I get questions like these daily, mostly from inexperienced or new photojournalists who want to get into documentary photography. I often repeat the same answers, so I figured it might be useful to put it all into a single article. So, here are the bare basics of high-risk documentary photography.

On the tails of tragedy, one Denver nonprofit has focused on using photography as a valuable tool for healing. Almost a year to the day, terrible earthquakes struck Nepal. Eighteen individuals were given cameras as a way to cope with the dramatic change in their lives. The images that were produced are beautiful and poignant reminders of the resiliency of life. It is the core of photography, intended as a cathartic expression of loving memories and an emotional foundation for future reflection.

Thrush from Gabriel Bisset-Smith on Vimeo.

There is an old saying that "you only find what you are looking for." It's critical for any artist, including we photographers, to know what it is that we are working to create. To have a vision and stay true to it so that it will become a reality. When you go out with the intent of creating images you know what you want, right? You choose the location, the time of day, maybe the lighting, certainly the subject, and of course what gear that you need to bring it all together. We tend to be control freaks to make sure that we get what we want.

Photographer Knut Egil Wang documents the annual migration of Norwegians to sunnier destinations, as they look to escape the darkness and cold of Norwegian winter. Wang captures the strangeness and bliss that comes with transplanting oneself for a few months each year in a series titled “Southbound” or “Syden.”

National Geographic recently released this video of the creation of one of their cover shots. While there is no exact date on it, I'd bet that it was shot sometime in the early 2000s or late 1990s guessing from technology being used. Some real ingenuity was at work here, as evidenced by the custom-built pneumatic jaw, the hand-cast Tyrannosaurus skull, and not to mention what appears to be at least ten cameras all triggered at the same time via laser in an effort to capture the decisive moment.

With the Black Lives Matters protests attempting to trigger a shift in attitudes towards race around the world, the role of black photographers in documenting the demonstrations is crucial, as outlined by this short video from PBS NewsHour. (Warning: This video contains graphic imagery.)

Every once in a while I come across a photographer or project that blows me away in terms of content, just in time for Independence Day weekend, B&H released this video of Stacy Pearsall, US Airforce Veteran and combat photojournalist, telling the story behind one of her latest and largest project, photographing veterans. Take a look.

If there is one type of news story that is a recurring theme in journalism it is the protest. Think "Tank Man", "The Burning Monk", or "Taking a Stand in Baton Rouge" (with Ieshia Evans). They stick in the memory, their iconographic status forming a peg from which we hang related memories. So why then are we more interested in riots as opposed to protests?

The United Nations High Commission for Refugees (UNHCR) has just released a campaign short based on the work of photographer Brian Sokol. In the brief production, A-listers such as Cate Blanchett, Kit Harington, and Neil Gaiman recite the rhythmic poem “What They Took With Them" by Jenifer Toksvig. The poem, along with the accompanying video and still imagery, urges us to sign the #WithRefugees petition to help ensure that refugees across the world have the basic necessities needed to rebuild their lives: education, a safe environment, and work opportunities.

It has been 60 years since the assassination of President John F. Kennedy on November 22, 1963, and the event remains etched in America's national memory. In this fascinating video, CBS News revisits that fateful day in Dallas through the eyes of photographer Bob Jackson, who was assigned to cover JFK's visit for the Dallas Times Herald and who won a Pulitzer Prize for his work related to the event.

One of the most exciting topics for me to cover during my time as a professional newspaper journalist was fires and firefighting, and the potential for great images is there for anyone who approaches the matter with a little preparation and knowledge.

Iranian president Mahmoud Ahmadinejad came to the US last week but it appears that his entire delegation didn't return to Iran. Ahmadinejad's photographer is reported to have filed the paperwork to seek asylum and remain in the United States. According to U.S law, once you've filed for asylum, you can legally remain within the country until a decision is made.

One of the biggest challenges in creating a composite image is generating realistic shadows for a subject you may have moved into a different background. But what if you didn't need to create a new one?

Conjuring memories of the now arguably-infamous decision by The Chicago Sun-Times to lay off its entire photography staff, The Orlando Sentinel has informed its staff photographers that, soon, their jobs will no longer exist. As part of a restructuring plan to attract increased readership, the paper is shifting to a more “videocentric” approach.

The National Archives was found last month to have altered an image of the 2017 Women’s March in Washington D.C. Some of the protestors' signs had been artificially blurred for use in an exhibit. Internal emails now suggest that little debate preceded the alteration.

We say, "never forget" when we think of the terrorist attacks of September 11, 2001. And while none of us will forget the event itself, it's easy to lose sight of the individuals who lost their lives in the attacks.

Marc Silber, of Advancing Your Photography, sits down with three renowned photojournalists to talk about the stories behind some of their incredible images and how they approach their craft.

When you think of the elements of an image that make it successful and interesting most photographers immediately refer to the powers of color, form, texture, light/dark, and visual rhythm. There is another that is often overlooked: gesture. Unlike the other elements, gesture can't easily be preplanned into your composition; it's a fleeting thing. However, when you add in an interesting gesture to your frame, it's transformative.

