The death of George Floyd this May sparked protests across the USA and even internationally. These events make us reevaluate many things, including the ethics of storytelling and photography. In this week’s episode of Impact Everywhere’s podcast, Benjamin Von Wong spoke to Danielle Da Silva. She is an award-winning photographer, and a founder and CEO of Photographers Without Borders (PWB). Danielle spoke with Ben about her own experience with discrimination, and elaborated on PWB’s guidelines for ethical photography. If you’re a photojournalist, this is something you must listen. But honestly, I recommend it to everyone.
During the coronavirus crisis, the importance of keeping a distance from others keeps popping up. And yet, we keep seeing photos that show people standing way close to one another. The camera never lies. Or does it?
Copenhagen-based photojournalists Ólafur Steinar Rye Gestsson and Philip Davali decided to debunk the myth that the camera always tells the truth. In an experiment for the photo news agency Ritzau Scanpix, they took photos in public using different lenses and perspectives. The photos they made show just how much you can change the story by simply changing the angle of view or the focal length.
In many parts of the U.S. the reality of social distancing policies have only been in place for about a month. Yet during that time and the few weeks that preceded it, photographers have already churned through a number of phases to document and depict the outbreak.
In a sense, these phases represent visual tropes – a way of immediately understanding that the photo is illustrative of the pandemic. And in its laziest form, these tropes are, in the words of Fred Ritchin, mere “signifiers.” The utilization of a “signifier” elucidates very little about a story. At its best, photos of the pandemic give us context and pull us in emotionally in a way that words can’t. Joshua Bickel’s “zombie” protestor photo is a perfect example of this phenomenon.
A few days ago, The World Press Photo Foundation announced the winners of its annual World Press Photo contest. Of course, a camera is just a tool – it’s the photographer who makes the image. However, it’s still interesting to find out what gear the photographers used to capture these powerful images. Spanish website Photolari has made charts of gear used by this year’s nominees and winners, and they give us some interesting insights.
The World Press Photo Foundation has just announced winners of its annual World Press Photo contest, as well as its Digital Storytelling Contest. The winners have been selected from a stunning gallery of nominees. Sadly, this year’s awards ceremony was postponed due to the coronavirus pandemic, but you can view the winning images online.
Since mid-March, various policies have been implemented at the state and federal level in the U.S. to mitigate the spread of the coronavirus and the disease it causes, COVID-19. Photojournalists initially covered long lines at big box stores then vanishing crowds in some of the most trafficked places, but as we move into a shelter-in-place mode, photographers of all stripes have been trying to adjust to a new reality of maintaining their sanity and creative expression as the specter of death casts a long shadow.
Nominees and winners of World Press Photo Contest never fail to give us chills and leave us in awe, shock and with mixed emotions. The World Press Photo Foundation has just announced nominees of its 63rd annual contest, as well as its Digital Storytelling Contest. They come from all over the world, making yet another stunning and powerful collection of images.
Photojournalism and documentary photography are fields that most of the time are developed gradually and exponentially while gaining more experience, building up a quality portfolio, and mastering the art of telling a story with a series of images.
Knowledge and skills are obtained with the pass of the years whereas working with the equipment that one could afford at that time. The logical step of development is upgrading equipment when the current gear isn´t enough, or simply does not live up to the final expectations of the work to be achieved.
One of the most powerful applications of photography has been as a tool to document some of the most important moments in recent history, whether that’s in terms of a shared history of the world in the form of photojournalism, or in the more personal history of family snapshots, personal photography, and street photography.
Photography for personal use is prevalent in everyday life perhaps more today than ever before; every dance-floor selfie on a night out is photographic storytelling, every published snapshot in some way contributing to the wider communal pool of stories being told. It is accessible to anyone with a smartphone, and the barrier to entry-level dedicated camera units is immensely low secondhand. Photography is essential in messaging apps, a part of daily communication like never before.
Introduced in 1988, the Nikon F4 was the world’s first professional autofocus camera, and it made its way quickly into the hands of many working photographers. But despite the incredible leap in technology it represented, it was apparently quickly overtaken by the competition, which built on the solid foundation the F4 offered.
Early reviews were kind, but the advances in all areas of camera technology since then have left it more a cult option for today’s users.