Remembering NPR Photojournalist David Gilkey : NPR
David Gilkey, an NPR photojournalist who documented both tragedy and hope, waskilled in Afghanistan along with NPR’s Afghan interpreter and fellow journalistZabihullah Tamanna.
(Source: NPR)
Let’s celebrate Women’s History Month by honoring these talented photographers.
(Source: Getty Images, Reuters)
Reblogged from HuffPost
PHOTO: DEVIN ALLEN
Go Behind TIME’s Baltimore Cover With Aspiring Photographer Devin Allen
Devin Allen, who shot this week’s TIME cover, is a Baltimore resident.
Reblogged from Committee to Protect Journalists
Many of us have been thinking for a while about how we still refer to traditional darkroom techniques as providing suitable guidelines for what’s acceptable in digital image processing. But as we learned last week, digital is not film, it is data — and it requires a new and clear set of rules. That became painfully clear to the jury when 20 percent of the photographers entering the penultimate round — where images are considered for the top three awards — were disqualified after technicians compared the entries against the unprocessed RAW files.
Some were disqualified for sloppy Photoshop manipulation. However, a large number were rejected for removing or adding information to the image, for example, like toning that rendered some parts so black that entire objects disappeared from the frame. The jury — which was flexible about toning, given industry standards — could not accept processing that blatantly added or removed elements of the picture. When the entries were compared with the originals we could not recognize them as being the same picture.
Michele McNally, jury chairwoman, discusses the 2015 World Press Photo contest, photojournalism and the impact of post-processing with The New York Times.
It’s an important conversation and The Times is inviting reader comments here: Debating the Rules and Ethics of Digital Photojournalism - NYTimes.com
(Source: The New York Times)
Packing for a War Zone
War correspondent Kevin Sites is returning to Afghanistan and shares what he’s packing with Boing Boing’s Xeni Jardin:
For news gathering, Canon Vixia, Nikon D90, GoPro 2, Macbook Air, HyperDrive, collapsible, fold-flat tripod and assorted cables and other odds and ends (nothing top of the line, just reliable and functional.)
Personal maintenance, filter water bottle, some instant coffee packets and some anti-bacterial wipes, three-sets of quick-dry, insect repellant treated clothing (Robert Young Pelton, author of the World’s Most Dangerous Place says he’s going to take away my man-card for that.)
Kevlar helmet and Type IIIA body armor —required for military embeds but not particularly helpful or recommended when reporting in Afghan communities, unilaterally.
Image: Packing for Afghanistan, by Kevin Sites via Boing Boing. Select to embiggen.
Reblogged from The FJP
Sony 2013 World Photography Winners
Top: Jens Juul, winner, Professional Portraiture, for Six Degress of Copenhagen.
Left: Andrea Gjestvang, Grand Prize winner, for One Day in History, portraits of survivors of the 2011 massacre in Utoeya, Norway.
Right: Valerio Bispuri, winner, Contemporary Issues, for Prisons of South America.
Select any to embiggen.
Winners across all categories along with photo galleries of their can be viewed at the World Photography Organization’s web site.
Reblogged from The FJP
World Press Photo of the Year 2012 contest winners
Paul Hansen of Sweden, a photographer working for the Swedish daily Dagens Nyheter, has won the World Press Photo of the Year 2012 with this picture of a group of men carrying the bodies of two dead children through a street in Gaza City taken on November 20, 2012. Jury member Mayu Mohanna said about the photo: The strength of the picture lies in the way it contrasts the anger and sorrow of the adults with the innocence of the children. It’s a picture I will not forget.
Picture: REUTERS/Paul Hansen/Dagens Nyheter/World Press Photo
(Source: newsflick-blog)
Reblogged from The FJP
Should people pay journalists and photojournalists to do what they do? As long as someone wants credible information the role of the professional remains important, but the role changes in that professionals are no longer the eyewitness. Think of all those [photography compilation] books in the 20th century which were called “eye witness” or “the eyes of the world” or something similar. That’s no longer relevant when there are 4 billion cellphone eyes out there.