There was an interaction I had at the bagel store on Martin Luther King Day, when I went to photograph a pro-Palestine rally in New York City, that most accurately captures my often conflicted view about what’s happening these days in front of my lens as a photojournalist.

A few weeks back, I posted an interview with photographer Damari McBride about his project in South Africa with Nourish and Photographers Without Borders. This week, the resulting documentary was released which gives us a deeper look into how our arts can help support change.

I’ve been covering the Coney Island Polar Bear Plunge like clockwork for well over a decade now, and I think it’s fair to say that I’ve picked up a few useful habits along the way. For those unfamiliar with the event, imagine several hundred folks in various stages of near-nudity packed into a corner of the beach. It’s typically rather cold - though some years have been colder than others - and everyone’s working themselves up into a fevered lather. In this excitement, a drum team forms up, creating a corridor from the top of the beach to the ocean. As the sound of those instruments gets louder and faster and more aggressive, the signal is sounded and the mob stampedes towards the Atlantic.

Bruce Davidson was born in 1933 and he started shooting pictures when he was just 10 years old. Since then Bruce has become most famous for his photojournalist work that included street gangs, circus performers, and the civil rights movement . In this video Bruce talks about some of his most famous images and his love for Leica cameras.

Photojournalism has been central to politics for the last century or so, and while that's sometimes a force for good or a mere recording of events, sometimes it ends up being used for a different purpose altogether.

Dive into the intriguing world of photography's exploration of death and crime scenes, from Victorian post-mortem photography to modern-day coverage with documentary photography. Discover what drives this morbid curiosity and where the line between respectful documentation and exploitation lies.

A great deal of ink is spilled on these interwebs talking about the latest in photography gear and what you should or should not buy. But photography means more than just technology.

When an exhibition of works is announced by a photographer as influential as Diane Arbus, you would be forgiven for assuming that the work was on show in a major venue in New York or London, but you would be wrong.

NYC Photographer Richard Renaldi recently embarked upon one of the most original photo projects I've ever seen. In the series Touching Strangers, Renaldi finds two strangers, whether on the street, in a restaurant, at work - and tells them to get together and pose as if they have known each other for years.

Photography is all about time. It's the only visual art that is able to hold a single moment and fix it for our lasting consideration. To make that happen we as photographers must be keenly aware of both the slice of time that we are capturing and the all the time which leads up to that important moment. To do this well we must look into the future.

War photography is a genre that transcends mere visual documentation. It is a testament to the human spirit, a mirror to society, and a call for change.

Getty Images and APO Group have announced a partnership to promote integrated media solutions to clients across Africa and the Middle East.

In an increasingly polarized world, one of photography’s most profound strengths is its ability to cultivate empathy and compassion across cultures. At its best, photography can transport us into unfamiliar environments, activities, and viewpoints. It reveals the humanity in people whose lives and backgrounds differ vastly from our own. Photography has a transcendent way of building understanding and sympathy by showing us new perspectives.

A photographer's encounter with a tragedy can be transformative, both personally and professionally. Justin Mott's coverage of a deadly stampede in Cambodia for The New York Times offers a deep dive into the complexities and emotional weight carried by photojournalists on assignment.

Brian McCarty, a self-proclaimed toy geek and an incredible photographer, tells the stories many people don’t want to hear in a way familiar to the world. He depicts children’s accounts of conflict and loss through toys as an advocation against the horrors of war.

People often ask me "what is the most difficult part of shooting weddings?" One challenge I face at every wedding is having to pose the bride and groom in less than flattering sunlight or in a less than perfect location. Wedding photographer Roberto Valenzuela is tackling this very issue during his creativeLIVE workshop. Robert's free-to-watch workshop will air September 6-8th and you can ask him anything live through webchat.

Just about everyone I know is hooked on critically-acclaimed series Breaking Bad. (A high school chemistry teacher with cancer turned meth dealer? How could that not be interesting?) But as TV still photographer Ursula Coyote will tell you, shooting

In 1993, Kevin Carter, a South African photojournalist, etched his name in photography history with one poignant image that encapsulated the harsh realities of the world. The iconic photograph, "Vulture and the Little Girl," stirred emotions, sparked debates, and shed light on the famine-stricken Sudan. However, it also plunged Carter into the depths of controversy, with this photograph revealing the complexities and ethical dilemmas surrounding shocking photography.

The realm of assignment photography presents a unique and exciting challenge for photographers, requiring a blend of technical skill, interpersonal savvy, and adaptability. This insightful video offers a glimpse into the realities of working on assignment, specifically for a prestigious publication like the New York Times.

Capturing the essence of a city during a momentous occasion presents a unique challenge for photographers. You need to go beyond the obvious celebratory visuals and find images that tell a deeper story, conveying the emotions and atmosphere of the event. This is especially true when documenting a significant historical milestone, like the 1,000-year anniversary of Hanoi, Vietnam.