Vicki Goldberg Dies at 88, an influential photography critic, she wrote essays, newspaper columns and books, including a notable biography of the photojournalist Margaret Bourke-White.

 Via The New York Times

June 18, 2025

Vicki Goldberg, an influential photography critic and the author of a lauded 1986 biography of Margaret Bourke-White, the pioneering and colorful Life magazine photographer, died on May 29 in Manhattan. She was 88.

Bourke-White was America’s first female photographer to be accredited to cover World War II, a swashbuckling personage who worked for Fortune and then Life magazines. She shot Nazi rallies, and, in agonizing images, the liberation of Buchenwald. She flew in a Flying Fortress bomber to get shots of a raid on Tunis. She photographed a smug-looking Stalin. Away from the war, she perched on a gargoyle atop the Chrysler Building in Manhattan to photograph its twin and made perhaps what is the most famous portrait of Gandhi, sitting cross-legged with his spinning wheel.

Panel: "Today we are testing whether this nation can long endure. The photographers in this panel will present to us a heartfelt and critical view of what America looks and feels like today." with Nina Berman and Ed Kashi

Via Social Documentary Network

May 5, 2025 

This America

Tuesday, May 13, 1:30 pm ET via Zoom

Watch on YouTube here

 

Ed Kashi and Julie Winokur: American Sketches: People of a Place at This Time

Nina Berman, Photographer & Professor of Journalism, Columbia University Graduate School of Journalism

Richard Sharum, Spina America

Dudley Brooks, Moderator

In 2025, America finds itself in a very confused and divided place. 250 years ago, it embarked on the greatest experiment in human history to overthrow the old norms of monarchies and despotic rule. America thrived, evolved, and conflicted during those two-and-a-half centuries. 

Today, Abraham Lincoln’s Gettysburg Address penned 161 years ago is more relevant than at any other time since it was first spoken.

Four score and seven years ago, our forefathers brought forth upon this continent a new nation conceived in liberty and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war testing whether that nation, or any nation, so conceived and so dedicated, can long endure. 

Today we are testing whether this nation can long endure. The photographers in this panel will present to us a heartfelt and critical view of what America looks and feels like today.

 

Dudley Brooks

Originally from Baltimore, Maryland, Dudley M. Brooks was the Deputy Director of Photography for The Washington Post, where he managed the creative strategy and production of photo-oriented content for the Features, Local and Sports departments. He was also the Photo Editor for The Washington Post Magazine before it was discontinued in 2022. From 2007-2014 he was the Director of Photography and Senior Photo Editor for the monthly magazine Ebony and its weekly sister periodical Jet. These iconic publications chronicled the African American experience for nearly eight decades and Brooks was a key member of the senior staff responsible for redefining the visual prominence and editorial relevance to their international readerships. Brooks was also the Assistant Managing Editor of Photography at The Baltimore Sun newspaper (2005-2007) and the co-creator/director of the landmark 1990 photography book and exhibition Songs of My People: African Americans – A Self-Portrait. This was an international project sponsored by Time-Warner and the Smithsonian Institute Traveling Exhibition Service (SITES). In 2003 he created and co-directed Imagenes Havana. This event was a five-day exhibition in Havana, Cuba that displayed the work of twenty-five international storytelling photographers. It was supplemented by three days of roundtable forums that addressed the difficulties of documenting the international community, opportunities in photo book publishing, and ethical issues facing the working photographer from a global perspective. Brooks retired from The Washington Post in late 2024.

Nina Berman

Nina Berman is a documentary photographer, filmmaker, journalist and educator.  Her work explores American politics, militarism, environmental issues and post violence trauma.  She is the author of Purple Hearts – Back from Iraq, (Trolley, 2004) portraits and interviews with wounded American veterans, Homeland, (Trolley, 2008) an examination of the militarization of American life post September 11, and An autobiography of Miss Wish (Kehrer, 2017) a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes. Additional fellowships, awards and grants include: the World Press Photo Foundation, Pictures of the Year International, the Open Society Foundation, the Center for Documentary Studies at Duke University, the MIT Knight Science Journalism Fellowship and the Aftermath Project. She started her photographic career in 1988 as an independent photographer working on assignment for the world’s major magazines including Time, Newsweek, Life, the New York Times Magazine, New York Magazine, German Geo, and the Sunday Times Magazine. Her work has been exhibited at more than 100 international. Public collections include the Smithsonian National Museum of American History; the Museum of Fine Arts, Houston; the Museum of the City of New York; the Harvard Art Museums; and the Bibliothèque nationale de France among others. She is a tenured Professor of Journalism at Columbia University Graduate School of Journalism where she directs the photojournalism/documentary photography program.

Ed Kashi

Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. 

Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways.

Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated fourteen books.

Richard Sharum

Richard Sharum is an editorial and documentary photographer based in upstate New York. Mainly focusing on socio-economic or social justice dilemmas concerning the human condition, his work has been regarded as in-depth, up-close and personal.

Selected exhibitions include Kyoto, Japan; Sao Paulo, Brazil; Reggio Emilia, Italy; New York, Boston, Chicago’ and Dallas.  His work is in the permanent collection of the Witliff Center for Documentary Studies, Amon Carter Museum, Cleveland Museum of Art, and others.

