Some of the commenters seem to think I am using news as an opportunity to make art. It is the opposite. I have been covering news for a long time and it frustrates me that people do not respond to it. I am trying to use cinematic techniques to make people connect to and care about news, not using news as an opportunity to make cinematic pieces.
I was interested to discover that photographs of San Quentin inmates played a formative role in Stefan Ruiz’s career. At 4:45mins, Ruiz talks about his position as an art teacher at San Quent…
[slidepress gallery=’leameilandt_themaguires’] Hover over the image for navigation and full screen controls Lea Meilandt The Maguires play this essay The number of poor families in the …
I can’t help but think about all the photographers I’ve talked to recently, especially commercial/editorial ones, who have told me about the immense business problems. A lot of people really don’t know whether their businesses will survive.
“A Libyan woman burst into the hotel housing the foreign press in Tripoli Saturday morning and fought off security forces as she told journalists that she had been raped and beaten by members…
What do you want to explore in your work now and in the future?
I want to photograph a feeling I’ve had building inside since a young age. But without constru
Goran Tomasevic of Reuters arrived in Libya on Feb. 23, having covered the upheaval in Egypt. (“Even the Middle Ground Is Perilous in Cairo,” Feb. 4.) These images, presented in chronological order, convey some sense of what a tumultuous month it has been. Kerri MacDonald interviewed Mr. Tomasevic by e-mail last week.
Los Angeles photographer, Zoran Milosavljevic, really knows his hometown. Literally, block by block. He has completed a seven year series, The Wilshire Project, exploring a city and it’s inhabitants using a sixteen mile boulevard as it’s axis.
The Bayeux Calvados Awards for War Correspondents is calling for entries for its annual contest, which rewards the best conflict writing and photography
Last July, while America was coming to terms with the fallout from the BP Deepwater Horizon oil spill, China itself was dealing with the largest oil spill in its history in the city of Dalian. During the spill, a fatal act of bravery was caught on film by
Philip Poupin, a photojournalist based in Afghanistan, has covered conflict and human rights issues for six years, most recently covering the conflict in Libya from the rebels’ side.
The discussion around photographing corpses can quickly lead to the argument that journalists in these situations are vultures, they’re exploiting the suffering of locals, they’ve become heartless, blood-thirsty creatures looking for the most sensationalist stories. I fundamentally disagree, with some caveats that I’ll touch later.
Accusers of parachute journalists say, “they fly into hotspots around the globe, enter cultures they have no understanding of, work in places where they don’t speak the language, tell surface level stories of what has occurred and leave before the story has truly been completed.” Accusers say, “this style of watered-down news turns major stories that deserve in-depth, localized reporting into pop-trivia facts and catch phrases for the nightly news.”
Having just been to Egypt for their revolution, and now Japan, those comments hit me pretty hard.
All National Geographic photographer Mark Moffett wanted to do was travel peacefully to Colombia and photograph the world’s most poisonous frog. Instead, he ended up on a road trip through th…
In a word, Yes. The federal court judge who rejected the proposed settlement agreement between Google and a consortium of authors and publishers on Tuesday said the agreement was not “fair, adequate or reasonable.” The losers would have been many copyrigh