Ready for Anything

The Associated Press’ Lauren Easton talked with photojournalist Jacquelyn Martin about the photo of Treasury Secretary Steven Mnuchin and the sheet of dollar bills not carrying his name.

We don’t orchestrate these things. As a photojournalist, I show up and photograph what happens in front of me. You really have to be ready for anything in Washington.

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.

This Is Why I Can’t Have Nice Things …

I would be just like Roger Cicala at LensRentals.com.

Where are my screwdrivers …

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.


Knowing Your Sources Matters

Every journalism course will teach you the same thing – know who your source is and why they are talking to you. In today’s wired world, that same lesson needs to apply to photo editors as Jan A. Nicolas reports at PetaPixel, a fake war photographer (using stolen and modified images) manages to get work published all over the world.

This photographer doesn’t exist, yet had a robust online portfolio and publication links.

So what do we learn from this? Know your sources. Don’t assume that the vetting process others have used is solid – the Wall Street Journal was duped here, as was the BBC. Because neither of them put the effort into verifying the images or the person allegedly behind them.

So who suffers here? The photographers whose work was stolen and the audience who viewed that work are at the ends of that list. But right in the middle, it’s the news organizations who published this work – it is their credibility that has been eroded.

And, at the end of the day, the only thing we as journalists have is credibility.

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.