Commissions include The Meadows Foundation, Centers for Community Cooperation, Harvard Law School, Student Conservation Association, Children's Medical Center (Oncology), Children's Cancer Fund. 

Publications include those by LFI (Leica International), British Journal of Photography, LensCulture, The Atlantic, Texas Monthly, Publico (Portugal), El Pais (Spain), Observer (UK), The Wall Street Journal, The Guardian (UK), B+W Photo Magazine, Huck Magazine, Glasstire, PATRON, Creative Review, among others.

Richard Sharum's debut monograph Campesino Cuba was published in 2021 (GOST) and his latest, Spina Americana, was just released in November 2024 (GOST). Richard Sharum is represented by The Hulett Collection, Tulsa, Oklahoma.

 

Julie Winokur

Executive Director, Talking Eyes Media

Julie WinokurJulie Winokur, Executive Director of Talking Eyes Media, has been a storyteller for over two decades, first as a magazine writer and then as a documentary filmmaker. She launched Talking Eyes Media in 2002 as a way to create visual media that catalyzes positive social change. Her work has appeared on PBS, The New York Times, The Washington Post, Time, and National Geographic. Beyond broadcast and publication, Winokur works extensively with nonprofit organizations to develop their messages and put Talking Eyes' films to work at the grassroots level. She is the co-founder of Newest Americans, a storytelling project about immigration and identity based in Newark, New Jersey, that was named Best Online Storytelling Project in 2020 by Pictures of the Year International. She is also the producer/director of The Sacrifice Zone and Bring It to The Table, both documentary films with extensive impact campaigns. Winokur is a National Geographic Explorer and has been on the faculty of Rutgers University-Newark and the International Center of Photography in New York.

 

High County News: An intimate look at New Mexico’s lowrider culture features photographs by Gabriela Campos

 Via High County News

May 1, 2025

Photographer Gabriela Campos takes you on a ride showing the scene as poetry in motion.

"Her lens cruises like the cars, a magic carpet ride with a kick-ass orgullo."

Read the full article here.

Gabriela Campos

Gabriela Campos, born and raised in Santa Fe, New Mexico, is a photojournalist who documents the people and traditions of the Southwest. She’s on staff at the Santa Fe New Mexican, and her work is held in several collections and has been published widely.

“10 Frames Per Second” Podcast delves into the world of photojournalism through the lens of Ron Haviv, a renowned photojournalist and co-founder of the VII Agency

 Via 10 FPS Podcast    A Photojournalism Podcast For Everyone

April 17, 2025

 

On this episode of “10 Frames Per Second” we delve into the world of photojournalism through the lens of Ron Haviv, a renowned photojournalist and co-founder of the VII Agency. In this episode Haviv shared his journey, experiences, and his thoughts on the evolving landscape of photojournalism.

(We are honored to feature Ron Haviv's work in our booth C8 next week at The Photography Show Presented by AIPAD)

Getting Started in Photojournalism

Ron Haviv’s entry into photojournalism wasn’t a childhood dream but rather a journey of discovery during his university years. Influenced by hobbyist photographers in his life and a job with a fashion photographer, Haviv found himself drawn to the world of photography. His career took off with a chance encounter and a generous offer from fellow photojournalist Chris Morris, leading to his first international assignment in Panama.

The Impact of Photojournalism
 
Haviv’s work has had significant impacts, both positive and challenging: Panama: His photographs from Panama were used by President George H.W. Bush as part of the justification for the U.S. invasion, highlighting the power of images in political discourse.
Bosnia: Despite capturing evidence of atrocities, his photographs were initially ignored, underscoring the limitations of photojournalism in effecting immediate change.

The Role of Photo Agencies

Haviv co-founded the VII Agency to give photographers more control over their work and careers. The agency, which emerged at the dawn of the digital age, has adapted to the changing landscape of photojournalism by focusing on embracing digital technology to streamline operations. His non-profit initative, the VII Foundation, helps support long form journalism projects while providing a free education in visual journalism.

The Importance of Education and Mentorship

Haviv emphasizes the critical role of education in photojournalism. With the democratization of photography, it’s essential to train photographers in storytelling and business. This is so that they can tell great stories with their work and draw in clients that will be willing to pay for their pictures and services.

The Lost Rolls Project

One of Haviv’s notable projects is “The Lost Rolls,” a book and public archive exploring memory and photography. This project involved developing forgotten rolls of film, leading to deep reflection on the stories that were captured and what memories would have been attached to them. Now Haviv is encouraging the public to take part in the project by contributing their own lost rolls and stories.


Ron Haviv’s journey and insights offer a profound look into the world of photojournalism. From the power of images to influence political decisions to the challenges of ensuring their impact, Haviv’s experiences highlight the complexities and responsibilities of being a photojournalist. As the industry continues to evolve, education, mentorship, and innovative projects like “The Lost Rolls” remain vital in preserving the integrity and impact of photojournalism.

Gabriella Campos Photographs For The New York Times "What Are Microplastics Doing to Our Bodies? This Lab Is Racing to Find Out"

 The New York Times

April 8, 2025

“It’s one thing to see a picture,” Dr. Garcia said, looking at a video he shot on his phone. “To see it when we were there, it just opens your eyes,” he added. Every imaginable use for plastic — takeout containers, bleach bottles, cigarettes, plastic bags and even lab equipment — seemed to be represented on that beach and in the ocean that stretched beyond it. And every day, it was breaking down, getting smaller and smaller.

