A YouTube clip from a Magnum meeting.
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Next month, a discordant crowd of photographers and editors will squeeze into the small city of Perpignan, France.
It will be the 20th year of Visa Pour l’Image, an ambitious photo festival that has grown into a huge annual reunion for photojournalists.
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Jerry Dantzic (previously reviewed here in April 2003) was a lifelong photojournalist, whose long career documented the arts, music and the vast diversity of New York life. He freelanced for the New York Times and Life and Look magazines, among other major publications. He also taught photography at Long Island University and the Columbia University Graduate School of Journalism.
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David Burnett and I were comissioned by a high-profile magazine to make a cover image of Michael Phelps. Actually it was David who they wanted. David to his credit and as a testimont to his experience suggested that both of us do the shoot at the same time. It was a pretty smart and somewhat bold idea. Two sets of eyes, two brains working togeather to make the most out of the five minutes that we’d (hopefully) get.
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Susan Meiselas is looking a bit shaken. She has just heard that her trip to Guinea, scheduled to start the next day, has been canceled; her driver there has been assaulted and is fleeing the country. She is working with Human Rights Watch photographing child domestic workers, and clearly someone didn’t like it.
Her assignment was meant as a sequel to her photographs of Indonesian maids in Singapore last year. “It’s a strange thing to have your knapsack filled with film and cameras and be stopped on track,” she said.
She was in this southern French city to help commemorate the 60th anniversary of Magnum, the photographers’ agency she joined at 26. Some of her work, which covers a range that includes war in Nicaragua and sadomasochism in New York, is on display alongside that of her Magnum colleagues at the city’s annual photographic festival, Les Rencontres d’Arles.
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David Burnett:
Then the show started, Amazing, fantastic. All my adjectives fall short, as do my pictures. The creative minds which cobbled it together must have been extraordinary. The one thing I can tell you for sure: this operation was NOT put together by a bunch of consultants using their Blackberrys. In the last few minutes, when the medalist carry the torch started to ascend from the edge of the playing field, you could hear 80000 people say “Ahhh!” all at once. That is a sound you should hear at least once in your life. Then, tilting to the side, he became a slow motion runner, legs taking in ten, twenty feet at a stride. He lacked only a flickering light to make you think you were watching a film clip of the 1920 Olympic Games. As he started into the first turn, headed towards me (and my 200mm lens) I couldn’t see the image in the viewfinder, for the tears which were crawling down my face.
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A 7-year-old girl, unable to speak or feed herself, discovered in a filthy, roach-infested room, her diaper overflowing and her body covered with bites. How do you tell a story like this? Poynter’s St. Petersburg Times responded by clearing its Sunday features section and devoting six ad-free pages to a 6,500-word narrative and haunting photographs of the girl and her adoptive family.
The project was the result of months of reporting and photographing by two gifted journalists, as well as a behind-the-scenes team. The story is worth a reader’s time. And for journalists, it’s worth analyzing for lessons learned, including this: A few months into the project, reporter Lane DeGregory and photographer Melissa Lyttle found themselves without compelling content for the Web and had to retrace their steps in reporting this story.
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“It took me a while to get over being ‘the baby guy’, now I’m known as ‘the gorilla guy’.” Brent Stirton, senior staff photographer at Getty Images and four times a World Press Photo winner, talks to CPN’s Mike Stanton about celebrity portraiture, dancing with his camera – and how he gained access to one of the most remote and volatile regions on earth armed only with an EOS-1Ds Mark III.
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Newsweek’s “Countdown to Beijing” blog has this amazing piece of reporting about the tense business of editing photos at Chinese newspapers.
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British photographer Martin Parr, whose work straddles documentary and fine art photography, argues that photojournalism “has to get modern” to regain the attention and support of mainstream magazines. In this month’s “State of the Art Report: Photojournalism Survival” (PDN August), Parr asserts, “You have to disguise things as entertainment, but still leave a message and some poignancy.” In a recent interview, we asked him to elaborate on his theory.
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View the “Pakistan” Feature Gallery by John Moore
View the “Iraq” Feature Gallery by John Moore
View the “Pan-American Highway” Feature Gallery by John MooreView the “Afghanistan ‘Frontline Helmand’” Movie by John Moore
View the “Iraq ‘Camp Cropper’” Movie by John Moore
View the “Zimbabwe – Photographer’s Journal” Movie by John Moore
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If the photojournalism community can be said to be a network of extraordinary witnesses, it is interesting to see one of those individuals rise to prominence within the community itself. Such is Getty photographer John Moore, who in his second decade of international work has emerged as one of the finest photojournalists of his generation.
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If you’re anywhere near Florida August 1-3, St. Petersburg is the place to be. For the nominal fee of $100, you can hang out with the APhotoADay community, which is having it’s annual gathering. The weekend is jam packed with some incredible speakers. So, if you’re looking for some inspiration and motivation — don’t miss it
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For me this has always pointed to the distinction that can be made between considering yourself a “newspaper photographer” versus a “photographer who happens to work for a newspaper.”
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By Vincent Laforet
The challenge is to find a way to continue to produce quality original content, and to connect with your audience – not to hold on to the old, traditional way of doing things. So while the cloud may be falling – there’s plenty of blue sky above – and the possibilities are endless. Good luck.
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Photographers have had a long love affair with freebies. And I’m not talking about the Canon fanny packs and Nikon Olympic pins we all love to get at big time sporting events. If only. No, I’m talking about giving away freebies. Free prints. Free portrait sessions. Free wedding photography. Free photographs to the local SID. Why, I’d bet there are some photographers who would give away their own grandmother for the promise of a 6-point photo credit along the inseam of a trade publication. And while I’d love to say that all this giving only proves that we have big hearts, the sadder reality is that we have an addiction to giving things away and the only hope right now is for an intervention.
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We’ve heard the names of the new Magnum Photos members who were elected at the cooperative’s meeting in Paris last week:
Jonas Bendiksen, Antoine D’Agata and Alec Soth have been elected full members.
Olivia Arthur and Peter Van Agtmael are new Magnum nominees.
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The photograph was a stunner. Displayed across four columns at the top of Page One of Thursdays New York Times, the image showed a baby boy with casts on both legs, the apparent victim of the violence marking the presidential election in Zimbabwe.
In these times of mass video delivery and saturation of visual messages, this still image offered cause to pause. It demanded attention, insisting that readers and viewers not look away.
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It’s one thing to write about soaring food prices. It’s another thing entirely to photograph the story in a visually compelling way. But Washington Post Michael Williamson, who has documented America’s economic struggles for more than two decades, was up for the challenge.
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Combat photojournalist Stacy Pearsall was named the Military Photographer of the Year recently for the second time. One of only two women to take home the honor, she is the first woman to take it twice. Having just finished serving as a mentor for the annual Department of Defense Worldwide Military Workshop, Pearsall talked with American Photo about how she proved she could hang with the boys and her fast rise through the ranks.
Check it out here.