There’s been a lot of talk lately about photographers losing jobs to others who will work for less and photographers who work for free.
Check it out here.
There’s been a lot of talk lately about photographers losing jobs to others who will work for less and photographers who work for free.
Check it out here.
Photographer Ron Riesterer is retiring after 50 years (!) at the Oakland Tribune;
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“An absolutely disgusting photo,” said Darlene Tye, a transplant from California who is especially sensitive to how Southerners are depicted in the media. The missing teeth and what she described as unkempt attire reinforced a stereotype about people from the South, she said.
Valerie Cox objected to the photo for other reasons. After attending the concert with friends, she went to Jacksonville.com and was disappointed to find only five photos, and nothing like she expected.
“I was shocked to see the main photo representing the festivities was of an older African-American man who was missing most of his teeth,” she said. “There were thousands of other people in attendance who better represented the crowd. As an African-American, myself, I feel insulted,” Cox said.
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“When you see so much pain and so much sadness, do you feel you still have the capacity to love?”
That question drew oooohs as it was asked by Time’s MaryAnne Golon to photographer James Nachtwey. His answer drew a thunderous standing ovation.
“Witnessing pain and sadness is an act of love,” he said.
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Bert Hardy was the star troubleshooting photojournalist on Picture Post, Britain’s most influential picture magazine. But a story he shot in 1950 during the Korean war seemingly precipitated its decline and fall. On the eightieth anniversary of the launch of the mass-market weekly Graham Harrison turns back the pages of photographic history and looks forward to a reassessment of Hardy’s career.
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Ziv Koren is a world-renown combat photographer whose coverage of the Israeli-Palestinian conflict has vaulted him to international acclaim. Now, he’s helping invent a whole new visual aesthetic that digitally combines still photos with moving images, seamlessly.
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For the past 19 years photographers and photo editors have gathered near the Spanish border in Perpignan, France for a grand festival to celebrate photojournalism. This years festival from August 30th to September 14th will mark the 20th such meeting and I have been handed an interview with Jean-François Leroy the festivals founding and current director, where he tackles a few of the hard questions facing photojournalism and acknowledges completely missing the boat on the internet.
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With a 25% increase in the entries this year, the jury spent two long days working through the 7,500 photographs, both in slideshow form, and as C-type prints, laid out on the huge Olivier foyer floor at the National Theatre.
A final edit of 146 photographs has been made and 13 prizes have been awarded. What follows is the winners list and a web gallery of the complete edit that will feature in the book and exhibition. This is “The Press Photographer’s Year 2008”.
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I live in Building D.
Today on my way home from dinner a tragic event came to realization. A young man committed suicide. The witnesses said he jumped from the building I live in.
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Like all of Life’s great photographers, Bill Eppridge brought to an assignment much more than the ability to take a properly exposed and well-composed photograph. He has curiosity and anticipates, he is sensitive and respects his subjects, and he is versatile.
For a while it seemed that he specialized in riots and revolutions: in Panama, where he shot his first cover, in Managua, and in Santo Domingo where, in “rebel territory,” his 500-mm mirror lens almost got him killed. It seems that, after days of provocation by someone they had nicknamed ‘One Shot Charlie’ – someone into whose position Bill and his lens innocently stepped – the U.S. 82nd Airborne determined “to get the bastard whenever he moved.” The shot from a .50-caliber spotting rifle missed Bill by inches.
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I was in Washington a few weeks ago at the annual awards dinner of the White House News Photographers Association. It’s an annual chance to see old friends and catch up on news. It’s also a time to meet new people and see how they’re doing in the great, wide, wonderful world of photojournalism.
This year’s word?
Depression.
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The first time my father told me about Sean Flynn’s disappearance, I felt as if a spider had walked down my spine. “Just gone?” I said, looking down at a picture that was taken of Sean hours before he vanished into the Cambodian countryside in April 1970 — a heart-stoppingly handsome young man on a motorcycle with thick sideburns and a battered Nikon around his neck. “Yeah,” my father said in a papery voice that made him suddenly sound much older. “Just gone.”
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21 year-old WKU Junior Carl Kiilsgaard is working on a rather intensive project documenting the life of an impoverished family in rural Kentucky.
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Mona Reeder, a photographer with the Dallas Morning News, has won a Robert F. Kennedy Journalism Award for domestic photography for her photo essay “The Bottom Line.” Through pictures, Reeder explored Texas’ poor rankings in a number of categories ranging from the poorest counties in the U.S. to environmental protection.
Earlier this year, the project won the Community Service Photojournalism Award from the American Society of Newspaper Editors. It also was a Pulitzer finalist.
Kenny Irby interviewed Reeder about the project for “Best Newspaper Writing 2008-2009.” In this excerpt, Reeder discusses the value of in-depth photo essays and how she developed this one.
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A city official in Mexico took this amazing picture of a deadly traffic accident Sunday in Matamoros, Mexico. The accident, which left one cyclist dead and at least 10 others hurt, is getting international attention mainly because of this photograph. The photo, credited to José Fidelino Vera Hernández, ran in the Mexican newspaper Hoy Tamaulipas and on the AP wire this week.
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By 7 am, 61 pictures earthquake-hit Sichuan province had been sent and by 2:28 the next day, 24 hours after the shock, 100 Reuters pictures had moved to the World… And then our staff photographers also began filing from different spots.
So, that was the first day after the earthquake, then the second, then the third – it was a sleepless fortnight until the story began to quieten down a bit…
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In Paul Fusco’s photographs (here and at the gallery) of the people along the tracks, as the Kennedy funeral train passes, it is not only the faces and the clothes that catch the eye, it is the hands.
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This week the National Press Photographers Association (NPPA) rejected a proposal to change its name to The Society for Visual Journalists (SVJ). The new name was proposed as a way to re-brand the organization to be more inclusive of videographers, multimedia people, etc.
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This new quarterly publication is more than you might pay for your average magazine but looks to be worth every penny. A rumored 80 page photo essay by VII photographer Antonin Kratochvil isn’t a bad way to start.
Check it out here.