Melanie Light is an American writer and former co-founder of Photovision, a non-profit organization devoted to promote documentary photography. She also teaches. Her last two works are Night at the Met with photographer Larry Fink, Mad Day Out, on the Beatles’ photographs (Stephen Goldblatt). She has sent us her text on photojournalism today, which we find remarkable, and are publishing it in La Lettre.
Link: Mélanie Light, thoughts on Photojournalism | La Lettre de la Photographie
After vandals damaged the home and truck of Olympian photojournalist Tony Overman last week, and threw a corrosive substance on the windows of the newspaper’s offices and spray painted graffiti, a rally was held Saturday on the Olympian’s steps to show support for the photographer
Link: Rally To Support Photojournalist Tony Overman, The Olympian
As I look across the recent photojournalism awards, and scan for works in newspaper websites, I see a dearth of serious and committed interest in the hollowing out of America
Link: Silent No Longer Or Photojournalists Take On Poverty In America « The Spinning Head
At a Master’s Talk this afternoon at the LOOK3 festival in Charlottesville, VA, Ashley Gilbertson talked passionately about his project, “Bedrooms of the Fallen,” which depicts the rooms of soldiers from coalition countries such as the United States, Fran
via PDNPulse: http://pdnpulse.com/2011/06/look3-2011-ashley-gilbertson-on-war-ptsd-and-his-project-bedrooms-of-the-fallen.html
At a Master’s Talk this afternoon at the LOOK3 festival in Charlottesville, VA, Ashley Gilbertson talked passionately about his project, “Bedrooms of the Fallen,” which depicts the rooms of soldiers from coalition countries such as the United States, France and Scotland who were killed at war.
Look3, a festival that invites a mix of emerging and professional photographers to take a subjective look at the current photographic landscape, kicked off last night with a slideshow of Antonin Kratochvil’s work, titled “In America.” This touching show o
via PDNPulse: http://pdnpulse.com/2011/06/look3-2011-antonin-kratochvil-chats-with-scott-thode.html
This touching show of black-and-white imagery was followed by a casual conversation between Antonin Kratochvil and photo editor (and co-curator of this year’s Look3) Scott Thode, who have been friends for over 20 years.
Taking effect in October 2011, the VII Network will be dissolved and the name discontinued. All the photographers
currently in the VII Network have been invited to submit applications for membership.
Link: NPPA
There now is a new pitch up on emphas.is by Michael Christopher Brown, entitled The Libyan Republic – if you want to support a photojournalist specifically working in the country, which still torn by war, check it out
Link: Conscientious Extended | emphas.is: Michael Christopher Brown – The Libyan Republic
As we walked the streets, I noticed a certain type of photographer that stood in contrast to the sophisticated, mature practioners like Tim or our other luncheon mates, John Stanmeyer, Ami Vitale, David Strick, Jack Picone and others. It seemed to me this group was like a pack of roving jackals. There was a certain aggressive energy, wildness and a willingness to do whatever it takes to get the job done. This subset of photographers spoke about wanting to change the world, but their words sounded somewhat disingenuous. They wanted the thrill of danger, the clarity that comes when Life faces Death; the hunt, the kill. Their giant cameras slung around their necks while strolling around the peaceful streets of this French city were like bazookas, and shooting was an act of aggression for them.
Roland Elliott Brown considers the uneasy union of art and journalism in the World Press Photo yearbook
via the Guardian: http://www.guardian.co.uk/artanddesign/2011/may/29/world-press-photo-11-review
Roland Elliott Brown considers the uneasy union of art and journalism in the World Press Photo yearbook
Substantial exhibitions of the work of Nan Goldin, Massimo Vitali and Antonin Kratochvil are the major highlights, and the three artists will also talk about their work, with Goldin appearing in a unique conversation with Sally Mann. In addition the festival will feature “Master’s Talks” and exhibitions by Christopher Anderson, LaToya Ruby Frazier, Ashley Gilbertson, David Liitschwager, Steve McCurry, Mary Ellen Mark and Martin Bell, as well as a special exhibition of George Steinmetz photographs hung from trees in downtown Charlottesville.
Link: LOOK3 Preview: Goldin, Kratochvil, Vitali Headline Fest Curated by Kathy Ryan and Scott Thode
Ruth Gruber, correspondent and humanitarian, is honored for decades of photojournalism. Many decades. She is 99.
via Lens Blog: http://lens.blogs.nytimes.com/2011/05/20/ruth-gruber-from-exodus-to-ethiopia/
She began carrying a medium-format Rolleicord as a correspondent for The New York Herald Tribune in the 1930s. “I just put one finger on the shutter and I found I was really enjoying it,” she said. “Now I could make my own pictures that also told the story.”
The New York Times Magazine is putting the emphasis on documentary photography in its redesign
Link: Redesigning The New York Times Magazine – British Journal of Photography
Working as a staff photojournalist has its challenges. How do you stay inspired, happy, and passionate about photographing a white guy in a suit standing in front of a building? How can you make compelling images that give your photo subjects a voice in their own community when you can only stay for only 10 minutes? Why am I photographing this plate of food that barely resembles food? How do you make a picture that says “ribbon-cutting” without literally shooting the ribbon being cut?
You just do. Here’s how
Matt Black, 1970, USA, is a socially engaged documentary photographer. He grew up in a small town in California’s Central Valley, an agricul…
Link: http://500photographers.blogspot.com/2011/05/photographer-291-matt-black.html
Matt Black, 1970, USA, is a socially engaged documentary photographer. He grew up in a small town in California’s Central Valley, an agricultural area that is home to some of the poorest communities in the US. In his Dust Stories he photographs the various communities, including indigenous Mexicans and the isolated Hmong population, who have come to Central Valley to work on large and rich farms or try to make a living on their own.
Why does photojournalism addict us and make us want so badly to do this even though there are better ways to make more money?
The answer struck me when reading this recent book by Jane McGonigal. In Reality is Broken she describes the four defining traits that make a game a game. They are a goal, rules, a feedback system and voluntary participation.
Link: Maintaining Creativity Part C: Gamefully Employed « Perfesser Kev
Mr. Melcher misses the mark when he asks what gender has to do with the photojournalistic process. I’d like to give him the benefit of the doubt and assume that his post is attempting to say that photojournalism transcends gender, and gender should not be relevant. I think he meant that in the best possible way, but saying that is like saying we’ve transcended race in America. I don’t live in a fantasyland where racism doesn’t exist and I certainly don’t live in a society absent of sexism. Sometimes gender has nothing to do with the photojournalistic process, sure, but sometimes it has everything to do with it.
Link: On gender and photojournalism: a response to Paul Melcher by Melissa Golden | dvafoto
Read the latest stories about LightBox on Time
“There are no more discoveries to be made,” Elisabeth Biondi tells me on the opening night of the fourth annual New York Photo Festival. “Anyone can take a picture now, so it’s forced documentary photographers to have a more personalized vision.”
Special blog update to go through the details of this year’s Visa pour l’Image programme… You can read Olivier Laurent’s interview with festival director Jean-Francois Leroy…
via P H O T O J O U R N A L I S M L I N K S: http://photojournalismlinks.com/2011/05/10/visa-pour-limage-perpignan-2011-programme/
Details of this year’s Visa pour l’Image festival have been revealed…
Here is a selection of photographs submitted for the Conflict Zone exhibit, along with reactions from some of the people who attended the opening on Saturday.
Link: ‘Conflict Zone’ photo exhibit shows war through the lenses of conflict photographers | Poynter.
Legendary conflict photographer Ron Haviv opens up about how he hopes for the best while documenting the worst around the world.