One day, some of it could end up in us.

Photographs by Gabriela Campos

Monroe Gallery Announces Representation of Bing Guan

 March 31, 2025

Civil Human Rights Front Rally in Causeway Bay, Hong Kong, December 8, 2019

Santa Fe, NM - Monroe Gallery of Photography is honored to announce exclusive representation of photographer Bing Guan for fine art print sales.

Guan is a Chinese American full-time freelance photographer, journalist, and artist based in New York City. He is currently an adjunct professor of photography at the Columbia University Graduate School of Journalism. Born in Australia and raised in the United States, Bing attended Dartmouth College and holds a BA cum laude in history from Columbia University. He has reported from across the U.S., and from places including Antigua, Burma, Mexico, Rwanda, and Hong Kong.

Bing is a regular contributor to Reuters, Bloomberg, and The New York Times. He has been awarded grants from the Parsons School of Design, the Ucross Foundation, and the Virginia Center for the Creative Arts.

Bing speaks fluent Mandarin Chinese, and is certified in HEFAT and as a FAA Part 107 drone pilot. 

Monroe Gallery will exhibit examples of Guan’s work at the 2025 Photography Show presented by AIPAD in booth #C8, April 23 – 27 at The Park Avenue Armory in New York City.

Monroe Gallery of Photography Announces Representation of Ron Haviv

March 24, 2025

Ron Haviv

Young displaced girls from Darfur, Sudan leave a camp to gather firewood for their families. The US government declared the war in Darfur a genocide. Darfur, Sudan 2005

Santa Fe, NM - Monroe Gallery of Photography is honored to announce exclusive representation of acclaimed photographer Ron Haviv for fine art print sales.

Ron Haviv is an Emmy-nominated filmmaker and an award-winning photojournalist. He co-founded VII Photo Agency and The VII Foundation, where he currently serves as a director. He is dedicated to documenting conflict and raising awareness about human rights issues around the globe. 

Haviv has produced an unflinching record of the injustices of war covering over 25 conflicts, and his photography has had singular impact. His work in the Balkans, which spanned over a decade of conflict, was used as evidence to indict and convict war criminals at the international tribunal in The Hague. President George H.W Bush cited Haviv’s chilling photographs documenting paramilitary violence in Panama as one of the reasons for the 1989 American intervention. His work is in the collections of numerous museums and he has produced five monographs. He also has provided expert analysis and commentary on current events for the media including opinion pieces for the Washington Post and The New York Times and spoken at TEDx along with numerous other lectures at Universities and conferences.

Monroe Gallery will exhibit several examples of Ron Haviv’s work at the 2025 Photography Show presented by AIPAD in booth #C8, April 23 – 27 at The Park Avenue Armory in New York City.

Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe in 2001. The gallery specializes in photography that embodies the universal understanding and importance of photojournalism. Monroe Gallery was the recipient of the 2010 Alfred Eisenstaedt Award for Excellence in Photojournalism.

 

Podcast: Documenting war crimes with Ron Haviv

 Via iMEDd

March 12, 2025

Listen here.

Photography Exhibition: “A Brief Guide to Investigating War Crimes”

Documenting war and war crimes is a special segment of photojournalism. Tim McShea, a student at Johns Hopkins University, discusses with Emmy nominated and award-winning photojournalist Ron Haviv the stories behind some of his iconic photos (see here) during iMEdD’s International Journalism Forum for the Forum’s pop-up newsroom. Ron Haviv is a co-founder of VII Photo Agency & The VII Foundation.  

A selection of Ron Haviv's photographs will be part of the Monroe Gallery presentation at The Photography Show presented by AIPAD in booth C8, Park Avenue Armory, NYC, April 23 - 27, 2025.

Tuesday, March 11 On Leica Stories: In Conversation with David Butow

 Via B & H Photo

March 10, 2025

Photojournalist David Butow has documented some of the most notable events over the past few decades, from the 2003 Iraqi invasion to the Trump presidency. Join us for a conversation about David’s acclaimed career and principled approach to photojournalism. Tuesday, March 11 -  3-4 PM (Eastern)

David Butow

David Butow is an acclaimed American photojournalist whose work spans decades and continents, known particularly for his unflinching documentation of social and political issues around the world. After beginning his career as a staff photographer for various newspapers, Butow transitioned to freelance work that has appeared in major publications including National Geographic, TIME, and The New York Times Magazine. His notable projects include coverage of the 2003 Iraq invasion, the Asian tsunami of 2004-05, and the 2019 democracy protests in Hong Kong. His 2021 book "BRINK" chronicled American politics during the Trump presidency. Butow's distinctive visual style combines journalistic integrity with an artistic sensibility that captures both the gravity and humanity of his subjects, earning him recognition through multiple awards and exhibitions of his work in galleries and museums internationally.

Hosted by Leica

"I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw." --Gallery Photographer Nate Gowdy

Via Columbia Journalism Review

February 4, 2025

Reflections from an independent photojournalist.

