Tag Archives: Fellow Photographers

A Year of Photographers in the Picture

A little shy of a year agowith the world’s attention focused on a change of power in North Koreaa photo of Kim Jung Il’s funeral, released by KCNA (North Korean Central News Agency), sparked controversy. The image had been manipulatedless for overt political ends, more for visual harmony. Blog Submission . The photo’s offending elements, photoshopped from the image, were not political adversaries or top secret information, but a group of photographers who had disturbed the aesthetic order of the highly orchestrated and meticulously planned occasion.


Dec. 28, 2011. A limousine carrying a portrait of late North Korean leader Kim Jong-il leads his funeral procession in Pyongyang.

In an age where seemingly every occasion is documented through photography from every conceivable anglean estimated 380 billion photographs will be taken this year aloneit’s not only North Korean bureaucrats who are wrestling to keep hoards of other photographers out of their pictures.

Photographers frequently appear in news photographs made by others. Banks of cameras greet celebrities and public figures at every event; cell phones held high by admirers become a tribute in lights, but a distraction to the viewer. Amateurs and professionals, alike, appear in backgrounds and in foregrounds of images made at both orchestrated events and in more candid moments. squido lense . The once-invisible professional photographer’s process has been laid bare.

On occasion, photographers even purposefully make their fellow photographers the subject of their pictures. The most difficult picture to take, it seems, is one without the presence of another photographer either explicitly or implicitly in the frame.

Everyone wants to record their own version of realityironically, it turns out, because by distracting oneself with a camera, it’s easy to miss the true experience of a moment. At a recent Jack White concert, the guitarist requested that audience members stop trying to take their own photos. “The bigger idea,” his label noted in a statement, “is for people to experience the event with their own eyes and not watch an entire show through a tiny screen in their hand. We have every show photographed professionally and the pictures are available from Jack White’s website shortly after to download for free.”

The abundance of camera phones and inexpensive digital cameras has changed the photographic landscape in countless and still-incompletely understood ways, and it’s not just the North Korean government trying to find ways around the hoards of photographers making their way into everyone else’s shots. Here, TIME looks back on the past year to highlight an increasingly common phenomenon: the photographer in the picture.

Love The One You’re With

image by Aline Smithson

I’ve been on the road since September, visiting photo festivals across the country and I’ve been thinking a lot about the experiences and the photographers I have met and wanted to share some thoughts. I have to say, it’s an amazing community, filled with good will, curiosity, passion, and really, really good people.  I think there is something special about those who use a visual language, who are reinterpreting the world close-up and far away.  I left each event filled up with friendships, with images, with experiences that make this journey a richer one.

I have always told my students that it is equally important to meet fellow photographers at these events, and not to solely focus on meeting with people that they think might change one’s career. Sometimes at photo events, photographers can be a bit myopic and self-focused, trying to tug on the sleeve of important reviewers. They don’t realize that those who don’t make it all about themselves, benefit the most–and often times, it will be a peer that makes something happen in their career. More has come to me, and to my career, from my relationships with other photographers than from anywhere else–the evidence of this statement seems profoundly evident after my recent travels–just looking at this fall, almost every invitation came from a relationship with a photographer.

I truly marvel at how many photographers are changing the photographic landscape by giving their time and energies to promote work that is not their own. Photographer Scott B. Davis created the Medium  Festival of Photography in San Diego this September, photographer Sarah Hadley created the Filter Photo Festival in Chicago, I went to the SW Regional SPE conference, all run by photographers.  I attended Fotoweek DC started by Theo Adamstein (a photographer) and was invited to teach at the event by photographer E. Brady Robinson who I had traveled with in China.  Photographers Jennifer Shaw, Millie Fuller, and Lori Waselchuk, privotal players at PhotoNola, not only invited me to teach a workshop and review, but Jen helped me secure a gallery in New Orleans.

As I sat in the portfolio reviewing room at Photo Nola, I looked over at Blue Mitchell, a fellow photographer who started Diffusion Magazine, a publication that features historical and non-traditional ways of approaching photography, then I looked at photographer Gordon Stettinius who has not only become a publisher, but opened Candela Gallery and is working on creating a significant collection of photographs for gallery.  I looked at photographer Bryan Formhals who  champions the online community (especially Flickr) and has celebrated many image makers in his terrific LPV Magazine.

