In 1896, a woman settled into a chair in front of the fireplace in her Washington, D.C. studio, hiked her petticoats above the ankle, crossed her legs like a man, and aimed her own camera at herself. One hand held a lit cigarette. The other cradled a stein of beer.
In March 1942, the Acme photo agency sent a photographer to Naval Air Station Alameda for a story about what women should and should not wear around machinery. On March 24, he made a frame of a 20-year-old machine shop worker bent over a lathe, her hair tied back in a polka-dot bandanna.
The most famous face of the Great Depression belonged to a woman who wished the picture had never been taken. Florence Owens Thompson sat for Dorothea Lange for about ten minutes in a California pea field in March 1936, said almost nothing, and never earned a cent from the portrait that turned her into a national symbol. For most of the next 47 years, she resented it.
Henri Cartier-Bresson's "decisive moment" shaped how you think about photography more than almost any other idea, yet plenty of newer shooters read it backward. That misreading quietly stunts a skill that separates strong photographers from average ones: knowing how to pick the right image out of a pile.
Talent gets discussed constantly, but the photographers who keep landing work tend to share a set of habits that have nothing to do with raw skill. The difference shows up in how they practice, prepare, and handle the people around them.
People break ankles, wrists, and legs chasing a wheel of cheese down one of the steepest hills in England, and someone decided to shoot the whole thing on a camera from 1999. Cooper's Hill in Gloucester hosts this event every year, and it presents every problem a photographer dreads: no space, no time, and a crowd that keeps growing.
I've never been able to decide whether writing is more demanding than photography or the other way around. Every few years I convince myself I have the answer, and then something happens that proves me wrong.
People keep asking me what it's like photographing the anti-ICE protests outside Delaney Hall in Newark.
Shooting the 24 Hours of Le Mans sounds thrilling until you realize you're standing inches from cars doing 200 mph for 40 hours straight. The gear choices, accreditation requirements, and shooting approach at an event like this are genuinely different from anything else in motorsport photography.
You know, there is a difference between a good photograph and one that stays. Not louder, not more dramatic, not even technically better. Just… harder to forget.
Conferences are a common subject matter for many professional photographers and videographers, and I recently worked on one for a client and wanted to share how I prepared to cover it. Whether you're planning to cover a conference professionally or for fun, I hope my experience helps you prepare and execute coverage of one.
Staging photos and calling them documentary work isn't a gray area. It's a breach of trust, and it's happening more visibly in travel and humanitarian photography at a moment when the credibility of the entire medium is already under strain.
I've been covering protests for a long time, as a journalist and journalism professor, and one of the things I've noticed is that, at least in the Trump era of the last decade, more people are showing up with cameras to photograph these happenings than before. I've been trying to parse out why that is.
2026 marked the fifth time I worked IMSA’s season-opening Rolex 24 at Daytona race, but only the third as a photographer. My first two races focused on writing magazine articles; as a photographer, I still have a lot to learn and continue to find my way creatively.
Photo fakery has existed since the darkroom days, with photographers removing poles from people’s heads or positioning dead bodies in photos for impact. But the fakery has shifted to the one place it never should have: the government itself.
Working the ICE story in Minneapolis meant relying on others—friends, colleagues, total strangers even. It meant leaning on the community and knowing how to sift good information from bad—and by the end of my time there, there was a lot of the latter.
For years, a favorite working lens as a community photojournalist was the Fujifilm XF 90mm f/2 R LM WR.
Covering tragedy isn't glamorous. It’s the part of photography that no one shows in behind-the-scenes reels, and it’s the part new photographers usually have no training for. You don’t learn how to handle grief, shock, or community devastation by watching gear reviews.
Tamara Lackey, Nikon USA Ambassador, book author, PBS show host, and philanthropist, has used photography to establish Beautiful Together refuges for children and animals in need in Ethiopia and North Carolina. Here she weighs in on finding your voice, overcoming creative block, and camera bag essentials (don’t forget the candy).
War photography is not for the faint of heart. Beyond having technical expertise in your equipment, there’s a whole other level of engaging with people and resilience that comes into play. While that last part takes years of experience and training to learn, here’s a peek into what one war photographer uses to shoot with on the battlefield—and his gear will definitely surprise you.
The garment industry in Bangladesh has long balanced on a thin line between progress and exploitation. It sustains millions of workers while feeding the global appetite for low-cost fashion, but it also hides deep inequality and danger for those inside the factories.