5:07:45 PM, January 6, 2021, US Capitol, Washington, DC

America loves to rebrand its sins as myth. In four years, MAGA loyalists have recast the January 6 insurrection as resurrection. (All photos by Nate Gowdy)

February 4, 2025

By Nate Gowdy

"This is why I document: America loves to rebrand its sins as myth. In four years, MAGA loyalists have rewritten January 6 from every angle. Rioters have been framed as leftists in disguise, police as “crisis actors,” the attack an FBI setup—or, more outrageously, citizens on a “normal tourist visit.” By 2025, revisionism is big business. Conservative media churns out books, podcasts, and stump speeches recasting insurrection as resurrection. But my images tell another story: they depict a nation in fracture, where well-meaning neighbors and dutiful relatives cling to their “Big Lie” with an unwavering sincerity that doesn’t just reject facts—it inoculates against them, leaving everyone vulnerable to propaganda and less capable of critical thought." 

Full article here:  I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw. - Columbia Journalism Review

Grieve The Loss Of Local Newspapers During Photojournalism Exhibition At Milwaukee Art Museum

 

Via Forbes

January 30, 2025

Grieve The Loss Of Local Newspapers During Photojournalism Exhibition At Milwaukee Art Museum

"Between 2005 and 2023, more than 2,200 weekly newspapers have shuttered, dropping from nearly 9,000 to roughly 6,000 according to research conducted at Northwestern University. Imagine if the same statistic held true for hospitals. Newspapers care for the health of American democracy as surely as hospitals do its physical health....

Worse still, at the same time, 43,000 newspaper journalist jobs have been eliminated, nearly two-thirds! Imagine any other industry critical to American society, the American way of life, and American democracy losing two thirds of its workers in less than 20 years. There’d be congressional hearings. The president would address the nation with a bold plan to reverse the trend...

Why are politicians and the public not crying over these job losses? Because journalists–the good ones–hold the powerful to account. Politicians, corporations, the wealthy. The powerful benefit when newspapers close or reduce coverage. Citizens lose....

An exhibition on view through March 16, 2025, at the Milwaukee Art Museum demonstrates how photographers have understood and wielded the power of images to convey events. Through more than 100 objects, “True Story: Photography, Journalism, and Media,” offers a window into a bygone past of robust, objective, professional news coverage in America focused on the picture makers...

Photographs previously offered incontrovertible proof of what journalists were telling their readers. Thanks to technology, the public can no longer believe its eyes.

Filling the void left by the evisceration of newspapers has been partisan cable news commentators shrieking talking points 24/7/365, masquerading opinion as news, perspective as information, and, increasingly, social media."

True Story: Photography, Journalism, and Media at the Milwaukee Art Museum

Journalists must be allowed to do their jobs safely in Lancaster County and across the US [editorial]

 Via Lancaster Online

October 27, 2024

Lancaster Safety Coalition footage shows a Lancaster city police officer pushing a photojournalist to the ground during protests Sunday, Oct. 20, in Penn Square, near the Lancaster County Convention Center, where Donald Trump was speaking.

Lancaster Safety Coalition

THE ISSUE

“A Lancaster city police officer pushed a photojournalist to the ground (last) Sunday afternoon, causing her to hit her head on the street during a protest of former President Donald Trump’s town hall event at Lancaster County Convention Center,” LNP | LancasterOnline reported. Susan Stava, a New York City-based freelance photographer, was working to capture the scene in Lancaster city’s Penn Square, where local Democrats were protesting Trump’s visit. Video shows a Lancaster city police officer firmly pushing Stava, causing her to fall backward onto the road. Stava said she landed on her camera bag, and a lens was broken.

It took the Lancaster City Bureau of Police all of three days to “investigate” the incident in which a freelance photojournalist was pushed to the ground by a city police officer. Its conclusion: The officer “followed the law including the Bureau’s training, policies, and procedures.”

--Click for full editorial

"Journalists see journalism not merely as a job, but as a calling that’s critical to the health of a democracy. Elected officials should not actively undermine their safety — or stay silent about an incident in which a journalist faced harm."

Photojournalists Sign Open Letter Urging Meta Not to Use Their Photos for AI Training

 Via Medium

June 12, 2024

Sign here (individuals)!

Sign here (institutions)!

For more than a decade, Instagram has been a crucial tool for photojournalists distributing their work. They have reached millions from some of the most dangerous places in the world. Many have paid with their lives. They have also been crucial in the initial growth of the platform.

We are deeply troubled by Meta Platforms, Inc.’s plan to train their artificial intelligence (AI) models on photojournalistic content. In times of disinformation and misinformation, in a time where democracy is in decline and the common denominator of what is true and what is fake is eroding, it is more important than ever to have trustworthy sources. Meta’s announced AI policy further undermines that.

We ask Meta to reverse course on their plan to train their AI on Instagram without the option to opt out for most users. We further ask Meta to not use any journalistic or documentary photography and videography in their AI. It is not only a threat to our profession, but to democracy itself.

Sign here (individuals)!

Sign here (institutions)!

Signed,

FREELENS e.V.