At the Medium Festival photographer Susan Burnstine found work to celebrate in her articles for Black and White Magazine (UK), photographer David Bram reviewed as editor of Fraction Magazine and in Chicago, photographer Kevin Miyazaki looked for new work for his amazing Collect.Give program and photographer Christy Karpinski reviewed for her long time publication, F Stop Magazine. Photographer Russell Joslin also reviewed for his labor of love, SHOTS Magazine which he has edited for years, photographer Bill Schwab shared his sage insights from years behind the lens and as a workshop educator and photographer Kyohei Abe reviewed for the Detroit Center of Photography where he is now the director. And there are more that I am sure I am forgetting.

I am not diminishing all the amazing curators, editors, and gallerists that make up our photography community, but I wanted to recognize the tremendous support that photographers lend to each other, often without recognition or financial compensation of any sort.

So next time you are at a photo or review event, remember that the person sitting next to you clutching their portfolio box, just might change your life one day.

Rémi Ochlik’s Revolutions

“War is worse than drugs. One moment it’s a bad trip, a nightmare. But the next moment, as soon as the immediate danger has passed, there is an overpowering desire to go back for more. To risk one’s life in order to get more pictures in return for not very much. It is an incomprehensible force that pushes us to keep going back in.”

Rmi Ochlik, 2004

This spring, after French war photographer Rmi Ochlik was killed during fighting in Homs, Syria, a group of close friends and colleagues felt their obligations to the photographer weren’t complete. Meeting aboard a TGV train on their way to Paris from the World Press awards ceremony in Amsterdam in late April, the group took stock of everything that had happened since Rmi’s death. find personal injury attorney . His photographs had spoken for themselves when exhibited in tribute in Amsterdam. The large circle of friends gathered in his name was a testament to his character; he was always the guy who would make friends sharing a cigarette. But one duty remained unfinishednot a tribute, nor a memorial, but a commitment to continue what was and what should have been in Rmi’s life.

Now, five months later, Revolutions is finisheda book of 144 pages, across which Rmi’s photographs of the Arab Spring spread forth. The tome depicts hope, anger, celebration and fearsome of humanity’s most powerful emotions recorded in photographsand feelings the photographer undoubtedly felt during a career cut short by the harsh realities often facing those documenting armed conflict.

Scattered through this visual record of Rmi’s witness are the words of friends, which encompass close confidants, long-time coworkers and fellow photographers. Their testimonies are short, speaking to the memories of a man killed at a time and place in the world many photographers hesitated to cover.

Ochlikbegan his photography of the Arab Spring in Tunisiaand so the book does the same. “It is impressive to see the ease with which he moves through the street as the rocks fly everywhere,” writes Julien De Rosa of his shared time with Rmi outside Tahrir Square in Cairo. “This is clearly his natural environment.”

Rmi, considered by colleagues an old-school photographer despite his youngage (29), moved with confidence and resolve through the borders of conflict in the Middle East. This is what makes his death that much more painful, for at his age and with his skill, his potential had seemed limitless.

“Be safe, okay?” were the last words that Gert Van Langendonck told Rmi before his final trip to the besieged city of Homs. “You’ve already won your World Press Photo.” And indeed Rmi’s work was deserving of high honorhis story from Libya earned him first prize in the 2012 World Press Photo competition’s General News category. His photographic eye was strongstrengthening, evenas he entered Syria. A vision deserving of high honor, cut short by a barrage of shelling that also killed American correspondent Marie Colvin.

Rmi was often aware that he didn’t have a personal project in the works, Van Langendonck told TIME. Personal projects provide an outlet for photographers to explore their interests outside of commissioned editorial work, allowing for an inner-consistency even as a photographer’s surroundings are rapidly changing. So caught up in his work, Remi didn’t need it “I’ve never had so many of my pictures published in my life,” he told Van Langendonck.

After paying the ultimate price for his work, Rmi’s personal project became clear. Although the future promise of the French photographer will never be fully realized, the publishing of Revolutions has brought a modicum of closure.

Revolutions is nowavailable through Emphas.is. The book project, funded by contributors, raised $24,250 as of Sept. 4, exceeding its original fundraising target of $15,000 by almost 40%.

The New Photojournalistic Social Advocacy: Nuru Project

When photojournalist J.B. Reed returned from a 2004 Fulbright-scholarship-funded trip to Kenya, where he had been working on a documentary piece about a Nairobi slum, he felt like he wasn’t finished with his project. The people he had met were still on his mind, he says, and he wanted to do something in exchange for the access and time they had given him. So he organized a gallery show in Boston, sold his prints and sent the money to a nonprofit organization working in the Nairobi neighborhood in question.

