Photojournalistic

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.

In every photoshoot, I will always perform a three-part culling process, and it ensures I always pick the best images.

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.

Coming to The Photographers’ Gallery in October: the first UK retrospective of one of the world’s most innovative and influential artists and street photographers. If you are interested in documentary or street photography, Daido Moriyama's work is definitely something you should familiarize yourself with.

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.

In today's age, billions of photographs are uploaded to the internet. We're accustomed to it. It's the norm. However, like anything on this planet, it started somewhere and some time. Photography was invented in 1822, 39 years before the opening shots of the American Civil War. Digital photography made its appearance 48 years ago. Comparing this, you can say digital photography has been barely a thing even though it's something that's such a staple in today's world. But to those that lived in the mid-19th century, photography was a thing of magic.

I'm a sucker for panoramic cameras. Over the last decade, I've shot on my share, having spent more than I should have on a collection of various bodies. They've followed me to space shuttle launches, riots, out the back of aircraft, and to the White House. But as the world shifted to digital, the number of functional panoramic film cameras out there in the wild has dwindled, driving the prices through the roof.

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.

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.

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.

The popularity of toy cameras has waxed and waned over the decades. The novelty factor for plastic cameras like the Diana and the Holga is often in friction with the dependability and overall image quality, but that’s not necessarily a bad thing. In an age of corner-to-corner perfection, the stray light leak or vignette can provide shooters with a way to stand out from the crowd.

My career as an elitist prime glass snob has come to an end after real-world professional work using an unexpected lens choice showed me the error of my ways.

Imagine being tasked with photographing press events featuring some of the most famous people in the world, on a regular basis. Are you confident that you can come away with photographs as strong or better than those of your peers? Can you find the small, personal moments taking place in the chaos to create images that are unique? Christy Bowe is a photographer who has successfully accomplished these tasks for the past three decades.

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.

A few years back, I managed to find a beater of a Hasselblad XPan for a song. I've tried to find a shooting style that would help me stand out from the crowd, and the panoramic format appealed to me. I didn't realize it at the time, but this purchase sent me down a rather obsessive path, trying to find the best panoramic cameras for news and editorial work.

Buffalo, New York. Uvalde, Texas. Tulsa, Oklahoma. A month ago, none of these towns would have been in the news for anything remarkable, but now, they have all shared headlines for the same reason: each has had a mass shooting, all within the last month. And each time, we never actually see what the carnage looks like. Is now the time to change that practice?

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.