Photojournalists on the ground in Haiti covering the aftermath of Tuesday’s earthquake are struggling with logistical challenges, including housing, food, water, transportation and communications. Safety is also a mounting concern.
Link: Photographers in Haiti Face Shortages of Fuel, Water, Housing, and Food
Andrew Henderson is a staff photographer at The National in Abu Dhabi, United Arab Emirates. Henderson previously worked as an intern at The Virginian-Pilot, Concord Monitor, The New York Times, and National Geographic Magazine. Henderson has a photography degree from Rochester Institute of Technology, a history degree from Western Kentucky University, and studied multimedia in the graduate program at Syracuse University.
Adam Ferguson recounts his experience photographing Afghan schoolgirls while on a recent assignment for The New York Times.
Link: Photographing Afghan Girls – At War Blog – NYTimes.com
Getty Images, Inc., the world’s leading creator and distributor of visual and digital media content, today announced an editorial distribution partnership with The Washington Post. This strategic relationship provides customers around the world with access to imagery captured by one of the most respected news organizations, The Washington Post, and enables Getty Images to offer the most comprehensive editorial imagery coverage of today’s top stories.
Link: Getty Images: Getty Images Appointed as Editorial Distribution Partner for The Washington Post
It is important to get a feel for the real photo world, which is a lot different then what school, or even your own mind tells you. You need to find out if this is really for you (i.e. photojournalism, etc.). That’s what I did. I ended up being a cadet staff photographer for my local Hong Kong paper the South China Morning Post. I worked 6 days a week and did 3 – 8 assignments a day. Sometimes I would spend 5 hours just sitting around waiting for news stories.
As more and more layoffs around the country are announced, I’ve been increasingly asked for advice on how to start out and succeed at freelancing. It’s a logical segue right out of the gate because for the most part it’s mainly editorial and they’ll be in their comfort zone before moving on to other arenas of photography. The first thing out of my mouth every time is that you have GOT to be patient in every single facet of the business.
Link: The Visual Student » Freelance Advice: Thomas E. Witte
By Peter Turnley When I review my life as a photographer, I feel blessed and fortunate to have experienced so many wonderful emotions, the most significant being the sense of being alive, powerfully alive. These beautiful experiences began with a…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2010/01/a-gift-waiting-at-every-corner-notes-from-a-life-in-photography.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
When I review my life as a photographer, I feel blessed and fortunate to have experienced so many wonderful emotions, the most significant being the sense of being alive, powerfully alive.
Can you work hard and have fun at the same time? Are you looking for a workshop you can afford? Would you like to work elbow to-elbow with some of the best
via MediaStorm Blog: http://mediastorm.org/blog/?p=1563
The 2010 Kalish is open for business and accepting applications for the 21st edition of this venerable visual editing workshop. It’s an opportunity to learn cross-platform/multimedia skills from a faculty of Emmy and Pulitzer Prize winning visual editors.
This has been a momentous year for media. In my previous four posts on the revolutions in the media economy, I have used the present uncertainty to take a fresh look at the past many now view nostalgically. This critical view demonstrated that newspapers have always been commercial enterprises rather than altruistic associations, they were in decline many years before the Internet restructured the conditions of publishing, and that the practice of investigative journalism is something we need to create as much as we need to protect. In this context, photographers who believe that their practice is defined by an editorial paymaster committed to documentary work are going to have a very hard time.
Link: dispatches / Revolutions in the media economy (5) – the pay wall folly for photographers
A closer look at a child’s toy among bombed-out ruins, and at what it’s like photographing a war.
via Opinionator: http://opinionator.blogs.nytimes.com/2010/01/03/it-was-all-started-by-a-mouse-part-1/
The implications may depend on our politics. Here is a child’s toy and the ruins of an apartment building. We know enough — “Israeli bombs slammed into a complex of buildings” — to infer (correctly or incorrectly) that Israeli forces targeted civilians. The Mickey Mouse photograph is not unique. A blog post, “The Passion of the Toys,” collected a number of wire service photographs taken in southern Lebanon. The sheer number of toys photographed seems to suggest that some of the images could have been staged.
When owners of The Washington Times cut their 170-member newsroom staff yesterday, the entire photography department – with the exception of photography director Joseph M. Eddins Jr. and imaging tech Melissa Cannarozzi – lost their jobs.
Link: Washington Times Slashes Newsroom Staff, Wipes Out Photo Department
It’s very, very important for us to realize what we have to lose when we treat chance bystanders as journalists, while, at the same time, refusing to fund actual journalists – and it’s important to realize that these two issues are actually connected: They’re the two sides of the same coin.
Link: We’re all Zapruders now (but that doesn’t make us journalists) – Conscientious
A photographer who is bravely, creatively and interestingly staking out his own path is Balazs Gardi with his Facing Water Crisis Project.
Link: Photographers I Like: Balazs Gardi & Facing Water Crisis « The Spinning Head
By Andy Rogers for SportsShooter
With the closure of the Seattle Post-Intelligencer in May though, my goal of retiring as a newspaper photographer took a hit. My colleagues and I were faced with the challenge of being laid off in the worst economy of our lifetimes. We would all have to consider the question of how to get our careers back on track or whether to continue a career in photojournalism at all.
By Matthew McClain, for SportsShooter
What I have learned in the following months of the paper closing is there’s no right or wrong way to be a freelance photographer. The majority of my fellow Rocky Mountain News photographers are still working here in Denver. None of our paths have been quite the same. Some are pursuing video production while others are breaking into the wedding market. The other portion is seeking primarily editorial and commercial gigs.
The Detroit Free Press would love to have an intern. Unfortunately, we have not been able to hire one for more a year and a half.
So, in this shrinking job market, I cannot stress enough the importance of being prepared when you apply for any internship or job.
Link: The other side of intern diaries: The Detroit Free Press
“The good news for photography is that our editor, Robert Thomson, is a very visual person,” says Jack Van Antwerp, the paper’s photography director.
The WSJ shoots substantially more original photography than before Murdoch took over. “A lot of the stuff needs to be assigned, because we’re breaking the story or it’s a unique angle on it,” Van Antwerp says.
Link: PDNPulse: The Wall Street Journal Photo Department Under Murdoch
This is the second segment in a four-part series on international photography.
![higgins9-24-4 [] 1.jpg](https://i0.wp.com/lh6.ggpht.com/_HBVKhiKXg8k/SyanopTdoLI/AAAAAAAAEgI/3kVptLY95L0/higgins9-24-4%20%5B%5D%201.jpg?resize=500%2C332)
The work of Garry Winogrand remains highly controversial. Biographical detail is widely available elsewhere but this piece assesses the key challenges.
Link: AMERICANSUBURB X: THEORY: “Garry Winogrand – Differing Perspectives”