“I think a lot of photographers feel this,” he explains, “but it was just out of that general sense of obligation.”

Reed noticed that, while his fellow photographers often spoke of that urge to give back, they lacked a platform to do so in an organized and sustained fashion. In 2008, he and some art- and business-minded friends founded Nuru Project—“Nuru” meaning “light” in Swahili—to fill that void. The business now has relationships with well-known photojournalists, including TIME contract photographer Yuri Kozyrev, and the group is looking to grow with an upcoming Kickstarter drive aimed at funding a marketing campaign. Reed says that response to the project has been positive, but he’s aware of the deeper questions of journalistic integrity that are raised by his brainchild.

“Most photojournalists get into journalism because they think there are stories that are important to tell and they want to make a difference,” Reed says. Nuru helps them do so, but it also re-introduces the frequently discussed matter of whether the journalist’s job is to make that difference or to record things as they are.

NURU Project

Each NURU print comes with a handwritten “backstory” from the photographer, such as this one explaining Espen Rasmussen’s print from Balakot, Pakistan.

Nuru Project has so far raised $150,000 for its nonprofit partners, often organizations that work directly with the communities that appear in the photographs it sells. Originally conceived as a group that would organize exhibitions, Nuru transitioned to an e-commerce model in October 2011. Reed now manages the business full-time, seeing it as an extension of the social entrepreneurship he used to practice as a photographer, he says. Nuru sells prints in low-cost, numbered but unlimited editions; half the money goes to an affiliated nonprofit organization that can be selected by the buyer at checkout and the other half is divided evenly between the photographer and Nuru Project.

“I really like creating something that is dedicated to putting photojournalism to some sort of social purpose beyond telling the news, and I think that’s a controversial idea within photojournalism,” Reed says. “On our Facebook page, when we post relevant stories, we’ll get comments that say this is not what journalism is supposed to be about—and then we usually get a lot more comments that are very sympathetic to what we’re doing.”

Nuru Project is not the first group to link photojournalism and social advocacy. Cornell Capa, founding director of the International Center of Photography, introduced the idea of the “concerned photographer” in the mid-20th century and maintained that cameras could catalyze necessary change rather than just preserving an image of the situation that needed it. More recently, VII Photo has sold prints to benefit Doctors Without Borders. And Reed says that he’s noticed a general trend toward socially aware photography.

“There’s this idea that photojournalists should be objective and not have opinions,” he says. “I think the reality is that’s nonsense and we’re all very subjective beings and that photojournalists bring that to their work.”

But several of the points made by the National Press Photographers Association (NPPA) code of ethics seem to imply that such subjectivity ought to stay out of that work. The code asks that photographers, while maintaining respect for their subjects, “avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one’s own journalistic independence.”

John Long, who is the Ethics Chair of the NPPA, says that this directive does not mean photographers must not be involved in social action—merely that they must be very careful. He recounts a story from his own career at the Hartford Courant, when an editor asked him to resign from the board of a homeless shelter or refrain from shooting stories about homelessness: in that case, the simultaneous action in both spheres would have been a conflict of interest. “You can have beliefs and you can have a great dedication to your organization that you’re trying to promote on that score,” Long says, “but when it comes time to deal with your journalism you have to remember that the master you’re serving at this point is not the organization but accuracy.”

The philosophy of the concerned photographer is very consistent with NPPA ethics, he adds: as long as the photography happens from a journalistic standpoint, and then the social action happens separately, then the photojournalist is doing his job. And the impulse that drove Reed to found Nuru is, Long says, one that is necessary for good photography to be possible.

“You can’t bring your advocacy to your work but you can bring your humanity,” says Long. “If you don’t bring a passion for people and a concern for the welfare of people and society, if you don’t bring a love of mankind to your work, your work is going to be very hollow to begin with.”

Nuru makes a convenient middle-man, allowing photojournalists to participate in social advocacy without actively giving to the causes involved, especially as the photographs currently for sale were not taken with Nuru in mind. But if Nuru evolves from one-off deals with photographers to extended relationships—as J.B. Reed hopes it will—the organization will butt up against the question of whether journalistic objectivity is in fact possible or desirable in the first place.

LightBox welcomes your thoughts on the matter in our comments section below.

