-for-mike-davis
Thinking of images – whether they’re still or motion – more completely as three dimensional spaces is the latest iteration on the purely visual side. Elevating what it is you are striving to say in that space is the other side of that coin.
via Correspondent: http://blogs.afp.com/correspondent/?post/Hatred-and-cannibalism-in-a-country-gone-mad
Strangely though, this horrible scar of misery across the country I love was rather beautiful to behold from the sky.
As we get off the plane, the noise from the camp is immediate, as is the sound of gunfire. Chadian members of the African intervention force have just opened up on the crowd that has gathered to protest our presence.
One dead.
Photojournalist Danny Lyon delivered a sharp critique of the media, explained the main goal of his career, and reminisced about his work on the civil rights movement, motorcycle gangs and Texas prisoners at a rare public appearance last week. Lyon was the
via PDNPulse: http://pdnpulse.pdnonline.com/2014/01/danny-lyon-criticizes-media-says-how-he-would-edit-national-geographic-magazine.html
Photojournalist Danny Lyon delivered a sharp critique of the media, explained the main goal of his career, and reminisced about his work on the civil rights movement, motorcycle gangs and Texas prisoners at a rare public appearance last week.
There is much more to the “photo excess” discussion than the likelihood of being overwhelmed. Bob Hariman weighs in.
via Reading The Pictures: http://www.bagnewsnotes.com/2014/01/on-any-given-day-what-may-be-needed-is-not-400-photographs-but-just-1/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
And we need to remember that at the end of any given day, what may be needed is not 400 photographs, but just one. Like the one above, for example.
via Correspondent: http://blogs.afp.com/correspondent/?post/Surreal-fact-and-outlandish-fiction-in-North-Korea
Determining whether stories about North Korea are true or false means delving into a very wide, grey area where the genuinely surreal mixes confusingly with the patently absurd.
By Janet SmithThe “dizzying” pace of change in the photography industry has pushed many photographers to seek ways to reorient their approaches to business and find firmer financial footing. Some have turned to photography cooperatives or collectives, joi
via NPPA: https://nppa.org/page/photography-cooperatives-and-collectives
The “dizzying” pace of change in the photography industry has pushed many photographers to seek ways to reorient their approaches to business and find firmer financial footing. Some have turned to photography cooperatives or collectives, joining forces with like-minded photographers to market their work, seek out assignments and support each other creatively.
Read the latest stories about LightBox on Time
Photographs by non-Western photographers are featured prominently among the best documentary images of 2013. Taslima Ahkter’s haunting “Final Embrace,” taken in the aftermath of the Rana Plaza garment factory collapse in Dhaka, Bangladesh, as well as a powerful Mosa’ab Elshamy photo from the violent Rabaa Square protests in Cairo both made TIME’s Top 10 Photos of the Year. Meanwhile, EPA photojournalist Ali Ali’s consistently strong images of daily life from the Gaza Strip earned him the distinction of being the most represented photographer in TIME’s 365 gallery.
Although it has become more prevalent in recent years, the practice of regional photographers working for Western news organizations dates back decades. Here, TIME showcases work made over the past year by the aforementioned three, examining the wider context, evolution and issues that relate to regional photography.
The Guardian’s photo team have chosen Goran Tomasevic from Reuters as their agency photographer of the year. Take a look back over his work in 2013
via the Guardian: http://www.theguardian.com/artanddesign/gallery/2014/jan/01/agency-photographer-goran-tomasevic
The Guardian’s photo team have chosen Goran Tomasevic, of Reuters, as their agency photographer of the year. We look back over his work in 2013 including coverage of the conflict in Syria and the Westgate shopping centre attack in Kenya
If “the selfie” was the dominant theme this year in social media and personal photography, I would argue that the theme of “self absorption” (or, “the absorption of self”) applied as much to news photography.
via Reading The Pictures: http://www.bagnewsnotes.com/2013/12/news-photography-the-year-of-the-selfie-too/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
• how much did aesthetics draw us closer to conflict, to complexity, to diversity, to context, to editorial content versus how much did it usurp the available bandwidth with drama and the aura of significance?
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/12/23/pjl-december-2013-part-2/
National Geographic’s Proof blog invited the photography and design teams of National Geographic magazine to look back through the hundreds of photographs from the over 75 stories published in 2013 and select one photo that spoke to their heart, intrigued them, inspired awe, made them smile—in short, to choose their favorite photo from this past year.
(please note when this post was first published it was widely reported that Barakat was seventeen. Reuters did nothing to…
via duckrabbit: http://duckrabbit.info/blog/2013/12/child-turned-down-by-al-queda-dies-shooting-for-reuters-in-syria/
Reuters did report that not only was Molhem Barakat a photographer on their books but also an ‘activist’. According to the reporter Hannah Lucinda Smith, Molhem was an ‘aspiring suicide bomber‘ who tried to join an Al-Qaeda offshoot earlier this year but was turned down for being unsuitable (Molem’s name is changed in her article).
Link: » newsletter | 20 december 2013
As the year is coming to an end, we are happy to share some of NOOR’s highlights from this past year. NOOR photographers have continued their dedicated work as visual storytellers. They covered the harsh events of this year’s tragedies while aiming to bring joy and solutions to troubled issues. With the world changing, photography is also moving forward and video is becoming more and more a part of the work by NOOR photographers.
As technological change has changed photojournalism, news photographers fear that iconic images that could trigger the public’s conscience are being missed.
via Reuters: http://blogs.reuters.com/david-rohde/2013/12/18/will-a-billion-selfies-cause-us-to-miss-history/
photography is our predominant means of communication. Dizzying technological advances allow a mind-boggling number of images — half-a-billion a day — to be shot and posted online. Yet the emergence of the Web and smartphones has made it harder than ever for photographers to earn a living
The narrow aperture is as salient as the face behind it, while the blinds on each side make a thick frame designed to obscure. The message is clear: what you see through the aperture of the camera is not the whole picture.
via Reading The Pictures: http://www.bagnewsnotes.com/2013/12/she-is-seeing-terror-you-are-seeing-terror-we-will-continue-to-see-terror/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
The caption said, “A victim, with her eyes wide open, lies on a hospital bed after an attack on a passenger microbus by an unidentified group in Kathmandu.” Too many elements of this scenario are all too familiar: civilians being targeted by unknown attackers, institutional support coming after–not before–the carnage, while eyes are wide open yet seemingly unconnected to any means to stop the violence.
Link: Illuminating a Central African Crisis, Photo by Photo – NYTimes.com
When mostly Christian militias loyal to the ousted president launched an attack on the Central African Republic’s capital, Bangui, on the morning of Dec. 5, the Associated Press photographer Jerome Delay was in his hotel. Cut off from his driver because of the fighting, Mr. Delay walked and caught rides from pro-government forces instead.
