The days of traditional news agencies are gone, this is the era of stock photos online and based on an economic model comparable to that of Airlines: offshoring, removal of social benefits and cut throat competition.
“The disappearance of photo agencies and photo editors” is, for Jean-François Leroy, the most striking phenomenon of the past two decades.
Category: Photojournalism
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The age of “low cost” photojournalism
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Nachtwey Has Left VII Photo; Agency Prepares for Expansion
Nachtwey Has Left VII Photo; Agency Prepares for Expansion | PDNPulse
Photographer James Nachtwey confirms that he decided to leave the VII Photo Agency, the cooperative he cofounded in 2001, last fall. “I disassociated from the agency as a photographer,” Nachtwey tells PDN. He says he told the other members of the agency
via PDNPulse: http://pdnpulse.com/2011/08/nachtwey-has-left-vii-photo-agency-prepares-for-expansion.html
“I disassociated from the agency as a photographer,” Nachtwey tells PDN.
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James Nachtwey leaves VII Photo
Founding member James Nachtwey has left VII Photo, the agency’s director confirms to BJP
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Interview: Jean-François Leroy
Jean-François Leroy uncorked his first bottle of champagne late Tuesday afternoon to celebrate, like every year, the opening of this 23rd edition of “Visa pour l’Image”, the International Photojournalism Festival in Perpignan.
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Lewis Hine: Photographer, Activist, Character
Lewis Hine: Photographer, Activist, Character
Alison Nordstrom, the curator of a retrospective of the work of the early 20th-century photographer Lewis Hine, has come to know him as the Walt Whitman of picture-taking.
via Lens Blog: http://lens.blogs.nytimes.com/2011/08/26/lewis-hine-photographer-activist-character/
Since our material is vintage material, there are sometimes these amazing annotations on the backs of these prints. I often say the back of a photo can tell you more than the front. In that period, he is really gathering evidence, and so the notations have the name of the child and the height of the child. He measured the height of his buttons on his vest. He always wore a suit and tie to the ground so that he could ascertain the heights of these little children by measuring them against the buttons on his jacket.
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Sequel to Pulitzer Prize-winning ‘girl in the window’ story shows challenges of crafting a followup
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.
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A Letter from London: London's Burning – The Image of the Riots
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.
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Feast of Famine Pictures From Somalia … and What a Photo “Ought to Do”
A Feast of Famine Pictures From Somalia … and What a Photo “Ought to Do” – Reading The Pictures
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
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Back in Action and Back on Page 1
“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.”
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Crowd-Sourcing the Magnum Archive
Crowd-Sourcing the Magnum Archive
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.
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VII Photo issues call for submissions
VII Photo, which is in the process of merging its Agency and Network divisions, has announced a call for submissions
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What groundbreaking images of ‘Africa’ can we expect this year from Visa Festival of Shanty Towns?
What groundbreaking images of ‘Africa’ can we expect this year from Visa Festival of Shanty Towns? — duckrabbit
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?
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The Photojournalist’s Canon: Part 3 — From Then to Now
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. -
Artist? Journalist? Vestige?
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.
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Photjournalism Links: Monday 18 July 2011
So many great links in this post…
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The Photojournalist’s Canon: Part One — The First 50 Years
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.
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Bomb Took 3 Limbs From Giles Duley, but Not His Can-Do Spirit
Bomb Took 3 Limbs, but Not Photographer’s Can-Do Spirit
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.
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Feature: Joel Hawksley starts a photography career
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.