Tuesday 6 September 2011

Back from Perpignan and another great visit to Visa Pour l’Image… obviously a lot of  fun was had and it did hurt a bit looking at my bank balance this morning …but it was also a productive week or so in terms of showing work and meeting editors….and educational having sat through several photographers’ talks…Chris Morris and Gary Knight to mention just a couple…But if there are two words that really sum up Visa Pour l’Image 2011 for me, they are exhaustion and inspiration…Those were at least the two things on top of my mind landing back in London Monday evening…there were so many things to see and do and the late nights, early rises, and eventful days certainly took their toll…but you also get very inspired attending the evening screenings at Campo Santo or Place Republique, looking at the exhibitions at places like Couvent des Minimes, showing and getting feedback for your work at Palais des Congres, or just talking shop with fellow photographers and other industry types over dinners in some of the many very fine restaurants or over drink at the famous La Poste…or just plain fooling around. All in all, very happy with my second visit to Visa. It was great to catch up with friends I hadn’t seen in a while, as well as make new friends and put some faces to names of people with whom I had only corresponded online before. Verdict: I for one am hoping to make these late-August/early-September visits to Perpignan a lasting tradition…

photo: Barbara Davidson

My festival highlights in terms of looking at work were exhibition of Barbara Davidson’s Pulitzer winning work Caught in the Crossfire about innocent victims of LA gang warfare…and seeing Canon AFJ 2011 recipient Ilvy Njiokiktjien present a very well put-together multimedia version of her award winning series at the Canon stage…hope the video will be online soon somewhere, I’d love to be able to share it…

Before we take look at the latest features, take a moment for this…

Fundraising for Anton Hammerl’s (1969-2011)  3 children…

Friends of Anton | related on BJP

It was unfortunate there was no tribute to Anton during Visa evening screenings as there were for Lucas Dolega, Chris Hondros, and Tim Hetherington,  apparently because Hammerl’s photos had not been released for free due to a misunderstanding (this according to BJP’s Olivier Laurent) …

Features and Essays 

Tenth anniversary of 9/11 in a few days…

Chris Anderson has a great video piece called Ten Years Later on the New Yorker Photo Booth…too bad the stills portfolio only shows 9 frames and doesn’t include some of my favourite stills seen in the video, including the below one…

Christopher Anderson: Ten Years Later | recommended video (The New Yorker: September 2011)

TIME have a gallery of some of James Nachtwey’s well-known as well as previously unpublished 9/11 photos up on Lightbox…

James Nachtwey: Revisiting 9/11: Unpublished Photographs (TIME LB: September 2011)

Damon Winter’s terrific photos of ironworkers at One World Trade Center…

recommended Damon Winter: The Sky Cowboys (NYT: September 2011) Damon Winter interviewed about the series on NYT Lens | Planning the shoot on NYT Magazine 6th Floor blog

Jason Eskenazi: Vanishing Points at Ground Zero (New Yorker: September 2011)

Photo: Patrick Witty

Newsweek: Ten Year Later (Newsweek: September 2011)

Stephane Sednaoui: 9/11 Search and Rescue (TIME LB: September 2011)


Moises Saman: Migrants Face the Suspicions and Wrath of Libyan Rebels (NYT Lens: September 2011)

Magnum: Libya (Slate: September 2011)

Surprised to see Ron Haviv’s been shooting with iPhone in Libya…stupidly Vanity Fair Italy have cropped them for their slideshow…

Ron Haviv: Libya (Vanity Fair Italy: August 2011)

Marco Salustro: Last Days of Gaddafi Regime (Photographer’s archive: September 2011)

New features on Haviv’s agency’s site… VII Photo were celebrating theirs tenth anniversary in Perpignan…

Marcus Bleasdale: South African Farm Workers (VII: September 2011)

Ed Kashi: Turkey (VII: September 2011)

Eric Bouvet: Bab al-Aziziya (VII Network: September 2011)

Peter diCampo: The Pajarito Mesa – An Energy Case Study (VII Mentor: September 2011)

Another VII Mentor program photographer, Erin Trieb,  had work on the New Yorker’s Photo Booth… Hipstas…

Erin Trieb: New York Meets Hurricane Irene (New Yorker: August 2011)

Christopher Morris: Beatus (Photographer’s Vimeo: August 2011)

Yuri Kozyrev: The Light of Caucasus (TIME LB: September 2011)

Robert Nickelsberg: Postcard from Brooklyn: Celebrating Eid (The New Yorker: September 2011)

Terrific Perpignan coverage on the NYT Lens blog courtesy of Mr James Estrin….All three below were exhibited at Visa Pour l’Image…

