Yesterday, ethicist Kwame Anthony Appiah published his response to a parent of the bride's question: would it be ethical to digitally alter the hair color of a guest at the wedding? Appiah argues yes, but I think that answer misses the mark.
Judge Ketanji Brown Jackson, the first Black woman confirmed to the Supreme Court, was being grilled at the Senate confirmation hearings. Her 17-year-old daughter was in attendance and beamed with pride as she watched her mother bravely tackle the often-hostile questioning. This split-second moment between daughter and mother was captured by The New York Times fellow Sarahbeth Maney and went viral.
As part of the ongoing efforts of the Content Authenticity Initiative, Adobe has announced "Content Credentials," a new feature that enables creators to attach attribution data to images before sharing them online.
Twitter is the latest tech and media giant to join The Coalition for Content Provenance and Authenticity (C2PA), which focuses on combating misleading and fraudulent online content.
The Reporters Committee for Freedom of the Press (RCFP), National Press Photographers Association (NPPA), New York Times, and Washington Post are urging the Secret Service to allow credentialed journalists covering the 2021 inauguration to carry protective equipment.
At its core, photography allows us to tell the story of our history. Years from now, when we look back at images from 2020, our thoughts and feelings on how this year unfolded will be, undoubtedly, extremely complex.
On September 5, 2020, The New York Times published “The Great Divide” – the latest entry in their “The America We Need” Times Opinion series – which examined neighborhoods on Chicago’s North Side and South Side and the enormous disparities in wealth and health that have emerged between them as a result of racist policies like redlining that began in the early 20th century.
At Adobe MAX 2019, Chief Product Officer Scott Belsky announced the Content Authenticity Initiative – a nascent and ambiguously defined way for attribution to travel with an image and allow consumers to know, in the words of Adobe VP Dana Rao, that “the content they’re seeing is authentic.”
Unlike most types of photography, photojournalism abides a more stringent set of ethical guidelines because truth is paramount to accurate reporting. Many newspapers enforce their own ethical journalism guidelines, which tend to focus on retouching and the use of photo illustration techniques (e.g. compositing, timelapse, panoramic, etc).
The New York Times launched its Lens blog a decade ago to showcase the best of photojournalism across the industry. Fans of the publication will be sad to hear that it's now coming to an end -- in it's current form, at least.
What is it like to shoot a travel assignment for a major publication? What’s the process from start to finish? Every publication is a little different but I’ll speak from my experience shooting dozens of assignments for The New York Times travel section throughout Southeast Asia for over a decade.
In covering the terrorist attack on a Nairobi hotel that killed at least 21 people by Shahab extremists, The New York Times decided to publish an image of a bullet-riddled body taken by Khalil Senosi. Photo Twitter was outraged, and Poynter wrote about the “hard choice” the NYT made regarding the selection.
The New York Times has teamed up with Google Cloud for digitizing five to seven million old photos in its archive. Google's AI will also be tasked with unearthing "untold stories" in the massive trove of historical images.
Earlier this year, the New York Times began searching for a new Director of Photography to replace Michele McNally, who announced her retirement in February after 14 years in that role. After considering both external and internal candidates, the Times has selected Meaghan Looram, who served as one of McNally's top deputies for 8 years.
Want to hold one of the "one of the most important and high-profile jobs in visual journalism"? The New York Times has an opening for you: The Gray Lady is looking for a Photo Director.
Diane Arbus was honored with an obituary by the New York Times today, 46 years after the renowned American portrait photographer died. It was one of 15 obituaries published today as part of a project titled Overlooked.
Want to be a White House news photographer for the New York Times? If that's your dream photojournalism job opportunity, here's some great news: there's a job opening right now just for you.
A New York Times photographer who has vocally protested White House Press Pool blackouts is now saying that photographers get more access to Trump than they did to Obama.
The Internet is becoming a hectic and volatile place for photographers to share their work. Social media enables photos to be put in the hands of tens, thousands, and even millions in a matter of minutes. However, one small break in this sharing frenzy can lead to massive loss and frustration for the creators that dedicate themselves to doing their passion well.
A photographer whose photos have appeared on the front page of the New York Times over 30 times has filed a lawsuit against the newspaper. He accuses the Times of misclassifying his employment status, discriminating against him based on age, denying assignments due to an arrest, and retaliating against him due to making these claims.
Taken in September of 1942, this captivating collection of black and white photographs show the New York Times in production during the height of World War II.
The Columbia Journalism Review recently surveyed 30 veteran freelance photojournalists to find out what publications treat photographers best, and how much they pay. What they found is revealing, maybe even encouraging, and definitely useful information for the photogs out there.
At a large publication like The New York Times, there are a number of photo editors—including those in charge of curating great photography on Instagram. To find out what these photo editors are looking for, PhotoShelter caught up with their Social Photo Editor Kerri MacDonald, who oversees the @nytimes and @nytarchives Instagram accounts.
The winners of the 2017 Pulitzer Prize for Breaking News Photography and Feature Photography were announced last night, and both are prime examples of powerful photojournalism and visual storytelling. Neither photo essay is for the faint of heart.
In the New York Times 2020 Report about the future of the journalism at the Times, the paper put this point first: "The report needs to become more visual." And now, it looks like the publication is putting its money where its report is.
You can literally see the rise of the photograph in this fascinating short video that compiles every single front page the New York Times has published from 1852 until the present day.
An interesting story about ethics in photojournalism has emerged today: the New York Times has published a correction to a major story, saying that the original main photo had a picture frame removed from the scene because it was causing glare.
It's election day in the United States, so we'll forgive you if you can't stomach any more election-related news. But if you have it in you, this 360° video from the New York Times offers a peek at what it's like to photograph a major presidential campaign.
The New York Times is launching a big project to bring its journalism to the world of immersive 360-degree videos. With "The Daily 360," the Times will now be sharing one 360-degree video per day to report on stories around the world.
Even for the most seasoned photographers, understanding the value of a photo editor can be fleeting. Photojournalists regularly work with photo editors, but the average photographer relies on their own eyes to edit even in situations where an editor could add value (e.g. a book project, exhibition).