War Photography: Movie vs Reality

Via The Real Frame: War Photography on Screen - The Real Frame

May 21, 2024 by David Butow David Butow –

As if the political tension in the United States couldn’t get any higher, this spring a new movie depicting a full-scale, near-future civil war in the country is filling theaters and drawing good reviews. The film, “Civil War”, directed by Englishman Alex Garland, (“The Beach”, “Ex Machina”), imagines that the country is ruled by a quasi-dictator serving his third term as president. The opposing side is comprised of a well-organized and equipped army of rebels (called the “Western Alliance”), that is on the move to Washington, D.C. to remove him from power.

The main point of the movie is, I think, to force audiences to confront the possibility, however remote, that something like this could actually happen. The U.S., despite illusions of “exceptionalism,” is fundamentally no different from any other empire that can break down and/or break apart. This is big stuff, but the POV of this terrible scenario is told through the narrow experiences of a group of four journalists, principally two still photographers played by Kirsten Dunst and Cailee Spaeny.

It’s rare that photojournalists are the main protagonists in a film, they’re usually quirky side characters like Dennis Hopper’s idiosyncratic portrayal of a half-crazed Vietnam War photographer in “Apocalypse Now.” But putting them in the center of the plot requires detail of their working habits, and more importantly, into the emotional and ethical challenges they face as they make their way through one violent situation after another. The whole raison d’être of them being there is questioned. Are they after the thrill or some greater good? What is the role of journalistic observers in conflict? I can’t say those questions are deeply examined but they are certainly put up on the metaphorical blackboard (or video projector if you prefer).

If you haven’t seen the film but might go, be aware there is a lot of violence depicted, sometimes rather realistically and without the heavy music and other mood overlays we’re used to in Hollywood movies. I found this starkness jarring, but effective. Another thing I thought the film did rather well was show how quickly things can happen, often when you’re not expecting them, and also how chaos and semi-normalcy can exist in proximities much closer than you might expect.

Conversely, I thought there were some things about the journalists the filmmakers definitely got wrong, but how many movies have I seen where the main characters are lawyers, doctors, cops or soldiers? I imagine that people in those professions, who are used to being depicted on screen, don’t usually overanalyze every misleading detail. But the photojournalistic community, never shy about taking itself seriously, and with a rare spotlight on its profession, has had a lot to say about “Civil War.”

The best commentary I’ve seen is in the video here. It features a thoughtful interview with photojournalists Lynsey Addario, Peter van Agmatel, Ron Haviv and John Moore. These four have about as much experience covering conflicts as any photographers working today, and they are all highly intelligent and deeply reflective about those experiences. In addition, the photographer Mohamed El Masri, speaking with the assistance of a translator, describes the specific danger and challenges with covering the war in Gaza.

They’ll tell you what they thought of the movie, but more important, how they think about the role of the press, and what it is really like to witness, record and communicate terrible acts of violence.

Lynsey Addario at the 2024 Santa Fe International Literary Festival

Via The Santa Fe International Literary Festival

 On the Big Stage with Lynsey Addario

May 18, 2024, 11:00 AM - 12:15 PM

Tickets here

LYNSEY ADDARIO is the author of the New York Times bestselling memoir It’s What I Do and a celebrated photojournalist covering conflicts in Ukraine, Afghanistan, Iraq, Libya, Lebanon, Darfur, South Sudan, Somalia, Yemen, Syria, and the Democratic Republic of Congo. She regularly photographs for The New York Times, National Geographic, and Time and has been named by American Photo Magazine one of the five most influential photographers of the past 25 years. Addario was the official photographer for the Nobel Peace Center’s 10th Peace Prize Exhibition and has been the recipient of numerous awards, including a MacArthur “genius” fellowship and the Overseas Press Club’s Olivier Rebbot Award for best photographic reporting from abroad in magazines and books. She was also part of the New York Times team to win the 2009 Pulitzer Prize for International Reporting. In 2018 Penguin Press published her first solo collection of photography, Of Love and War. She lives in London.

Featured Book: It's What I Do: A Photographer's Life of Love and War by Lynsey Addario

David Butow talks about "BRINK" on the Ryan Pyle Podcast

 Via Ryan Pyle Podcast

January 6, 2024

View David Butow's fine art prints here.

Photojournalist arrested at candlelight vigil for man killed on NYC subway

 

Via US Press Freedom Tracker 

Photojournalist Stephanie Keith was arrested on May 8, 2023, while documenting a candlelight vigil for a man who died on a New York City subway train earlier in the month. Keith was charged and released.

 — REUTERS/ANDREW KELLY

Freelance news photographer Stephanie Keith was arrested while documenting a candlelight vigil in New York, New York, on May 8, 2023.

The vigil was organized following the May 1 death of Jordan Neely, a homeless man who was choked to death on a subway train by a Marine Corps veteran. Keith has been documenting demonstrations in the wake of Neely’s death, with some of her coverage published in Brooklyn Magazine.

Keith was one of nearly a dozen people arrested at the May 8 vigil, according to the New York Post, which was held at the Broadway-Lafayette subway station in Manhattan where Neely was killed. In footage posted to Twitter by Oliya Scootercaster, Keith can be heard identifying herself as a press photographer as multiple officers place her in handcuffs and lead her away.

When reached for comment, a New York Police Department spokesperson confirmed that Keith was issued a summons and released, but declined to say which specific charges were filed against her.

The spokesperson directed the U.S. Press Freedom Tracker to footage of a press conference held later that evening. During the press conference, Chief of Patrol John Chell indicated that the majority of those arrested were charged with obstructing government administration and disorderly conduct.

