The first 24 to 72 hours are the most crucial when it comes to recovery in the aftermath of the devastating earthquake like the one we had in Mexico City just a few days ago. As a human being, my first reaction was to help.
Back in August 2016, the Blue Cut wildfire tore through Cajon Pass in Southern California, burning 37,000 acres, dozens of cars, and over 300 homes and structures. Local photojournalist James Quigg documented the fire's damage in a creative and unusual way: he found a burned teapot and turned it into a pinhole camera.
Wildfires have been burning across Portugal, causing tens of deaths and scores of injuries. Yesterday, I stumbled upon a village called Pereiro De Maçao. For the last 4 days, a wildfire has consumed a large quantity of forest, destroying villages on its way. And yesterday it was reaching this town.
In this 4-minute video by Wex Photographic, street photographer Matt Higgs takes up the challenge of capturing 30 street portraits of complete strangers in just 2 hours.
Joe McNally is a photographer and a storyteller. The word photography comes from Greek and means to write with light. That, in a nutshell, is what McNally does: he a writes with light, whether it be daylight or Speedlight. And for a student who started out as a writing major and ended up being a photographer, that is just the perfect result.
Amos Chapple was documenting ice road trucking in Siberia when he heard about another story. One of the drivers told him what he did in the summertime when the ice road was melted: hunting for mammoth ivory tusks.
Andrew Harnik is a photographer for the Associated Press who's one of the people responsible for covering the President of the United States. In this 5.5-minute episode of Format's InFrame documentary series, we get an insight into Harnik's life behind a lens trained on President Trump.
National Geographic photojournalist Paul Nicklen has spent decades documenting the Earth’s poles. In this 45-minute interview with NPR, he discusses the dangers of his work and the impact of climate change on the fragile, icy ecosystems that he photographs.
If you were to ask me whether or not I was surprised that there is another scandal in the photojournalism community, I would reply with a resounding and exasperated, “Hell no.” It seems that we can’t go a year without a new photo manipulation scandal. The Souvid Datta scandal is no different.
The Trophy Camera is an experimental camera powered by artificial intelligence that can only shoot images that it deems to be "award-winning."
The myth goes that Crazy Horse refused to be photographed, believing the image would steal his soul. In truth, the apocryphal tale has no historical evidence. But taking photos is intrusive, and most people would agree upon some near universal norms regarding photography (e.g. taking photos of children in public).
Yesterday, we revealed that award-winning photographer Souvid Datta had published a photo back in 2014 in which a woman had been copied-and-pasted from a 1978 photo by renowned documentary photographer Mary Ellen Mark. Datta today admitted that he had indeed doctored that photo, as well as "appropriating" other photographers' work as his own.
We tend to treat the ethics of taking photographs in a very much black and white fashion. We judge "He should never have shot that" or alternatively "She is on firm ground shooting that, it is OK" and then arguments revolve around that, never resolving anything.
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.
Two police officers in Georgia were fired after videos showing them brutally beating a motorist spread like wildfire on social media. A criminal investigation has been initiated over their conduct, and photos of the two officers have emerged in the media.
Sad news in the photo industry today: Australia's biggest newspaper company, News Corp, has announced that it will be gutting its photography departments at newspapers across the country, axing most of its staff photographer and subeditor positions in an effort to cut costs.
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.
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.
Nick Ut, the Pulitzer Prize-winning photojournalist behind the iconic photo "The Terror of War" known by many as "The Napalm Girl," has announced that he is officially retiring.
Another year and another controversy for World Press Photo. This year, photographer Ramin Talaie raised questions about the authenticity of Hossein Fatemi who took 2nd place in long-term projects with his An Iranian Journey.
We now know which cameras top photojournalists around the world are using these days, but what are they saying about the state of their industry? A newly published study uses responses from nearly 2,000 photographers to reveal the current condition of the photojournalism landscape.
A lot can be said in a single photo. As the old cliché says, “a picture is worth 1,000 words.” Certain famous images have had some impact in shaping the public perception of an event, such as Nick Ut’s “Napalm Girl” photo, which ran in many newspapers and changed how people thought about the Vietnam War.
Texas Rep. Louie Gohmert is being accused of a very rudimentary style of censorship by photojournalist Jim Lo Scalzo. According to Lo Scalzo, Gohmert got up and physically blocked his view so that he couldn't photograph protesters during attorney general nominee Jeff Sessions’ confirmation hearings earlier this week.
If there are still photojournalists around in the year 2030, they'll be begging their editors to buy this strange concept car designed by Dillion Kane. Like the ultimate gear bag on wheels, it'll carry your cameras, scan the environment with myriad sensors, and houses its very own drone in the roof.
Prior to January 22, 1987, Associated Press photographers were given a choice of shooting B&W or color film on photo assignments. But on that day, something happened that caused AP photographers to switch to shooting every assignment in color: it was the suicide of American politician R. Budd Dwyer.
AP photographer Burhan Ozbilici is a photojournalist incredibly dedicated to his job; so dedicated, in fact, that he kept on taking pictures when a gunman shot and killed Russian ambassador Andrei Karlov at a photo gallery in Ankara, Turkey. The photos he captured have instantly risen to iconic status.
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 started with a phone call from the picture editor of one of UK's best-selling newspapers asking me to catch a flight that evening to Amsterdam to accompany a journalist for a story first thing the next morning.
When Japan and South Korea signed a pact on military intelligence sharing last week, authorities decided to do the signing in private, closing off the ceremony to the press. Unhappy about this decision, photojournalists decided to protest the media blackout by laying down their cameras.