via Conscientious Photography Magazine: http://cphmag.com/migrant-mother/
But obviously given we are not dealing with a candid photograph, the subjects were fully aware of the presence of the photographer. In fact, the photographer made them pose – this claim might not convince some people, yet, but once we’ve seen all the other photographs it will be obvious.
Link: Israeli Report Casting New Doubts on Shooting in Gaza – NYTimes.com
The boy, who was identified as Muhammad al-Dura, 12, became a symbol of the struggle against Israel; his name was invoked by Osama bin Laden, and images of him cowering behind his father have appeared on postage stamps across the region.
‘To have such a distinguished 25-year-old festival, which has a huge following, invite me to have an exhibition there, I feel honoured and proud,’ says photographer Don McCullin, who spoke to BJP ahead of Visa pour l’Image’s press conference. ‘I’m going t
via British Journal of Photography: http://www.bjp-online.com/british-journal-of-photography/news/2267717/don-mccullin-to-headline-visa-pour-limages-25th-edition
Legendary war photographer Don McCullin will present one of his largest retrospectives ever at this year’s Visa pour l’Image photojournalism festival, the organisers have officially announced today
It was an evening in May forty years ago, 1973. Disgruntled photographers from the Gamma agency decided to haul away their archives to open a new agency, Sygma. From the schism and the competition that ensued (complicated by a third agency, Sipa), the Golden Age of French Photojournalism was born, along with the global supremacy of French photo agencies.
Link: Gamma-Sygma: Night of the Long Knives | Le Journal de la Photographie
Link: Henri BureauThe commando operation | Le Journal de la Photographie
Link: Raymond Depardon: An Unavoidable Split | Le Journal de la Photographie
Link: Hugues Vassal “Un départ de voyous” | Le Journal de la Photographie
Link: Alain DupuisDawn of the conquerors | Le Journal de la Photographie
Link: Alain Noguès”On a tout donné” | Le Journal de la Photographie
Link: The Fall: How Corbis scrapped Sygma | Le Journal de la Photographie
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/05/08/a-final-embrace-the-most-haunting-photograph-from-bangladesh/#1
Many powerful photographs have been made in the aftermath of the devastating collapse of a garment factory on the outskirts of Dhaka, Bangladesh. But one photo, by Bangladeshi photographer Taslima Akhter, has emerged as the most heart wrenching, capturing an entire country’s grief in a single image.
With a new exhibition space and improved Web site, the Open Society Foundations’s “Moving Walls” series offers the public greater access to in-depth humanitarian documentary photography.
via Lens Blog: http://lens.blogs.nytimes.com/2013/05/06/moving-walls-and-minds/
It was never easy to finance in-depth social documentary photography, or to get it widely shown. But it has become even more difficult in the past decade, as media backing for serious photo stories has virtually disappeared.
Which is why the Open Society Foundations Documentary Photography Project has become a lifeline. Through its ground-breaking “Moving Walls” exhibition series — as well as grants that finance individual projects and innovative displays — it has sustained documentarians over the last 15 years.
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/05/06/pjl-may-2013-part-1/
Fabio Bucciarelli has been awarded, in the space of two days, two of the world’s most prestigious photojournalism prizes: the World Press Photo (second place in the Spot News category), whose awards ceremony was held in Amsterdam from April 25 to 27, and the Robert Capa Gold Medal
For three days in March at University of North Carolina-Chapel Hill, a group of students and professionals connected with each other and with themselves to get deep into their passion of visual storytelling and relating to the people who may someday becom
via NPPA: https://nppa.org/node/61701
“You are not each other’s competition you are each other’s support,” Taylor said to the group.
Read the latest stories about LightBox on Time
FBI officials would later say that the decision to release the images of the suspects was made at the highest levels, including Attorney General Eric H. Holder Jr. and Director of the FBI Robert S. Mueller III, because the search for the killers had stalled. The release of the images set off a series of events that transpired over the next 26 hours, leaving one police officer and one of the suspects dead, several other officers gravely wounded, and one of the nation’s major cities locked down.
Why would anybody have any question about the scenes in Watertown? There was a terrorist on the loose, one who had physically and emotionally maimed the city in the midst of one of its most cherished rituals. But in terms of scale, how much was shutting d
via Reading The Pictures: http://www.bagnewsnotes.com/2013/04/the-watertown-standoff-images-from-the-final-day-of-the-marathon-bombers-at-large/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
The photos from the final chapter of the Boston Marathon bombing raise a lot of questions. What I’m not sure of is whether the will is there to ask, let alone try and answer them. On the one hand, why would anybody have any question about the scenes in Watertown at all? There was a terrorist on the loose, one who had physically and emotionally maimed the city in the midst of one of its most cherished rituals
Link: Tragedy and the Role of Professional Photojournalists – Assignment Chicago
When spectators with cameras were fleeing, they headed towards the madness of the explosion. Tlumacki took his iconic picture just 15 seconds after the first explosion.
Think about this for a moment. At the finish line, there must have been hundreds of cameras. You would think everyone was taking pictures and recording videos. Twitter as a publishing platform is primed and ready for stills and video. It’s a world where everyone has a camera. But I saw very few images from the general public.
Read the latest stories about LightBox on Time
“I was there about 40 minutes or so when the first explosion happened,” Hoenk tells TIME. “We saw the smoke and heard people screaming, and then within seconds, the second explosion happened directly in my line of sight, 30 feet away. There was a lot of chaos.”
Link: Emerging Talent – Carolyn Van Houten | The Visual Student
Immerse yourself. Immerse yourself in photographs, in stories, in subjects. Most stories on the surface have already been done, but do not let that be discouraging. Make the story less about the poverty, the cancer, the autism and more about the people. Then you’ll have something truly genuine.
What takes me aback are how graphic the news photos are as compared to the almost total visual censorship of American war casualties over the past twelve years.
via Reading The Pictures: http://www.bagnewsnotes.com/2013/04/war-and-terror-what-shocks-me-most-about-the-bloody-marathon-bombing-pictures-graphic/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
What takes me aback are how graphic the news photos are (#8 especially) as compared to the almost total visual censorship of American war casualties over the past twelve years.
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/04/15/tragedy-in-boston-one-photographers-eyewitness-account/#1
LightBox spoke with Boston Globe photographer John Tlumacki, who photographed the explosions at the finish line of the Boston Marathon. Tlumacki, who has photographed more than 20 marathons in his 30 years at the Globe, describes the sheer chaos of the scene:
Link: RISC: Training reporters how to save lives – British Journal of Photography
Tim Hetherington’s death might have been avoided if his colleagues had had some basic first aid training, believes Sebastian Junger, who is determined some good will come of his friend’s loss. He set up Reporters Instructed in Saving Colleagues but, as Olivier Laurent discovers, the charity has yet to receive proper support from the wider media
Link: Jonathan Alpeyrie: Mokattam Fighting | Le Journal de la Photographie
I felt the end had come, I decided then to rush out of the house to make an escape, I ran into the courtyard which I discovered with horror was surrounded by a 3 meter wall and a closed gate. I pushed forward and jumped as I high as I could to start climbing the gate. With all the energy I could muster, I pulled myself to the top of the gate, while some hands tried to grab me. I manage to jump on the other side, while dozens of screaming men, furious that I had tried to force the gate