Walter Astrada: Violence Against Women (NYT Lens: September 2011)

Was great to see Shaul Schwarz’s Narco Culture project exhibited… Big fan of the work…I had the opportunity to attend Getty Reportage photographers’ meeting being part of the Emerging Talent, and Shaul showed us the trailer for the feature documentary…Very much looking forward to it…

Shaul Schwarz: Narco Culture (NYT Lens: September 2011)

Jocelyn Bain Hogg: Candid Moments From the British Underworld (NYT Lens: September 2011)

Jonathan Saruk on Reportage site with another not so obvious Kabul subject…the last one was Kabul cinemas if you don’t remember…

Jonathan Saruk: Driving Schools in Kabul (Reportage by Getty Images: September 2011)

Gianmarco Maraviglia: Egypt – A Country in Between (Parallelo Zero: 2011)

Lee Friedlander: America By Car (Guardian: September 2011)

Patrick Smith: Leisure Territories (TIME LB: September 2011)

Daria Tuminas: Ivan and the Moon (Firecracker: September 2011)

Human Endeavour: Degeneration (Foto8: September 2011) Human Endeavour website

Sean Gallagher: The Panda’s Forest (The Atlantic: August 2011)


James Nachtwey on 9/11…

James Nachtwey : on 9/11 (TIME: September 2011) video by Marco Grob , interview by Kira Pollack as part of Time Magazine’s  Beyond 9/11 : Portraits of Resilience 

New Yorker contributors Peter van Agtmael, Thomas Dworzak, Platon on how 9/11 shaped their careers…

Peter van Agtmael : September 11th, Ten Years (New Yorker: September 2011)

Thomas Dworzak : September 11th, Ten Years (New Yorker: September 2011)

Platon : September 11th, Ten Years (New Yorker: September 2011)

Lynsey Addario was on CNN on talking about working in Somalia on a recent assignment for Newsweek…(thanks to @tammydavid for pointing me to this piece)

Lynsey Addario (CNN: September 2011)

Great Visa coverage by British Journal of Photography’s La Poste desk…aka Mr Scoop aka Olivier Laurent…here are some of the interviews…

Barbara Davidson : From the Pulitzer to Perpignan (BJP: September 2011)

More on Shaul Schwarz’ and his Narco Culture project…

Shaul Schwarz (BJP: September 2011)

Aidan Sullivan : “The Getty Grants have become a lifeline for photojournalists” (BJP: September 2011)

Stanley Greene (BJP: September 2011)

Yuri Kozyrev : Visa Pour l’Image 2011 (Euronews: September 2011)

Ed Ou : Winner of City of Perpignan Young Reporter Award 2011  (TIME LB: September 2011)

Mike Kamber  : ” I want to carry on the legacy (takepart.com: 2011)

Sebastian Liste (La Lettre: September 2011)

Ron Haviv : Freelance in a World at Risk (1998) (Youtube)

Eirik Johnson (Youtube)

Ed Kashi : Eye-to-eye (NYT Lens: August 2011)

Donovan Wylie (National Medium Museum Vimeo: 2011)

Antoine d’Agata (Vimeo)

‘This Is What I Do. This Is All That I Know.” – Joao Silva

Part of NYT Lens’ Visa coverage…Joao Silva had a show of his Afghanistan work…

Joao Silva (NYT Lens: August 2011)

My favourite frame of Silva’s exhibition made me think of  other  photos I’ve seen of the B52 trails in the Afghan skies…photos which kind of seem to sum up and symbolise for me the long term foreign influence in the country…Of course the US and its allies have been in Afghanistan for 10 years with tens of thousands of boots on the ground…but when you think longer term…How will the last ten years of fight against the Taliban be seen in 20 years… 30 years… or 50 years? With US and its allies planning to reduce their presence in the country, will this most most recent war in Afghanistan be seen just as ‘a 10 years-or-so long in-and-out bomber round’? What has really been achieved?

Below Silva’s frame side-by-side Anderson’s, Knight’s, and Boulat’s…

Two more interviews…

Simon Norfolk (Institute: 2011)

Shannon Stapleton (Reuters blog: 2011)


Visa news….