“The reporter interfered in at least two arrests in the middle of the street and we got very physical,” Chell said. “She interfered a third time, so she was placed under arrest.”

Keith, who did not immediately respond to a request for comment, told the Daily News she was detained at the 7th Precinct.

“I was trying to photograph what I thought was an arrest but I never even got a chance to see since they grabbed me as soon as I tried to photograph,” Keith told the News. “I said, ‘I’m press’ and they said, ‘You’re not, you’re arrested.’”

New York Press Photographers Association President Bruce Cotler said in a statement to the News that the organization stands in support of Keith and that he is confident the Manhattan district attorney will drop any charges against her.

Mickey Osterreicher, general counsel for the National Press Photographers Association, told the Tracker that Keith was charged with disorderly conduct.

Gabriela Campos, born and raised in Sante Fe, New Mexico, began cultivating her photography skills in high school and her camera is now a vehicle for telling powerful visual stories

 

Via Culturelines

Gabriela Campos, born and raised in Sante Fe, New Mexico, began cultivating her photography skills in high school. Seduced by the magic of the dark room film process, Campos slowly (and intentionally) transformed a creative outlet into her lifeblood. Her camera is now a vehicle for telling powerful visual stories, building community, connecting with strangers and showcasing the people and stunning natural beauty of her home state. As a freelance photographer, her incredible work has been featured in several noteworthy publications, including The Guardian, High Country News, Al Jazeera, VICE, The Daily Beast and various local publications. She’s also exhibited in Washington, D.C. alongside fellow photographer Nathaniel Tetsuro Poalinelli. 

I connected with Campos to explore the genesis of her career, her creative vision and the importance of being a homegrown creative. 

When did you know you wanted to be a photographer?

Gabriela Campos: I first fell in love my senior year of high school. I switched to a new high school and they had this program where you could take photography classes at the community college. I was always interested in [photography] because my dad used to be into [photography]. I took black and white number one, got my dad's old Pentax camera and I experienced the beauty and magic of the dark room — where you just watch something come out of darkness. From that first class, I was hooked.

Why is it important to tell New Mexican stories?

Gabriela Campos: Some people are always seeking to go outside of themselves, and they don't see the potential of their home. There are so many culturally significant things in New Mexico. I'm going through a phase where New Mexico is very much a muse. I am so inspired by the people, the places, the textures, the landscape. It's important to tell the stories that you feel passionately about.

How do you build trust when you go into a new space?

Gabriela Campos: There are two different ways that I approach it. For [The Santa Fe New Mexican] newspaper, I have to be thrown into new situations every single day and feel I can create that sort of intimacy. I show up and I'm interested, and I'm curious. I like to ask people questions. I feel genuine interest goes a long way. Because, it's not often that people get to show off their worlds. Sometimes it's about talking to people. Sometimes I go on assignment and I take photos for the first five minutes, but then people just want to sit down and tell me their story, what's really going on in their lives and the worst of their worlds. 

Have you learned a lot from other creatives?

Gabriela Campos: I learn a lot from watching other photographers work. I've been in situations where there's five [or] six photographers and we're all covering the same event. Everybody approaches it a little differently. It's fun to see if people are throwing themselves directly in there, if they're standing far back in the corner trying to get environmental things or if they're trying to get close. I try to remind myself to touch on all the things. Sometimes, I have to say, “step back, show a little bit more, there's more to the story than just people.” 

Why is natural lighting your preferred environment?

Gabriela Campos: When you step into somebody's world, you don't often have the luxury of being able to orchestrate all the details. It's about working with what you have, because then you're never reliant on having a flash or a strobe; you're equipped to do what you need to do anywhere if you just train your eye to seek out that natural light. There's nothing more beautiful, [when] it hits in that perfect way.

What’s better, color or black and white?

‍Gabriela Campos: Sometimes colors can be a little bit distracting. Certain colors, like reds and yellows, are really flashing and people are drawn to them. But maybe you're drawn to it for the wrong reasons. Maybe what I like about the frame is the expression of the person, the shapes, the lines or the way the light hits something. There is definitely a place for colors, because sometimes I'm really attracted to the vibrancy of something. 

Could you ever imagine sitting behind a desk?

 Gabriela Campos: No, I always wanted to be interacting with people and entering people's worlds; photography is the most absolute, ideal situation for that. Every day I get to be something different. Some days, I'm a firefighter. Some days, I'm a doctor. Sometimes, I drive an Impala around. It lets me see life from [different] perspectives. 

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Guy Gillette 1922 - 2013: "In a good photograph, something happens”

Via Country Life Daily News

Famed photojournalist Guy Gillette Sr.  passed away on Monday, Aug. 19, 2013, just two months shy of his 91st birthday.

