In the past year, contributing editor Sebastian Junger and contributing photographer Tim Hetherington, winner of the 2007 World Press Photo of the Year award, returned to Afghanistan’s Korengal Valley to embed with Battle Company
Category: Photojournalism
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Scenes from the Front Lines – APhotoADay News
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PDNPulse: A Strange Year at Perpignan
I’ve had a weekend to digest my visit to Visa pour l’Image. Here are some of my impressions.
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PDN Video: Stephanie Sinclair CARE International Award
I’ve also posted a video interview with CARE International Award winner Stephanie Sinclair.
Check it out here.
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Perpignan Friday Conference on Conflict Photography
comments from the press conference this morning with Stanley Greene, Yuri Kozyrev, Lucas Menget, and Patrick Robert — the conflict journalist’s speak. These photographers have all made incredible images in the most difficult places imaginable
Check it out here.
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State of the Art: Perpignan Update: Wednesday Morning Events
At the press conference this morning we heard from Christian Poveda about his three-year work with the maras (gangs) that developed in the El Salvador communities of the L.A. suburbs and then were exported back to the country, where gangs had previously been unknown (image above; the maras are known for their facial tattoos)
Check it out here.
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Shooting War: graphic novel about blogger embedded in Baghdad – Boing Boing
Anthony Lappe and Dan Goldman’s Shooting War is one of the strongest graphic novels I’ve read in years, a tough anti-war comic that provides trenchant, spot-on commentary about the relationship of the news-media to all sides of modern war.
Check it out here.
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State of the Art: Perpignan Update: Tuesday at the Festival
Jean-Jacques and I were also fascinated by two projects on the Congo: Vu photographer Cedric Gerbehaye’s Congo In Limbo and Getty photographer Brent Stirton’s images for Newsweek and National Geographic about Congo’s Virunga National Park.
Check it out here.
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Visa pour l'Image Preview – – PopPhotoAugust 2008
The largest photojournalism festival, Visa pour l’Image, kicks off on Saturday in Perpignan, France — and this year the festivities are sure to be bigger than ever. The festival, which met with extreme skepticism when it was first started by the inimitable Jean-Francois Leroy, is triumphantly celebrating its twentieth anniversary this year.
Check it out here.
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Sean O'Hagan meets photographer Josef Koudelka who captured the 1968 Soviet invasion of Prague
Forty years on from the 1968 Soviet invasion of Prague, we meet Josef Koudelka, the man who captured the most startling images of that dramatic week, then went on to become one of the greatest photojournalists of our time
Check it out here.
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Wandering Light: Traditional Hutong II
I remember when I used to work at a newspaper in Illinois a few years back, I would always have to go out and find a photo to fill dead space in the paper. This would be so difficult for me. I would drive around for hours and hours and hours. And the minute I saw some kid playing a sprinkler or people in the park I’d pull over. What a bunch of crap. I would only cruise the areas that I was comfortable in. Then of course that 5 pm deadline would always loom down on me.
But I didn’t get it then.
Check it out here.
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Photo-J Slide Show: Perpignan's Greatest Hits
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.
Check it out here.
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Photojournalist's Testimony: Photographs By Jerry Dantzic
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.
Check it out here.
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Mostly True: The Cover That Never Was
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.
Check it out here.
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Magnum Photos – Susan Meiselas – Photography – New York Times
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.
Check it out here.
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We're Just Sayin: And With a Tear in My Eye
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.
Check it out here.
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Poynter Online – Looking Through the "Girl in the Window"
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.Check it out here.
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Canon Professional Network – Brent Stirton
“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.
Check it out here.
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Photos You Can't Print in China – PDNPulse
Newsweek’s “Countdown to Beijing” blog has this amazing piece of reporting about the tense business of editing photos at Chinese newspapers.
Check it out here.
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Martin Parr: Why Photojournalism Must "Get Modern"
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.
Check it out here.