Category Business & Industry

The Year in Pictures, Then and Now

Allen Murabayashi compares The New York Times’ 2008 and 2017 Year in Pictures presentations over at the PhotoShelter blog.

The differences in technical quality and how images are toned are substantial. The evolution of digital cameras I seen through greater resolution, dynamic range and low light sensitivity, but the way photographers are handling post-processing is really evident. Tools that were not available a decade ago now have a significant impact on the look of news photographs.

Visuals for Radio

My friend Regina McCombs posted a gallery of the work her staff and stringers did this year for Minnesota Public Radio – a gallery of stunning visuals.

Think about that – great visuals made for radio. What a wonderful world we live in.

Personal Boundaries

The Deer Center for Journalism and Trauma interviewed nine female journalists about the issues they have faced in the field and how to deal with them. This should be required viewing for everyone who is a member of the media or who interacts with the media.

So, essentially, everyone on the planet.

(Thanks to alum and friend of the program Minla Shields for the link.)

On Why Journalists Need Access

The Washington Post’s David Nakamura takes a look at the photo(s) posted by The New York Times’ Doug Mills of the presidents visit to Manila.

There is a lot to unpack here.

Avedon and Civil Rights

Interesting look at the way Richard Avedon was trying to get segments of the publishing industry to move forward during the Civil Rights era by Philip Gefter for The New York Times.

The History of Vivian Maier

Vivian Maier took the photographic community by storm several years ago, long after she had produced an astounding body of work.   Now, researcher Ann Marks has shared some of what she has learned with the Associated Press, shedding new light on Maude’s work

(Thanks to Susan Walsh for the lead.)

Woman At War

There were not a lot of women combat photographers in Vietnam (or most other conflicts), one of the best was Catherine Leroy and Elizabeth Herman has part of her story up at The New York Times’ Lens blog.

Many consider Ms. Leroy as the most daring of all photographers in Vietnam, and she most likely spent the most time in combat because she needed the money. Being broke meant traveling with soldiers, sharing rations and sleeping in the countryside.

Her’s is an amazing story, worth the time.

Why You Stick to Your Workflow

As soon as I can after a shoot, I download my cards and back up the images into at least two places. Why? I am paranoid.

When I travel, I download and email or upload the best images to an online service, just in case something goes wrong. I teach my students this same thing.

A New York City photographer may want to evaluate his backup system – keeping the original cards and the hard drive used to back them up together can cause you some severe problems.

Reuters Launches Grant Program for Students

Reuters has developed a grant program to help photojournalists and photojournalism students advance their skills and tell stories that need to be told. There will be up to eight grants, each up to $5,000. The results of the projects will be distributed via Reuters’ photo service, as well.

Start writing. Deadline to apply is December 10.

Pieces of Advice

Independent photojournalist Yunghi Kim, who has put a lot of effort into help educate others on good business and copyright practices, has assembled a nice collection of comments from ten women photojournalists.

I love this from Jane Evelyn Atwood:

I don’t like to be called a “female photographer”. We don’t refer to Salgado or Cartier-Bresson as “male photographers”. I feel that calling us “female photographers” perpetuates the idea that we are “lesser than”, in some way. It defines us by gender rather than by the quality of our pictures.

The term “female photographer” is sexist.

All of the women in this piece are worth studying.