Over 50 years in the photojournalism industry, Gillette created a portfolio of art that remains in circulation today. His work has graced the pages and covers of Fortune, Harper’s Bazaar, Life, the New York Times, just to name a few. His work includes images of Jacqueline Kennedy, Elvis Presley, Audrey Hepburn and Queen Elizabeth, and was featured in the 1955 landmark “The Family of Man” photography exhibit at the Museum of Modern Art (MoMA) in New York City. Gillette’s works remain in high demand today, as galleries and movie studios routinely request the use of his images.
A coffee table book, written by Andy Wilkinson, about the work of Gillette is being published by the University of Oklahoma Press this month. Through his research Wilkinson visits the history of Houston County as seen through the eyes of Guy Gillette, Sr. This book utilizes the pictures that Gillette took on his father-in-law’s ranch in Lovelady and around Houston County in the 1940s. The pictures not only document ranching in East Texas but small-town life, like Sunday School, homecoming dinners and Saturdays downtown. It was these pictures that would open the doors in New York for Guy Gillette, Sr. to become a celebrated photojournalist.

Guy Gillette, Sr. is the father of national cowboy personalities and Camp Street Cafe owners, Guy and Pip Gillette.

Arnolds, Cafe, Lovelady, Texas, 1956

“The years of the 30s through the 70s were great years for magazine photography and for us, the photographers, who contributed,” Gillette had said. 

Actor, author, and photographer, Gillette saw the United States evolve through wars, shifting perspectives of culture, and a changing, exciting panoply of heroes — leaders of government, icons of film and theater, and mavens from the corporate world.
 

"In a good photograph, something happens,” Gillette sad. From his photograph of a gravely ill Jacqueline Susann in a limo, whisked from engagement to engagement, to his quickly caught shot of President Eisenhower at a state dinner being patted on his bald pate, there is action.

 Gillette on Salvatore Dali: "I thought Dali was a bore. Always trying to look deadpan. He sought to eliminate all emotion from his public façade. I remember he flirted a great deal with the woman who was writing his profile, saying she reminded him of a Northern Italian blonde. He refused to speak English to us, even though he spoke some. Neither the writer nor I came away very happy with him."

Trained as an actor, Guy Gillette’s stage career was halted by induction into the World War II Army. After the war, now a budding photographer, Gillette, the former actor, was sympathetic to artists such as the choreographer Agnes DeMille, who allowed him to photograph her for Dance Magazine, as she created a ballet. Photos of Audrey Hepburn, Marian Anderson, Sarah Vaughn, Elvis Presley and Rogers and Hammerstein followed. A highlight of his career is a photograph of Henri Cartier-Bresson, taken by Gillette as both photographers competed for a shot of a nun at a St, Patrick’s Day Parade, leading the notoriously camera-shy Cartier-Bresson to admonish Gillette, “Photographers NEVER photograph photographers.”

Monroe Gallery of Photography will feature a very special tribute exhibition of Guy Gillette's photographs in November/December. Contact the gallery for further information.

Annenberg Space for Photography offers live programming during WAR/PHOTOGRAPHY Exhibit

LOS ANGELES-- The Annenberg Space for Photography has announced the lineup of speakers for their popular IRIS Nights lecture series presented in conjunction with the upcoming WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath exhibition.
 

While the Photography Space typically hosts IRIS Nights weekly on Thursday evenings, WAR/PHOTOGRAPHY curator Anne Wilkes Tucker and Pulitzer Prize-winning photographers David Hume Kennerly and Carolyn Cole will kick off the series with a special Saturday evening lecture on March 23, 2013.
 

WAR/PHOTOGRAPHY will open free to the public on March 23, 2013, and run through June 2, 2013. This exhibition is organized by the Museum of Fine Arts, Houston, and is made possible with generous support from the Phillip and Edith Leonian Foundation and the Annenberg Foundation. The exhibit encompasses over 150 images going as far back as 1887 through present-day and is arranged by themes presenting both the military and civilian points of view including the advent of war, daily routines, the fight itself, the aftermath, prisoners of war, refugees, remembrance and more.
  

Specific to the Los Angeles exhibit will be the Annenberg Space for Photography's original short documentary film entitled The War Photographers and digital image presentation produced by Arclight Productions. Together, they will feature over 500 photographs exclusive to the Photography Space from six acclaimed contemporary conflict photographers: Alexandra Avakian , Carolyn Cole , Ashley Gilbertson , Edouard H.R. Gluck , David Hume Kennerly and Joao Silva . The film offers intimate interviews that reveal experiences and life-threatening situations faced by war photographers and their subjects.
 

IRIS NIGHTS LECTURE SERIES
The Annenberg Space for Photography offers live programming through our IRIS Nights lecture series, a public program offered free of charge, by online reservation on a first-come, first-served basis. The series brings to life the most current exhibit with presentations by featured and guest photographers and notable experts. These programs give attendees unique access to the artists in an intimate setting.
 

All IRIS Nights lecture series will take place on Thursday evenings from 6:30pm-8pm unless otherwise noted. Schedule and participants are subject to change.
 

Saturday, March 23 - Anne Wilkes Tucker , Carolyn Cole and David Hume Kennerly WAR/PHOTOGRAPHY: A Discussion Anne Wilkes Tucker has been the Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston since 1976. Tucker has curated over 40 exhibitions, including WAR/PHOTOGRAPHY, and was selected in 2011 as "America's Best Curator" by Time magazine.
 

Carolyn Cole is a multiple award-winning photographer and a staff photographer for the Los Angeles Times. She has covered conflicts in Iraq, Kosovo, Afghanistan, Haiti and Liberia, where she earned the Pulitzer Prize for her coverage of the siege of Monrovia.
 