The smell of fry bread and livestock hits you first at the Sanpete County Fair. Kids in dusty boots weave through the crowd with ribbons in hand, 4-H leaders shout instructions over the hum of the rodeo announcer, and the late-afternoon sun cuts sharp shadows across the midway.
Eighty years after the end of the Second World War, and in commemoration of VE80, I’m sharing a never-before-seen collection of images taken by my grandfather during his service as a British Army mechanic.
Photography sometimes requires us to embrace the apparent contradiction that life can be beautiful even when it isn’t pretty. This is something that Serbian-born photographer Boogie understands all too well and is reflected in his raw and unflinching photographic style.
In one of the most inhospitable regions of the world, where life exists on a knife’s edge, Ragnar Axelsson has spent four decades photographing the beauty of its frozen landscapes and, more recently, the impact of climate change on the lives of the hardy people who call this frozen wilderness home.
I recently had the chance to get a personalized tour of Ajani Charles' solo hip-hop photography show being hosted at Toronto's City Centre Airport. Charles' exhibit is the result of a lifelong passion that has turned into a massive personal and professional adventure: Project T-Dot.
It is often through the eyes of an outsider that we are most able to see ourselves clearly. The collection of iconic images that Swiss photographer Robert Frank captured on his 10,000-mile road trip across America amounts to nothing less than a historical document and a landmark in American culture.
Under the umbrella of wedding photography stands an approach to documenting weddings known as wedding photojournalism. While part of the wedding genre, wedding photojournalism leans more into its photojournalism roots, offering a more "hands-off" approach to capturing the moments of the wedding day.
In an era when information travels at breakneck speed across vast digital networks, the very act of trying to hide certain data often paradoxically ensures its broader dissemination.
The TTArtisan 27mm f/2.8 lens has garnered attention among photographers seeking an affordable, compact prime lens for APS-C mirrorless cameras. Available for Fujifilm X, Sony E, and Nikon Z mounts, this lens offers a 40.5mm full frame equivalent focal length, making it versatile for various photography genres, including street, travel, and everyday shooting.
How many times have you watched a film about a photographer where the actor clearly has no idea how to use a camera? It's an unforgivable mistake, and one Kate Winslet was sure not to make in her new film, Lee, about the photojournalist Lee Miller.
Adobe has announced an integration of camera hardware and software that will be a game changer for news and event photographers. Beginning today as a beta implementation, photographers using a camera with C2C (camera-to-cloud) technology built in will be able to upload images from their camera into Frame.io, where images can be instantly edited using Adobe Lightroom.
In the heart of Ecuador's Chocó rainforest, a mission to save the critically endangered brown-headed spider monkey unfolds. Led by conservation photographer Jonas Paurell, this gripping documentary captures the raw beauty and challenges of rainforest conservation.
Today, we'll explore a photojournalist's experience capturing life in Myanmar for the New York Times in 2011.
Get an inside look at what it takes to cover an MLS soccer match at the Seattle Sounders, featuring Sony's flagship a9 III global shutter full frame mirrorless camera, and the PDT-FP1, an all-new portable data transmitter for creators.
Making a living as a photojournalist isn't what it used to be. But making a living is still possible.
Telling a story is more than taking pretty images. Here are five tips from photojournalist Natalie Keyssar that will help you build a better story.
There’s no question that photographs from this week's Republican National Convention, merely days after an assassination attempt on former president and current presidential candidate Donald Trump, are going to define the narrative of this tumultuous time in U.S. history.
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.
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.
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.
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.
Content warning: graphic imagery
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.
Nikon and Agence France-Presse (AFP) are collaborating on a practical verification system to ensure image provenance in the field of photojournalism. Recently, I spoke to Nikon about their plans for the function as well as how it might help viewers and photographers in the modern age.
I’ve been a pro photographer for a few years, and while I was going pro, I tried just about every form of photography you can think of, except for one… until now.
The perceived glamorous life of a Hollywood unit still photographer is not all about meeting A-list celebrities and taking iconic cover shots of award-winning films. It's actually a challenging endeavor that requires grit, perseverance, and a plethora of social and technical skills.
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.
360 cameras have become jacks of all trades, but there’s a specific reason that photojournalists might want to consider carrying one in the field: to replace a wide angle lens.