Photojournalistic

There's no doubt that images have the power to shape history. That's even more true for war photos such as photojournalist Nick Ut's "Napalm Girl" photo or Eddie Adams' "Saigon Execution" photo, two images that really helped shape American views of the Vietnam conflict. In 2022, it's modern-day 360 images that will have the power to truly show the devastation of Ukraine.

Mark Thompson is a Getty Images photographer with over 25 years of experience covering F1 races, including Red Bull Racing. I spoke with him to gain insight into what it is like to cover this competition.

Today, Nikon introduced a new lens that should have wildlife enthusiasts very excited.

A street photographer’s task is to observe the mundane human interactions that take place throughout the day and turn them into something worthy of being preserved and shared through photography. This is not an easy task.

In a few days, Activision will launch the 18th installment of Call of Duty, returning players to the Second World War. To market the game’s new photography mode, two conflict photographers were immersed inside the virtual world and tasked with photographing it. The resulting commercial portrays mankind’s most brutal act of self-destruction as little more than a game of football.

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.

Danish Siddiqui was no stranger to dangerous situations, having captured images of the Rohingya refugees fleeing Myanmar that garnered a team Pulitzer Prize in 2018. He put himself in harm's way during the tensions between the Hindu majority and Muslim minority in Delhi and again during the pandemic. His images of funeral piers in India were in stark contrast to the government's statements that the COVID response was well in hand.

We usually see a photograph as a solitary work, a passing moment in time captured to be examined on its own. However, creating a coherent story through a body of work can lift your photography up to a new level.

Photojournalism is ostensibly about capturing the world as we see it, as close to reality as we saw it. That reality often includes color, and the question is: does black and white photography have a place in modern photojournalism?

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?

Putting together a cohesive set of images that illustrate a grand narrative is not an easy process, especially for those of us who taken up photography and end up just shooting single shots for a portfolio and/or to sell prints. This video has some great tips for those who want to break out of that mold and start something a bit more substantial.

Rather than awarding $40,000 to a single photographer, this year’s W. Eugene Smith Grant in Humanistic Photography is doing something different: it will award five photographers each with $10,000.

In my opinion, it is important for creatives to experience and examine the work and art that has come before us. Everyone has work or photographers they aspire to, but who inspired them? The process and experience of unraveling this trail can lead to rapid artistic growth in my opinion, and the best part is coming across a photographer you never knew existed.

When I first wrote about using mirrorless cameras for journalism in 2014, the Sony Alpha series had just been launched a few months before in 2013. Panasonic was just hitting its stride with the GH series of cameras and Fuji had just really started kicking off its X-Series cameras. Things have certainly changed.

As the discourse around Black Lives Matter and police reform grows ever coarser, racism is revealing itself through protests in all small corners of the country. And that means communities unfamiliar with the role of photojournalists are encountering firsthand the consequences of exercising free speech to spew hate in public spaces.

It has almost become a truism: social media creates mediocrity. In an effort to gain a share of the social media pie, artists are rewarded for blending in, not standing out.

One of the unique aspects of the Black Lives Matter movement in the last year has been how it has spread to even the smallest of communities. It’s made covering the protests as a minority photographer a wholly different and vastly more frightening experience.

President Trump was out golfing when news broke of President-Elect Biden's projected win of the presidency, thereby ending Trump's time in office at one term. Capturing Trump during this moment was not easy, however, and took significant effort and extreme equipment to accomplish.

Photojournalists usually pack a pretty standard kit in the field. A full frame camera is usually a must, along with the requisite 24-70mm and 70-200mm lenses that can cover 90 percent of situations a photographer might encounter. For some of that other 10 percent, a really good idea might be to pack a 360 camera in the bag as well.

The Way I See It is marketed as a look behind the curtain of two of the most iconic U.S. Presidencies in the last century, courtesy of White House Photographer Pete Souza. It's quite a bit more than that. To be upfront, if you don't believe in photojournalism or the importance of a historical record, if you're a Trump supporter with thin skin, or if you have an inability to think critically, this movie likely isn't for you. To be honest, neither is this article.

Photographer Sana Ullah got the idea for her “Places You’ll Pray” photo project while shopping with her sister, who ducked into a fitting room once to pray as part of her Muslim faith, and so, it’s fitting that the first photo she took for the series several years ago was in a shopping mall.

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.

Photo ops don't always go they way they're supposed to, especially if the photograph is taken in dangerous times. In fact, some of the most famous photographs in history are the product of a re-shoot. Sometimes though, the re-shoot still puts lives at risk.

I'm not one to write political articles, and I promise you this one isn't meant to be pro-Trump or anti-Trump. However, as photographers, we've been told that a photo is worth a thousand words. What if the words these photos replace tell a very different story?

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.

