Poynter:
Melissa Lyttle: It’s the one that was our lead photo the first time around, where [Bernie Lierow is] hugging her and she’s just kind of dangling, lifeless and limp, and not hugging back. And that scene happened again … I made this picture in the living room this time where he was hugging her. It’s very clear: She’s holding his head. She’s kind of playfully biting his nose and kissing him back. … It’s the same down to the fact of lensing and composition and moment.
This image tells us nothing of the reason for the riots, nor does it show us what happened to the woman. However, because of its simplistic form and key pictorial features it is set become an image of historical relevance, an image that will be brought from the archives time and again; it is destined to become a recurring image of national significance.
Times’ Executive Editor Bill Keller says photographs like this “ought to disturb us, at least.” But if that’s all he’s asking a photograph to do, to deliver the “concern” in “concern photojournalism,” Keller (and Salon) are missing the point.
via Reading The Pictures: http://www.bagnewsnotes.com/2011/08/feast-of-famine-pictures-from-somalia-and-what-a-photo-ought-to-do/
Salon inoculated itself and all the usual suspects via an article on the New York Times’ decision to run this haunting Tyler Hicks’ photograph on their front page
“I went to David Scull, the national picture editor, and said: ‘Joao’s there and has his equipment. Why don’t we assign him?’ It turns out that Joao was already shooting it.”
Magnum Photos has an extraordinary digital archive that can be exceedingly difficult to use. Now it hopes to create an online community of taggers.
via Lens Blog: http://lens.blogs.nytimes.com/2011/07/26/crowd-sourcing-the-magnum-archive/
In the hope of making its archives more usable while also engaging its many online followers, Magnum is initiating a collaborative annotation project. For the trial run, Magnum is looking for 50 volunteers who are passionate about photography and want to help shape its site into an online community.
VII Photo, which is in the process of merging its Agency and Network divisions, has announced a call for submissions
If the video running off the front page of the Visa website is anything to go by they are: MADNESS…
via duckrabbit: http://duckrabbit.info/blog/2011/07/what-revealing-images-of-africa-can-we-expect-this-year-from-visa-festival-of-shanty-towns/
If the video running off the front page of the Visa website is anything to go by they are:
MADNESS and DESPAIR?
In part 1 and part 2 I started on a list of the photographers who have made the greatest influence on successive generations of photojournalists. To recap, this is a start on a “canon” to which you may contribute a suggestion. I’m looking not just for a list of the “great photographers” nor the most famous or successful. I’m looking for photographers who:
Produced documentary work reflecting the important standards and ethics of the profession,
Stood the test of time by repeatedly producing notable work, and
Innovated in the art or profession by being first to adopt an important style or approach, break a barrier or rise above the limits of the day.
Photography has entered such an extraordinary state of transformation that labels no longer serve a purpose. Photojournalist? Photographer? Artist? Today, it seems that we need to be all of the above if we’re to continue working in this sea of photography.
So many great links in this post…
This is a set of posts about inspirations and influences. I know you may have landed here following a search about camera equipment, but to quote Peter Adams, “A camera didn’t make a great picture anymore than a typewriter wrote a great novel.” Photography is about seeing and making any camera of any sort work for you. This post should cite many examples of that.
A hidden bomb in Afghanistan made Giles Duley a triple amputee, but after rehabilitation, he’s ready to go back into the field.
Link: http://www.nytimes.com/2011/07/09/world/europe/09duley.html?_r=1&hp
TO the annals of understatement and optimism add this: the account of Giles Duley, an independent photographer, about the moment after he stepped on a hidden bomb while covering an American and Afghan infantry patrol.
Joel Hawksley is off to a fast start. With two quarters to go before he graduates from Ohio University (OU) with a degree in photojournalism, Hawksley has already been working as a staff photographer for two years. And he’s compiled an impressive portfolio of photographs in that time.
The VII photographer Christopher Morris has responded to my post ‘The War Photographers biggest story: themselves‘, which I published a few days ago, and which seems to have hit a nerve.
I’m posting his comment in full below as well as a response from Asim Rafiqui, who recieved The Aftermath grant in 2009.
Is the ‘best’ story a war photographer can provide these days – the one that will get the most space…
Is the ‘best’ story a war photographer can provide these days – the one that will get the most space – themselves? Not just any photographer though. They need to be western and preferably English speaking. And not just any story. They need to be kidnapped, shot, sexually abused or blown up. If they want to hit the chat shows they also need to be a survivor.
Andrew Burton was inspired by the tenacity of John Moore, who risked his life for a photo of an explosion in 2007.
via Lens Blog: http://lens.blogs.nytimes.com/2011/06/20/devastation-pictured-in-the-details/
Andrew Burton, 24, grew up in Australia and Oregon. He graduated from Syracuse University in 2010. He has interned with The Syracuse Post-Standard, Bloomberg News, The Oregonian and Getty Images, and now works as a freelance photographer and multimedia journalist for various organizations, including The New York Times. He covered the aftermath of the earthquake and tsunami in Japan.
With June 1st, the first day of hurricane season, quickly approaching I thought I’d jot down some of the things I’ve picked up over the years as a Florida-based photojournalist covering hurricanes. Maybe these tips will help you; maybe they’ll get you into trouble. Who knows? But either way I hereby absolve myself of liability by stating that I’m not an expert, just a guy who has made a lot of mistakes when covering hurricanes… and has learned from *almost* every one.
Link: Hurricane Coverage