Well deserved award for Kozyrev…

BJP: Yuri Kozyrev wins Visa d’Or award

I think Peter Dench nails the Perpignan experience with these videos…

Hungry Eye TV: The Dench Diary at Visa Pour l’Image Day 1 /  Day 2 /Day 3 / Day 4/ Day 5 / Day 6 (Hungry Eye: September 2011)

Visa Pour l’Image: Oliver Jobard Visa d’or Feature Award winner (festival website: September 2011)

Panos Pictures blog: Shiho Fukada Daily Press award at Visa (Panos blog: September 2011)

La Lettre: Guillaume Herbaut : Prix Webdocumentaire 2011 (La Lettre: September 2011)

Getty: Editorial Grants winners (Getty: September 2011)

NYT: Peacekeepers in Somalia Fire on Car, Leaving a Journalist Dead (NYT: September 2011)

photo: James Nachtwey

Life.com: They Were There: 9/11 Photographers (Life.com: September 2011) Related: All life.com’s September 11  galleries

Guardian: The meaning of 9/11′s most controversial photo Thomas Hoepker’s photo of New Yorkers apparently relaxing as the twin towers smoulder says much about history and memory (Guardian: September 2011)

The former executive editor of The New York Times, Bill Keller reassesses his Iraq war support…

photo: Alexandra Boulat

Bill Keller: My Unfinished 9/11 Business (NYT Mag: September 2011)

Tom Junod in Esquire on one of the most iconic 9/11 photographs…

Tom Junod: The Falling Man (Esquire: September 2011)

photo: Sebastian Meyer

BJP: Listening in: The use of audio in photography (BJP: 2011)

10b Photography is a post-production lab in Rome with a very  impressive client list … there’s an interesting piece on their website on the lab’s ethics….

photo: Yuri Kozurev / NOOR . Digital Imaging by 10b Photography

10b Photography: Ethics (10 Photography website)

Errol Morris’ book Seeing is Believing review on New York Times…

NYT: Errol Morris Looks for the Truth in Photography (NYT: September 2011)

NYT Lens: ‘Where Is the Front Page in Cyberspace?’ (NYT Lens: September 2011)

NYT: When the Camera Takes Over for the Eye (NYT: September 2011)

NYT: One Eye on the Door, the Other on His Photography (NYT: September 2011)

CPN: Photographers for Hope (CPN: 2011)

La Lettre: James Nachtwey leaves VII (La Lettre: September 2011)

Guardian: Featured Photojournalist: Jorge Guerrero (Guardian: September 2011)

Magnum: Steve McCurry is the first winner of the newly created Leica Hall of Fame Award (Magnum: September 2011)

“Is photojournalism dead? NO – it’s alive and kicking!”  – Tom Stoddart

Getty Images blog: Visa Pour l’Image (Getty blog: August 2011)

David Campbell: Thinking Images v.21: Seeing the dead (DC blog: September 2011)

Want an overview of the challenges facing photojournalism in the new media economy? See Campbell’s back catalogue

Stephen Mayes and Tim Hetherington on war and sexuality…

Stephen Mayes and Tim Hetherington: Theatre of War or ‘La Petite Mort’ (pdf)  (DC blog: 2011) related

Guardian: The head of photography on… picture manipulation and trust in news imagery Acceptable uses of Photoshop in the Guardian and Grazia (Guardian: September 2011)

Verve: Benjamin Rasmussen (Verve Photo: September 2011)

The Atlantic: The Freelance Surge Is the Industrial Revolution of Our Time (The Atlantic: 2011)


British Journal of Photography releases iPad App.. I had a chance to see it at Visa and I have to say it does look good!

Info on the magazine’s website: British Journal of Photography comes to the iPad

Sneak preview here

In iTunes Store

The BJP app promises to give  ” readers the highlight features of our print editions together with extra features, photos and a raft of new multimedia and video content, including a moving image cover created by New York-based artists Reed+Rader. “

Issue #1, available free from 7 September, includes:  Exclusive interviews with celebrated portrait photographer Anton Corbijn and acclaimed German film director Wim Wenders on the relationship between still and motion images;  Five photographers, including Tim Walker and Zed Nelson, discuss their first adventures in filmmaking; A special report on the role of photojournalism since 9/11 Q&A with legendary South African photographer David Goldblatt etc. etc..

