Sean Gallagher, a photojournalist living and working in China, won a travel grant from the Pulitzer Center for Crisis Reporting in February for his work on the country’s desertification. After a whirlwind trip to complete his coverage, Sean returned with several photo stories, posted on the Pulitzer Center’s blog, that tell a complex story of climate change’s impact and how China is dealing with it. We asked Sean to talk about how he tackled such a long, complicated photo essay. In this post he talks about identifying the story, and he’ll follow up with posts about research, logistics, and maintaining momentum.
Nina Berman is not an objective photojournalist. And she doesn’t want to be.
“I don’t believe in the notion of the objective photographer, that somehow a photo is balanced and you’re dispassionate,” she said. “I don’t think that would have value. That’s like a security camera.”
My project, “In the Mood for Love,” examines the celebration of love through the intimacy of couples. I recently started making photos of couples during their daily life: when they are working, sharing private moments, experiencing pain, anger or joy, and when they are passionate.
Ben Zlotkin is the founder of Edition One Studios, a company that makes books for photographers (here). I wanted to ask him a few questions about publishing short-run photography books, because I feel like there’s not a lot of good information available on the subject. Also, I was curious if it really is that hard to satisfy a photographers needs when it comes to DIY books.
In a rare interview Andreas Gursky talks to Guy Lane about an exhibition of his work in which many of his wall-sized prints are for the first time scaled down to modest proportions.
I had no idea about underwater photography to begin with but I found a used Nikonos in a shop nearby, bought a pair of swimming trunks to match the colour of the camera and started to spend day after day in different public pools, swimming around with the camera held tightly between my legs to avoid suspicion. It was such an escape both visually and psychologically from what I had been doing and it also felt so far removed from the work I was familiar with of the genre.
I know what he’s doing may not seem extraordinarily radical to you, but these online media companies have been really slow to recognize the value of high quality photography in capturing an audience and bringing in advertising. That will change. I asked Timothy a couple questions.
Attention, working photographers: this may well be the Eye-Fi card you’ve been waiting for. The new Eye-Fi Pro combo wireless and 4GB SDHC card for digital cameras is the first from the company to be able to transmit RAW files, in addition to JPEG and video, as well as the first to work over a computer-to-computer (ad hoc) Wi-Fi link, no router required.
For PDN’s Careers and Self-Promotion Issue, we asked En Foco executive director Miriam Romais about the lack of diversity in the photo industry, why it matters, and what can be done to ensure more support for minority photographers. Romais, who will co-chair the 2010 Society for Photographic Education (SPE) conference, also addressed the efforts educators can make on behalf of student photographers of color.
What do they call it in the corporate world — value added skills? How about a staff photojournalist doing some DIY lens repair on a Canon 400mm 2.8 II? That’s just what I’m up to after one of our older 400mm telephoto lenses broke at a recent Cards game.
I was dismayed today to read about the latest alleged case of Flickr Censorship. Censorship (or as they like to call it “moderation”) continues to be a problem on Flickr.
PDNPulse: On Lack of Diversity in Photography, and in PDN:
Yesterday some blogs circulated a note about the fact that of the 24 judges of the 2009 PDN Photo Annual contest, all of them are white. It’s a valid point ,and one that everyone who works on PDN’s contests has given a lot of thought. While the lack of any judges of color wasn’t intentional, it is regrettable.
An Associated Press reporter’s official reprimand over an innocuous comment on his Facebook page has sparked the ire of union officials. They are now demanding that AP clarify its ethics guidelines and are also urging reporters to watch who they add to their friends lists.
For more than three years I have documented rural poverty in eastern Kentucky through the eyes of the White family. Their roots in Whitesburg run deep through the generations and into the depths of the mines. Richard White, his wife Tammy, their three children, and Richard’s nephew Derrick Collins all live together in a mobile home. The son of a coal miner, Richard has experienced the problems of eastern Kentucky firsthand.
Stephen Crowley has just returned from covering President Obama’s trip to Saudi Arabia, Egypt, Germany and France. These tetraptychs convey the round-the-clock cognitive dissonance of such a journey, with its multiple agendas and audiences — “Bilats and Tea,” Mr. Crowley calls it, using the diplomatic jargon for a bilateral talk. He also assembled a verbal scrapbook of impressions, drawn from press communiqués, pool reports and news accounts.