David Hume Kennerly won a Pulitzer Prize for his coverage of the Vietnam War. He has been shooting on the front lines of history for more than 45 years and has photographed eight wars, as many U.S. presidents, served as chief White House photographer for President Gerald R. Ford and was named "One of the 100 Most Important People in Photography" by American Photo.
 

March 28 - Sara Terry and Marissa Roth
War: Witnesses to Aftermath
Photographer Marissa Roth has spent 28 years working on a personal, global photo essay that addresses the immediate and lingering effects of war on women in different countries and cultures.

Photographer Sara Terry created the Aftermath Project, a nonprofit committed to educating the public in peace building and post-conflict studies. Both photographers will share images from their work and insights into the long-term consequences of conflict and the resilience of the human spirit.
 

April 4 - Alexandra Avakian
Malibu Teen To Conflict Photographer: Journeys In The Muslim World
Photojournalist Alexandra Avakian has been published in National Geographic, Time, LIFE, The New York Times Magazine and more. Her photographic and written memoir, Windows of the Soul: My Journeys in the Muslim World, was named as one of American Photo's year-end best.
 

April 11 – Peter van Agtmael
Disco Night Sept 11
Award-winning photographer Peter van Agtmael has documented the consequences of America's wars in Iraq, Afghanistan and at home. His journey and experiences of life during conflict will be discussed. A monograph of his work, 2nd Tour Hope I Don't Die, was published in 2009.
 

April 18 -Benjamin Lowy
Innovation in Documentary Storytelling
An award-winning photojournalist, Benjamin Lowy has embraced new technology and mediums to promote stories. Lowy will discuss his work in conflict zones and the U.S. His image of Hurricane Sandy graced the cover of Time magazine, the first camera-phone image to ever be so featured.
 

April 25 - Stephen Mayes and Michael Kamber
Tim Hetherington: A Very Personal War Two years after Tim Hetherington 's death while documenting the Libyan war, this lecture will explore alternative representations of conflict. Hetherington sought to shift the emphasis from the military hardware to the "software" of conflict, making war a personal matter. The discussion will explore the legacy of Hetherington's work with contributions from colleagues Stephen Mayes , Director of VII Photo in New York, and Michael Kamber , conflict photographer, author and co-founder of the Bronx Documentary Center.
 

May 2 - Ed Ou
Personal Stories in the Context of Breaking News 
Ed Ou is a Canadian photojournalist who has been bouncing around the Middle East, former Soviet Union, Africa and the Americas since 2006. With work recognized by POYi and World Press Photo among others, Ou will discuss personal stories of how people in the news are shaped and affected by the world changing around them.
 

May 9 - Donna De Cesare Children of War
Photographer/educator Donna De Cesare has spent two decades focusing on the lives of Central American children exposed first to war and later to gangs. Her newly published book Unsettled / Desasociego: Children in a World of Gangs is both a memoir and a visual history of her experiences. De Cesare teaches documentary photography at the School of Journalism at the University of Texas at Austin.
 

May 16 - Lynsey Addario
The Saturation of War
An American photojournalist based in London, Lynsey Addario photographs for The New York Times, National Geographic and Time. She will discuss her work documenting conflict over the past decade, and the challenges photographers face making compelling images from ongoing wars, when our society is saturated by these images.
 

Friday, May 17 - Slideshow Night is a special presentation that showcases hundreds of additional images related to the exhibit themes in WAR/PHOTOGRAPHY.
 

May 23 - Jeff & Andrew Topham
LIBERIA '77 – Photo is Life
In 2010, Canadian brothers Jeff and Andrew Topham returned to the war-torn West African country of their childhood, Liberia. Discovering that much of Liberia's photographic record of its peaceful past had been destroyed by war, they created a documentary and online photo project culminating in an exhibition currently housed at the National Museum in Monrovia. They will discuss the importance of photography in the rebuilding of a society devastated by war.
 

May 30 - Nina Berman
Evidence and Fantasy: The War at Home
Photographer, author and educator Nina Berman is known for her work photographing wounded American veterans including her 2006 " Marine Wedding " image. Presenting selections from work made since 9/11, she will explain her motivations and approaches to photographing war on the domestic front.
 

The photographs in WAR/PHOTOGRAPHY and content in IRIS Nights lectures may not be suitable for all visitors.
 

About the Annenberg Space for Photography
The Annenberg Space for Photography is a cultural destination dedicated to exhibiting compelling photography. The Space conveys a range of human experiences and serves as an expression of the philanthropic work of the Annenberg Foundation and its Directors. The intimate environment features state-of-the-art, high-definition digital technology as well as traditional prints by some of the world's most renowned and emerging photographers. It is the first solely photographic cultural destination in the Los Angeles area.
 

Annenberg Space for Photography
2000 Avenue of the Stars
Los Angeles, CA 90067
Tel: 213.403.3000
annenbergspaceforphotography.org

Wednesday through Friday: 11 am – 6 pm
Saturday: 11 am – 7:30 pm
Sunday: 11 am – 6 pm
Closed Mondays* and Tuesdays.
*We will be open Memorial Day, Monday, May 27^th.
Admission is free.

SOURCE The Annenberg Foundation


RELATED LINKS
http://www.annenbergfoundation.org
http://www.annenbergspaceforphotography.org