Reuters is also coming out with their own app for the App…

Reuters: The Wider Image


Greenpeace releases photography app

Light It Magazine

Awards, Grants, and Competitions

Tim Hetherington Grant by World Press Photo | related on BJP

The PhotoPhilantrophy Activist Award

Aaron Siskind 2011 Individual Photographer’s Fellowships

NGM Photo Contest

College Photographer of the Year


Happy 4th Anniversary to NOOR

photo: Robert Christina / Nikon Europe

Institute for Artist Management : Motion page

Crowd funding

Mariella Furrer  : My Piece of Sky: Memories of Child Sexual Abuse (Kickstarter)

Pete Brook : ’Prison Photography’ on the Road: Stories Behind the Photos (Kickstarter)


TIME Lightbox Tumblr


PDN is hiring a Managing Editor

Senior Technician at Bournemouth


Ilvy Njiokiktjien

Nadav Neuhaus

Natasha Fillion

Monique Jaques

Rafael Fabres

Jonathan Saruk

Maximiliano Braun

Allison Shelley

Jonathan Lewis

Gordon Welters

James Chance

Stephen Kosloff

Michael Barrientos

Daphne Plomp

Books and Exhibitions

Michelle Sank : The Submerged : Hot Shoe Gallery : PV 8 September 1830-2100 :  Book published by Schilt Publishing

To finish off…

Portrait photographer charging by weight

FotoVisura Portfolio Consultations

Visura Media is a New York / Vermont based production and design company dedicated to the exposure and support of the international photography community. Amongst numerous projects, Visura Media created Visura Magazine and the FotoVisura.com. The organization now is producing portfolio consultations with terrific reviewers, and I have heard from fellow photographers, that these consultations are truly helpful and insightful.

The FotoVisura Portfolio Consultation is a dynamic session in which each photographer presents their work in one-on-one sessions with each of the participating editors. The goal is to assist with the preparation of a portfolio or project for formal presentation. The editorial team includes the Visura Magazine staff as well as a carefully selected group of leading photography editors and instructors. Each editor will meet with participants individually to review each portfolio as well as give consultation on any new body of work (its edit, sequence, or artists statement) and obtain any specific guidance the artist may need. Through this process, each photographer will receive a highly productive 3 hour intensive workshop with a variety of perspective and approaches from leading professionals.
For more information please contact [email protected]

Photo by Rosey Muto

DATE: Saturday, May 7th & Sunday May 8th

Morning Session: 9am – 12pm
Afternoon Session: 2pm – 5pm
Maximum Capacity: 8-10
Cost: $250.00 per session
Location: Tribeca, NY, NY 10007

Saturday, May 7th:
Denise Wolff/ Editor, Book Program of Aperture Foundation
James Estrin/ Co-Editor of The New York Times Lens Blog and Senior Staff Photographer
Adriana Teresa/ Publisher & Editor, Visura Magazine
Graham Letorney/ Curator, 100 Words on Photography

Sunday, May 8th:
Patrick Witty/ International Picture Editor at TIME Magazine
Amber Terranova/ Photographer & Photo Editor of PDN Magazine
Adriana Teresa/ Publisher & Editor,Visura Magazine
Graham Letorney/ Curator, 100 Words on Photography


The portfolio consultations at Fotovisura are a welcome addition here in New York, and I would highly recommend them to any emerging or up and coming photographers looking to build their careers and get their work out there. At the reviews I received incredible feedback on my work, artist statement and marketing materials, direct strategic advice in how to pursue the best outlets for my photography, and even got exposure in a major publication from my consultations. The community at Fotovisura is photographer-centered and it shows, they really care about their artists, and I hope this kind of personal touch extends to all the other portfolio reviews out there in the future. John D’Agostino

FotoVisura is not simply a self- publishing platform, it is a community of peers conceived and developed by photographers for photographers. As such members are on a first name basis and there is an atmosphere of ease and relaxation underlying interactions. The FV Portfolio Consultation is an extension of this. Conversations are frank and unguarded without sacrificing intellectual rigor. Reviewers like Jim Estrin bring an immeasurable knowledge and sophistication to the act of looking; it’s a privilege to share work with them. The FV team also brings an “artist boot-camp” engagement to the sessions. They take it upon themselves to get a project ready for the public eye along several fronts: print quality, editing sequence and clarity of written statements. FV cares about its membership and their Portfolio Reviews are a testament to their satisfaction in seeing their artists grow. Jaime Permuth

The FotoVisura Portfolio Consultation was a terrific experience. I met with several knowledgeable photo editors in a casual, one-on-one setting and received valuable feedback on my work. In addition, one of the editors reviewed my project statement and gave me tips for making it better. I’m especially grateful to Adriana Teresa who has continued to give me advice after the review. Susan Falzone

