The longest-running photojournalism competition, Pictures of the Year, recently announced the winners of its 81st contest. While most have been celebrated, the top prize in the "Team Picture Story of the Year" category has been highly controversial, kick-starting a powerful, emotional debate about the nature of photojournalism itself.
With at least 32 journalists having been killed in Russia's ongoing war on Ukraine, veteran photojournalist Timothy Fadek is sharing practical advice for other photographers on how to stay safe while covering the conflict.
In a six-minute video with Vice, news photographer Felipe Dana recounts his experiences of documenting the War on ISIS and shows photos that illustrate the complex emotions felt by the affected communities.
Guardian photojournalist Sean Smith recently sat down with VICE to talk over three of the most powerful images that he captured during his time documenting the war in Iraq and Afghanistan, including one photo that turned out to be more important than he could have imagined.
From time to time when I read about Street Photography, I hear the opinion that street photographers exploit people on the street by taking their picture without asking. This opinion raises some valid questions about the ethics of Street Photography, but also shows the double standards we follow in the media.
Want to see what it's like to tiptoe between life and death as a war photographer? Watch Conflict, a 6-episode miniseries that provides a no-holds-barred look at photography in conflict zones. Netflix just picked up the show, but you can also watch it for free online.
Here’s a 3.5-minute video by Seeker Stories that explores how photography has affected …
Conflict photography is typically a dangerous, traumatizing and, at least in part, heroic profession that puts you in the line of fire with only a camera as a weapon.
But as Penn State grad and former Onward State photographer Mitchell Wilston recently demonstrated to great effect, you don't need to put yourself in harm's way to capture the kinds of gritty, black-and-white conflict photography that has become iconic through the ages.
Each year, hundreds of photojournalists put themselves in harm's way to offer us a glimpse into the horrors of war, and too many of them are going in unprepared, not knowing even rudimentary survival and first aid skills that could mean the difference between life and death when they're out in the field.
That's where the Oculus Rift virtual reality game "Stringer" hopes to intercede, providing rudimentary training for conflict journalists that may just help save their lives.
TIME’s Behind the Picture recently dove into the fascinating story behind how some of the most iconic photographs of World War II almost never were. Narrated by John Morris, Editor of LIFE magazine during WWII, Morris tells the story behind the photographs captured by Robert Capa on Omaha Beach during the D-Day invasion.
A young photographer who was freelancing for news agency Reuters chronicling the ongoing clash between rebels and forces loyal to President Bashar al-Assad in Syria was killed Friday while covering a battle at a hospital in Aleppo.
It’s cold. The air is stinging my ears and my hands are numb. I pull back on my gloves and resume huddling in the conner of the courtyard. It’s December in Aleppo and the air is bitter, but the overwhelming sense of dread comes not from the cold, but from overhead. Early morning, midday, through the night; the aerial bombardment doesn’t stop. The sound of a jet buzzing overhead and those terrible trails of white streaming from the underbelly as missiles launch. Distant blasts and then closer ones. Mortar strikes as well. Silence and then an explosion.
Photojournalism can be a dangerous profession, especially for those photojournalists who are drawn to conflict photography. Once such photojournalist is Reuters photographer Goran Tomasevic, who has been putting his life on the line in war zones for over 20 years.
Conflict photographers like Michael Kamber and Louie Palu have spent years covering the conflicts in Iraq and Afghanistan. They've lost friends, been very nearly killed themselves, and come back with incredible (and sometimes hard to stomach) photos.
Both of their work is currently on display alongside many of their peers' at the Corcoran Gallery of Art in Washington DC, and in the short video above, they share the stories behind some of their most moving imagery. (Note: the above video contains some strong imagery)
"Deadly sniper shot through the lens." That's the title of a photoblog entry published over on Reuters last week by staff photographer Goran Tomasevic, who's covering the deadly conflict in Syria. The photo above was accompanied by the text, "A tank fired a couple of shells onto the top of the building and rubble fell down around us."
Editors have always been wary of sending photographers into war zones since the practice began in the early 20th …
Here’s a fascinating video in which Italian photographer Ruben Salvadori demonstrates how dishonest …
Photojournalist João Silva lost his legs to a land mine in Afghanistan at the end of last year, but -- after months of intense rehabilitation -- returned to work in July, landing a photo on the front page of the New York Times. On August 2nd, Silva visited the Bronx Documentary Center and gave a talk on his thoughts and experiences.