Professionals are valuable as commentators, interpreters, validators. We know what is happening in Syria but for sifting all the detail and taking a position on all of that, we still look to the professionals.
Last year, during the Arab Spring, it was the “good little guy” against the “big bad guy”. Simple. Now, we are seeing is a much more complex mix of bad little guys as well a good little guys. I am learning all the different computations from experts — people who are studying the form, researching it, being present and reporting back out. That’s not something I can put together from Facebook. I need someone to guide me through that very complex area.
Stephen Mayes, Director, VII Photo Agency, in an interview with Wired. Photographs Are No Longer Things, They’re Experiences. (via futurejournalismproject)
Reblogged from The FJP
The ethics of using Instagram for news photography also came up at The Shifting Lens of Photography, a recent ONA NYC event which Heather Murphy moderated. Both the panelists and the audience were divided on this. Dani Fankhauser created a great Storify post which captures the “heated discussion.”
What do you think about using Instagram for photojournalism?
Photojournalism v. Instagram, The Battle Continues?
A few weeks ago, photographer Nick Stern expressed his grievances against Instagram, chiding its inauthenticity for eroding the value of professional photojournalism:
Every time a news organization uses a Hipstamatic or Instagram-style picture in a news report, they are cheating us all. It’s not the photographer who has communicated the emotion into the images. It’s not the pain, the suffering or the horror that is showing through. It’s the work of an app designer in Palo Alto who decided that a nice shallow focus and dark faded border would bring out the best in the image.
Yesterday, Heather Murphy, Slate’s Photo Editor, produced a rebuttal in which she pointed out the journalistic value app-driven photography actually creates:
Instagram is not a threat to photojournalism. The real threat is that photojournalism professionals are refusing to engage with the platform. If they spent a bit more time with it, they’d see that Instagram is about much more than these faux-vintage-filters. It’s a community of millions of photo addicts, eager to embrace their work, journalistic standards and all.The FJP: The app-photography v. photojournalism debate is not a new one and you can get the full breadth of Stern and Murphy’s arguments at the links above. At minimum, Murphy agrees with Stern that Instagram should not be a substitute for more formal outlets of presenting photographs. We agree too. Well, Michael did, back in October:
The results produce very interesting documentation but I don’t think you can call it photojournalism. There’s just too much fabrication going on.
But perhaps the debate sheds light on a more interesting trend. In that same post, Michael wrote of the iphone-as-camera as a tool. Nothing less, nothing more. And in the future-of-journalism light, tools are often fascinating means of creating new communication cultures. Murphy addresses this well. Not only does Instagram “help novice photographers get their feet wet,” but it creates an environment to aid transparency for journalism at large, much in the way that other social media outlets (like Twitter, Tumblr, and Facebook) do for news outlets, individual journalists, and writers. Murphy writes,
Reporters like Parker are learning about photography while sharing behind-the-scenes tidbits. Campaigns, we all know by now, are big charades; little deconstructed moments like the directional tape on the floor help make them more interesting, accessible, and real.
I can experience photos from photojournalists I admire (the handful who are on the platform), just a few seconds after they took them. I can leave them a question in the comments—and they might answer. They might even like my photos back.
So, if we stray a bit from the need to defend the integrity of photojournalism, we can re-locate the debate hashed by Stern and Murphy in a larger conversation on the tools that allow journalism, particularly the process of journalism, to become more transparent, interesting, and accessible to its audience. -Jihii
(photo via Slate)
Reblogged from The FJP
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There are any number of pressing media issues in the digital age -- we're sure you can come up with a handful without breaking a sweat. ONA Issues is your platform to define them, share them, explore them and get a better fix on how they impact the work you do. Here we'll look to you for your perspectives and conversations and help jump-start discussions by posting insightful reporting, commentary and analysis from anywhere and everywhere. We're here to listen and learn. Join us.
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