If you haven’t seen a copy of Raw View yet, you need to. It’s a beautifully printed magazine dedicated to photography. Each issue presents a wide range of work, diverse in both the type and subject matter of the photography and in terms of who is producing the work. Each issue is 160 pages, thicker and better printed than many photo books, and each contains nothing but photos and a few text pieces, either about the work shown or interviews with photographers. And starting with issue #5, I’ve got a regular column that focuses on photographers’ notebooks.
Here you can see a flip-through a recent issue (embedded below):
The magazine is put together by a stellar team of international photographers, editors, and writers; it’s an honor for me to be involved. The magazine might be a bit hard to find. It usually comes out 3 times a year, and the best way to make sure you have a copy is to subscribe. At €60, you get three issues for what you might pay for a single photo book.
Earlier today, the New York Times Lens Photography facebook page had an hour-long live video of editors working to choose images for their Week In Pictures post this week. The video is embedded above or available on facebook. It’s a rare glimpse behind the curtain of what goes on when editors are in a room together deciding on an edit, and the video should be interesting to anyone involved in photojournalism. The editors looked through 186 images to decide on their final edit. Around 23:45, you can see them flip through a handful of images relating to presidential candidates Trump, Cruz, and Sanders. They discuss how the images work on their own, but also how they might “pace” in a slideshow.
The audio is a bit low throughout the video, so you’ll have to turn your sound up.
Last year, World Press Photo and the Reuters Institute for the Study of Journalism published the results of an online survey of 1556 photographers who entered the 2015 World Press Photo annual competition, and the results are fascinating. The report, entitled The State of News Photography: The Lives andLivelihoods of Photojournalists in the Digital Age (← pdf), looks at the demographics of photographers, how for whom they work, how much they are paid, how the ethics of journalism and manipulation figure into their work, and other topics. The whole report is worth a look.
Particularly interesting in the report are the breakdowns of photojournalists by gender. Of the respondents, only 15% were women. Self-employment is much higher among women; 79.2% of women who responded to the survey are self-employed, while only 55.9% of men are. There is a higher percentage of female photographers than men in the lowest income bracket, earning between $0 and $29,999 from photography, and likewise proportionally fewer women than men in the highest income bracket reported in the study.
Of course, this is not a new problem, nor, frankly, is it surprising. I wrote about the issue in 2013, when a tumblr post by Daniel Shea, called On Sexism in Editorial Photography, went viral. Shea’s post has disappeared, but it’s preserved on the dvafoto tumblr, and it’s worth revisiting. Likewise, some of the links in my post about Shea’s piece have been lost to history, but many still exist and still deserve consideration. Looking at the WPP/Reuters Institute survey, it seems like things haven’t changed much since 2013.
There is one possibly positive note on the gender disparity in photojournalism in the WPP/Reuters Institute report. 49.6% of women who responded said that they “mostly” have control over the editing and production of their work. Only 37.9% of men said the same. The report attributes this to the self-employed/employee results in the survey, but it’s nice to see that 88.7% of women report “sometimes” or “mostly” having authority over their own work.
The 2016 Guggenheim Fellowships were just announced and, as usual, the photography fellows are a fascinating and diverse bunch. There are some photographers I’ve admired for years, and others that are new to me. I haven’t seen links to their … Continued
http://dilley.thisisblackbox.com/ You’ve got to see Welcome to Dilley, a collaborative project by the visual communications cooperative Black Box. The project’s beautiful online presentation combines still photography, video, and writing, by the Black Box’s members: photographers Chris Gregory, Natalie Keyssar, and … Continued
Photographer Lewis Bush, on his blog Disphotic, has a great little piece about the photo contest industrial complex, published in September of last year. Calling paid-entry photo contest the “cash cow” of photography, Bush raises a lot of valid points. … Continued
You have got to listen to Ben Smith‘s new podcast, A Small Voice. There have been thirteen episodes so far. I’ve only listened to one–the first, with long-time favorite Ian Teh–but that was enough to know it will be essential … Continued
I’m excited to announce that Matt and I will be showing some of our recent work this Sunday, Oct. 18, 2015, in Seattle at Machine House Brewery as guests of the NW Photojournalism community. The event starts at 7pm and … Continued
The Heavens is a fascinating conceptual documentary piece looking at tax havens around the world. Photographers Paolo Woods and Gabriele Galimberti. The website is a great introduction to the project, featuring a few photos and some text, but the book … Continued
The New York Times Magazine has published a new online piece called Desperate Crossing about Eritrean refugees crossing the Mediterranean Sea featuring photos and video by Magnum’s Paolo Pellegrin and text by Scott Anderson. The whole thing is presented beautifully … Continued
A couple weeks ago I wrote about Bellingcat’s efforts to learn more about wars through social media images, satellite imagery, and other sources. Now, Vice News have just released a 23-minute piece (embedded above) by Simon Ostrovsky tracking down a … Continued
In the video (embedded above), Gary Winogrand speaks to Rice University students for nearly two hours in Geoff Winningham‘s class. Winningham still teaches at Rice. It’s Winningham who introduces Winogrand, saying “Welcome to the Winogrand circus,” and then Winogrand asks … Continued
I met Glenn Ruga when I first moved to Boston in 2010. He helmed Boston’s Photographic Resource Center for 4 years, bringing great exhibitions, workshops, and speaker series to the city. He’s also the founder of Social Documentary Network and … Continued