Occam’s Razor tells me that for any given problem the simplest explanation is the one to pick. So I would have to assume that what my grandfather took part in and witnessed is very much along the lines of what has just been published as Das Auge des Krieges [The Eye of War] by Buchkunst Berlin. The photographs in the book were taken by a certain Dieter Keller, a man from a privileged background who in some capacity spent the majority of his life in the world of art.
The search for self-definition is a life long pursuit. For photographer and story teller Macaulay Lerman (@macaulaylermanphoto) that pursuit manifested itself early in the possibilities and potential of alternative choices–living life on the road, findin
The search for self-definition is a life long pursuit. For photographer and story teller Macaulay Lerman (@macaulaylermanphoto) that pursuit manifested itself early in the possibilities and potential of alternative choices–living life on the road, finding connections with those on the fringe, cultivating an understanding of the other. Macaulay’s project, Greer Road, is filled with rough beauty, places over looked and seemingly in decline with people who have chosen those same alternatives. The work has a cinematic quality and his words paint new layers onto the narrative of the photographs. Macaulay is our Storytellers Editor this week and an interview with him follows.
Every two weeks, Michael Shaw and Cara Finnegan discuss recent news photos on our “Chatting the Pictures” webcast. In the latest episode, we are joined by educator and writer John Edwin Mason. In the aftermath of George Floyd’s murder, the media and social media have been filled with powerful and disturbing protest photos. We focused on some different kinds of images from this historic moment. Specifically, these pictures deal with the protests and self-representation, and the racial divide in public space.
Through his quiet yet grave images, Zied takes us into a Tunisian community trying to win a hopeless battle against an insidious, omnipresent threat: sand.
As a Black photographer specializing in conflict photography, Aziz’s work has a certain intangible authenticity to it; no doubt one of the reasons his images caught my eye on Instagram. The combination of his photos and personal stories shed a bright light on the editorial gaps surrounding the current coverage of the 2020 George Floyd, Breonna Taylor and Black Lives Matter protests. This media coverage in recent weeks has followed a well-known trend in photojournalism, skewing heavily toward images made by older white male photojournalists, amidst a growing discussion about the importance of hiring more Black photographers.
When it comes to cameras, National Geographic photographer Jim Richardson has been around the block. With a career spanning decades, Jim has seen the rise and fall of various camera trends — from black and white film to kodachrome, and now the rise of th
Last Friday, we sat down with Jim to discuss the future of photography, the technological advances of mobile cameras, and the strengths and weaknesses of DSLR vs iPhone photography.
Last month, while covering protests in Minneapolis sparked by the killing of George Floyd, photojournalist Linda Tirado was blinded by a foam bullet fired
According to court documents obtained by PetaPixel, Ms. Tirado “stepped in front of the protesting crowd and aimed her professional Nikon camera at the police officers to take a picture of the police line.” Despite the fact that she was wearing visible press credentials, the complaint claims that police first marked her using a bright green ballistic tracking round, before “[shooting] her in her face with foam bullets.”
Fox News published digitally altered and misleading photos on stories about Seattle’s Capitol Hill Autonomous Zone (CHAZ) in what photojournalism experts called a clear violation of ethical standards for news organizations.
Robert Frank chose this image for the cover of his eye-opening book of 83 photographs, “The Americans,” published in 1959. He had crossed America by car, seeing it as an outsider, a Swiss who left Zurich in 1947 in search of broader horizons.
As photographers responded to the controversial Poynter article entitled “Photographers are being called on to stop showing protesters’ face. Should they?” PhotoShelter co-founder Allen Murabayashi published a series of pieces that intensified the convers
As photographers responded to the controversial Poynter article entitled “Photographers are being called on to stop showing protesters’ face. Should they?” PhotoShelter co-founder Allen Murabayashi published a series of pieces that intensified the conversation around the First Amendment and the well-being of protesters and vulnerable populations.
Twenty-nine-year-old Isaac Scott captured the early days of intense confrontation—including clashes with the police—and stayed for the more peaceful days that followed.
Twenty-nine-year-old Isaac Scott captured the early days of intense confrontation—including clashes with the police—and stayed for the more peaceful days that followed.
Photographer Cengiz Yar has spent years working on stories around situations of unrest and conflict; from the wars in Iraq and Syria to protests in Thailand and Ferguson, MO. As the Black Lives Matter movement spreads around the world, photographers have
Between 1976 and 1981, the movement Rock Against Racism (RAR) confronted racist ideology in the streets, parks and town halls of Britain. RAR was form…
RAR did not have an official photographer but Syd Shelton has produced the largest collection of images on the movement. He captured the history-making RAR Carnival 1 at Victoria Park, London in 1978, and demonstrations such as the Anti National Front Demonstration in Lewisham in 1977. RAR organised five carnivals and some 500 gigs across Britain.
Trauma and horrific histories are held in landscapes in every corner of the globe. For the past twenty years photographer, filmmaker, and educator Lana Z Caplan has been documenting…
Trauma and horrific histories are held in landscapes in every corner of the globe. For the past twenty years photographer, filmmaker, and educator Lana Z Caplan has been documenting sites of public killings in her project, Postcards from the Hanging: Sites of Public Execution. She shares some stunning statistics in her statement, “The United States is one of only 20 countries in the world that continues to employ state sanctioned killing. In 2019 we ranked 6th in the world in the number of executions following (in order) China, Iran, Saudi Arabia, Iraq, Egypt (execution totals not known for Vietnam, North Korea, and Syria).” Her thoughtful examination of why our country continues to allow the death penalty adds another layer to its history of pain and suffering.
I recently spoke with Scruggs and three other Black photo editors and photographers about covering this moment and what needs to change: Lynsey Weatherspoon, a photographer based in Atlanta; Wale Agboola, a photographer based in Minneapolis; and Brent Lewis, photo editor at the New York Times and cofounder of Diversify Photo. They talked about the inherent subjectivity of photojournalism, the racist distribution of power and opportunity in the industry, and their demands for a sustained commitment to make photography more Black, far into the future.
Since May 26th, there have been 291 recorded incidents of police attacks on journalists covering the George Floyd protests around the country. That amounts to a staggering average of 19.4 events per day. We have seen journalists wrongfully arrested, shot
Joined by NPPA’s Executive Director Akili Ramsess, Director of Newsroom Digital Security at Freedom of the Press Foundation Harlo Holmes, and founder and executive director of Global Journalist Security Frank Smyth, our latest webinar featured a panel discussion all about protective measures photojournalists should take when photographing protests.
