Category Photojournalism

Women in Photojournalism

This, to me is a must- and first-read on the topic: Andrea Billups look at Women in Photojournalism, Opportunities and Independence.

Why we still have this conversation in 2017 is beyond me, but we will keep having it until there’s no longer a need.

Hops and Millimeters

I will admit, there is this internal conflict when it comes to one of my photographic heroes, Henry Cartier-Bresson. The work, the elegance of it, the preservation of a moment in time … it resonates with me deeply.

But then there are pieces I read, interviews and stories, and I’m left wondering whether he was a charlatan of sorts. He was, at times, so dismissive of the craft, of the effort.

Lines like this, excerpted from a 1973 interview with Sheila Turner-Seed:

I see different things, I presume. But not more, not less. The best pictures in The Decisive Moment were taken right away, after two weeks. [ . . . ] That’s why teaching and learning don’t make sense. You must live and look. All these photography schools are a gimmick. What are they teaching? Could you teach me how to walk?

So, I’ll put aside my defensiveness because of my occupation and say I agree there’s a certain level of innate vision the best have. But that vision needs to be developed, it needs to be explored and prodded and poked at, it needs to be put in context and critiqued. A photograph is not an isolated thing, it is an arc that connects moment and the witness and the viewer, bringing them back to the moment.

Maybe it’s more of a circle. Hmmm … maybe there’s something in there to teach …

The precision of his work and the way he talks about it, that has always resonated with me:

The difference between a good picture and a mediocre picture is a question of millimeters, a tiny difference. But it’s essential. I don’t think there’s so much difference between photographers, but it’s that tiny difference that counts, maybe.

And the way he talks about watching a great photographer work, the elegance with which they move, I get that, too. There’s a fluidity we should all be striving for, the insert ourselves into the ebb-and-flow of life, to be swept along but at just the right distance to be able to see not just this moment, but how it connects to all the others.

As I said, I have some inner conflict.

Auto Photo Business

If you’ve spent more than four minutes with me, you know one of my passions lies deep in the automotive realm. Old cars, new cars, broken cars and the old, new and broken people that go with them – I love being a part of those stories.

So it should come as no surprise that I tend to look at a lot of car photos and read a lot about the people who also love cars. Amy Shore has been taking the automobile photo world by storm of late and she’s put together a very long, very detailed post on what you need to know to get into the business. Really, even if you never want to photograph a car, the processes she talks about apply to you, too.

You can have a crap photographer with the best camera on the market and they’ll create high-quality crap photos. Or you can have a fabulous photographer only shooting with their mobile phone and get more Instagram followers than you or I will ever have because their ‘eye’ for an image is amazing.

It is well worth a good chunk of your weekend.

She was also profiled on the Mercedes-Benz site, which concludes with a short video of her.

The Scent of Nostalgia

I’ll admit to suffering from nostalgia. I like old cars – on the weekend, when I don’t need to be anywhere. I like old cameras – for the mechanical precision and the engineering sensibilities. I like old houses – for they have stood the test of time and adapted.

And I still read print, on the weekends, when I have the time to peruse and then wash my hands.

But, on all other days, I like my digital cameras that don’t force me to be exposed to toxic chemicals. I like my reliable, safe modern car. And I like my news delivered in the most appropriate medium, and that isn’t always text and still photos on a printed page.

Still, this is kind of cool … I remember touring the Globe and seeing the presses as a kid. I remember my few meetings on Morrissey Boulevard when I was looking for work or buying a lens from one of the staff photojournalists there.

The scent of ink will always be a little sweet to me, in the same way the smell of my 51 year old Mustang is nice on a Saturday morning … but not on a Monday commute.

Finding Tereska

Tereska life magazine spreadOne of the somewhat lesser-known founders of the Magnum Photos collective is also one of my favorites, David Chim Seymour. Carole Naggar at Time takes a look at the search to find one of the kids from his 1948 story on how millions of children had survived World War II.

These follow-up stories (like the search for the Afghan girl years ago) are just fascinating to me. Intellectually, we know the people we document existed before and after the moment they were photographed. Emotionally, we tend to take that one moment in time as representative of their lives and that’s a dangerous thing.

Getting Found on Instagram

Is Instagram a viable way of getting found? Elisabeth Sulis Gear at FeaturesShoot talked with six photo editors to learn how they use the social media photo platform to research photographers.

Young Documentary Photographers

Screen Shot 2017 05 14 at 2 45 45 PM

Great piece at The New York Times’ Lens blog on a Bronx Documentary Center project that has kids telling stories about their own lives. Much for us, as journalists, to learn from looking at their work and listening to the way they talk about stories.

Secret Deals During WWII

Fascinating story about how the Associated Press cut a deal with the Nazis to get images out of Germany during World War II.

I find some fault or under-reporting of this story in how they describe whether member news organizations knew they were publishing Nazi propaganda. There is a difference between the captions the AP transmits with photos and the cutlines that news organizations publish. Using a few published clips as evidence that the AP didn’t notify members is, at best, incomplete reporting and, at worst, incorrect reporting. Without seeing how the original Wirephotos were sent it’s impossible to know what the AP told its members.

Still, a lot to talk about in an ethics lesson here.

Train Track Tragedies

Watch this. NOW.

And stop taking stupid photos on train tracks.

Only thing I disagree with is his statement about “trains plowing through without warning.” The train belongs there, the photographers and models are the ones there without warning.

POSTPONED: Daniel Berehulak to Receive the McGill Medal for Journalistic Courage

NOTE: This has been postponed, once we have updated info I’ll post it here.

Happy to announce that photojournalist Daniel Berehulak will receive the University of Georgia’s Henry W. Grady College of Journalism and Mass Communication’s McGill Medal for Journalistic Courage at a ceremony here in Athens on Monday, April 10.

Come join us if you can, reception to follow the presentation.