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
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
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.
“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.”
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.
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.
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:
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
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
By Heather GraulichA funny thing happens when you ask photojournalists if crowdsourcing could be a real savior to the industry, a way of bankrolling their work and widening their audience in a time of vanishing editorial staff jobs and shrinking freelanc
A funny thing happens when you ask photojournalists if crowdsourcing could be a real savior to the industry, a way of bankrolling their work and widening their audience in a time of vanishing editorial staff jobs and shrinking freelance budgets.
Part Two: The Clarkson MachineBy Jim ColtonJim Colton:You’ve had a remarkable career in photojournalism. Can you tell our readers how you first got interested in photography? Where did you get your first break?
‘This is an opportunity for us to be seen by a new audience and to showcase work to people who might not have seen it,’ says Jonathan Bell, Magnum’s publishing and editorial representative in London, of the agency’s new partnership with Vice magazine, an
Vice magazine has joined forces with Magnum Photos to profile some of its key photographers. Gemma Padley speaks with Bruno Bayley, managing editor of Vice, and Jonathan Bell at Magnum, to find out how the partnership came about
Sipa Press photo agency, which went into bankruptcy in November after its German parent company closed its doors, will be saved after a French court ruling. Michel Puech reports
When photographer Marie-Laure de Decker asked her former agency to return 770 of her images, little did she know that she would be fined €10,000 for wasting the agency’s time. Olivier Laurent speaks with both parties
The French daily newspaper Le Monde has “inadvertently” destroyed ten years of slides and negatives taken by Argentinian photographer Daniel Mordzinski
American freelance documentary photographer Micah Albert has been entering the World Press Photo contest since 2007. This year he won first prize in the Contemporary Issues category for his image At The Dandora Dump that shows a woman trash picker in Keny
