Photojournalistic

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.