Pete Souza needs little introduction. As the Chief Official White House Photographer for President Obama and an Official White House Photographer for President Reagan, Souza had the crucial duty of documenting innumerably many historical moments, a job he did with an empathetic touch that has made his work the model for many aspiring photographers. I recently had the chance to speak with Souza about his work, his approach, and his new film.

The Royal Saudi Air Force has released incredible footage of a photographer positioned at the edge of the cargo door of a plane, photographing fighter planes flying directly behind and giving them direction as he takes photos.

The various versions of Tank Man are among the most iconic photographs of the 20th century, having a lasting impact on history to the point that the Chinese State banned the use of the word “Leica” on social media last year. In this short video, Magnum photographer Stuart Franklin discusses how his image came about, and the consequences of its publication.

The Black Lives Matter movement is arguably one of the most significant political and social movements in US history. The photographers in this video sit down to share their thoughts on why photographing the BLM movement is important to them, personally, as well as for posterity.

Magnum photographer Alec Soth has issued an apology after the New York Times commissioned and published a series of images that closely resembled a long-term research project by photographer Tonika Johnson.

Esteban Toro’s new episodic short-format travel film, "Aperture: A World of Stories," is a beautiful watch. On top of the eye-candy, Toro’s film also provides some very valuable insights into and tips for filming internationally.

Magnum Photos is continuing its investigation into David Alan Harvey’s body of work, “THAILAND. Bangkok Prostitutes,” but has stated that the subjects featured in the photographs were adult dancers and bar workers.

A girl, perhaps barely in her teens, stands alone in a dimly lit room, her hair obscuring her face. She’s naked from the waist up, the front of her torso is visible, and she wears little more than socks from the waist down. The caption labels her a child prostitute and lists her hometown. Until this week, this photo was available to purchase from Getty Images.

The JPEG file format is one of the most ubiquitous formats on the web, but the actual technology that powers the compression is old. A new method, based on machine learning, might change what photography really looks like.

Robert Capa, founder of Magnum Photos, once famously said, “If your pictures aren’t good enough, you’re not close enough.” However, according to the Magnum website right now, these are the words of a street photographer with a reputation for being obnoxiously aggressive.

Telephoto lenses are arguably the most powerful and versatile tool in a photographer's bag. These sophisticated glass instruments make it possible to photograph wildlife, war, and natural disasters from a (relatively) safe distance. But like other powerful technological tools, a zoom lens can be used for questionable or unethical purposes, including voyeurism or other invasions of privacy.

Two recent photographic projects focusing on sex workers stand in stark contrast to one another. One exploits them as a commodity, the other seeks to give them a voice. Why does the art world seem to value one so much more than the other?

In the early hours of Friday morning U.K. time, Magnum took its entire archive offline. Later that day, it released a statement explaining that it was reviewing its practices following revelations about some of its photographs. Difficult questions still need to be answered and the sequence of events shows how, despite Magnum’s crisis management, they’re not going away.

News organizations in Seattle have been ordered by a judge to hand over photographs and videos to the Seattle Police Department to aid investigations into alleged arson of police vehicles and theft of police weapons.

The best photojournalism is usually produced during the worst times. This photographer has chosen to drive across America during COVID-19 to capture its effects on America from his car.

For photographers, inspiration comes in many forms: some from abstract thoughts, some from life experiences. When inspiration isn't as forthcoming, it's helpful to look at those photographers who forged their own creative paths.

I bet you've never heard the top photographers arguing about what settings to use for a particular shot. If you want to know why, look no further than this video.

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.)

When your income disappears overnight, what do you do? Like many professional photographers during the lockdown, Tristan Poyser found himself suddenly out of work. He took a job at the Amazon warehouse, which led to a fascinating documentary project with unprecedented access to this notoriously secretive company.

As long as the protests are being documented, what does it matter if the people taking the photographs that we see in our newspapers are white?

I’ve covered protests in my time as a photojournalist and photojournalism educator, and there are always a chorus of conspiracy theorists postulating that by posting photos that show protestors’ faces, you’re setting them up to later be hunted down and killed and/or imprisoned. The thing is, a leaked phone call on Monday of President Donald Trump talking to the nation’s governors has all but confirmed that this is happening, or at least that the ostensible leader of the U.S. government wants this to happen.

A photographer and journalist has been blinded after a police bullet “exploded” her eyeball while she documented the riots currently ongoing in Minneapolis.

How do you photograph extremists without giving them the publicity they desperately crave?

Jeff Rhode has the highly unusual role as a full-time hospital photographer. In this interview, he shares his heart-rending photographs of COVID-19 patients and the staff supporting them and talks about the experience of photographing history as it happens.

If there's one thing that seasoned professional photographers love to do, it's to dispel ridiculous misconceptions and myths around the craft. Daniel Milnor is one of these people, and in this video, he crushes a few commonly held false beliefs within the wider photographic community.