I went to the December 18th FotoVisura Portfolio Consultation. It was really great, an amazingly helpful and thoughtful experience. I arrived about 10 to 15 minutes early, as suggested, which was very useful, it allowed me time to put down my things, meet the reviewers and other people before everything started. It was a small group which was nice, and we had about 30 minutes with each reviewer, just the right amount of time to really have a good conversation that really went somewhere. The other part that I thought was amazing was the choice in reviewers, each person had a different angle on the work, and came from a different place in the industry, so I really felt like I got advice and ideas from all areas. I was able to discuss everything, from presentation and writing, to the method and reasoning behind making my work. The entire environment was very comfortable, and I felt I was really able to show my pictures to people who genuinely wanted to look at them and talk about them. It was really wonderful. Bonnie Briant

We’re Stunned, Saddened at the Loss of Tim Hetherington


Terrible, shocking news today, with the report that much beloved photographer Tim Hetherington has died while covering the conflict in Libya.

Read Daryl Lang’s profile of Tim here, and The New York Times’ account of his death, here.

Tim was larger than life, and his war work incredibly resonant. His recent Oscar-nominated film Restrepo made real the perils of war as he was embedded alongside U.S. soldiers in intense combat.

A few years ago he spoke with Sebastian Junger about Restrepo:

Here are a few images from Hetherington’s series Sleeping Soldiers:





RIP, Tim.  You were loved and respected by your fellow photographers. We are so sorry.

addendum: watch this.

Diary (2010) from Tim Hetherington on Vimeo.

Read more… (via BJP)

Chris Hondros, at work in Libya – The New York Times’ Lens blog.

In Memoriam: Tim Hetherington – The New Yorker.

‘Restrepo’ director is killed in Libya – The New York Times.

Photographer Tim Hetherington killed in Libya – The Guardian.

A Tribute to Tim Hetherington – The Documentary Blog.

Tim Hetherington: In His Own Words – Human Rights Watch.

Chris Hondros and Tim Hetherington – BagNews Notes.

Tim Hetherington, HOST Podcast (October 2010) – Foto8.

Chris Hondros: Life Behind the Lens – MSNBC Video.

Tim Hetherington 1970-2011 – Panos Pictures

Remembering Tim Hetherington – Foreign Policy Passport

Square Magazine

It’s no secret that I am drawn to the square format. I shoot with a Hassleblad, a twin lens Rolleiflex, a Holga and Diana. I recently purchased a Mamiya 7ii but haven’t fully welcomed it into the fold. So when I see square images, especially stunning ones, it makes me very happy. The other day, Christophe Dillinger shot me an e-mail to let me know about Square Magazine, and well, that made me even happier. And, or course, I wanted to know more.

The magazine looks terrific. How did it come about?

One day I woke up and I realised that something was missing in the world… I was producing square format photographs, and most of my friends and fellow photographers were using this format, but it was woefully under represented: there wasn’t any kind of magazine or publication uniquely dedicated to the format for me to peruse. So I decided to create my own.

Tell me about the editors?

There is Yves, who’s the designer. He’s a photographer and a book publisher. There is Carine, who helps us getting the word around and Clara, who’s a French teacher living in Hong Kong and who makes sure that we write properly. And there’s me, who’s trying to get everything running. There’s a few other people working with us on and off, like translators and proof readers. We are all volunteers, we all do it for the love of photography really. I am on a fine art Masters Degree program at Wolverhampton University at the moment, and the others have similar academic achievements.

Why square?

Ah ah… Well, I can’t really answer this question, because I have no idea. I just love the square format. It is sober, elegant, noble, fun… I don’t know 🙂 I’ll answer this question if you can tell me why you like or why hate spinach.

Image by Roger Ballen

Is this a newsstand publication or can it only obtained by subscription?

It is a web publication only, we can’t afford to go paper based: it is very expensive to do this in the UK. We have just published our first book though, a collection of images from various past issues. We want to start exhibiting artists too and we are still looking at a way to produce a newsstand version… maybe next year.

Image by Traer Scott

Anything else you’d like to share?

Yeah: the next issue is out on the 15th April, and it’s got Stephen Gill in it as well as loads of great stuff. There’s a new pinhole competition too, and we are launching the magazine in German. So get cracking and square up and send us your stuff: we are always open to contributions.

Image by Olivier Valsecchi

And what Christophe neglected to tell me is that he is a pretty terrific image maker himself, creating photographs that use alternative and unique processes.

Images from Typewriter

Images from Swirls