September 13th, 2013
August 21st, 2013
TIME announced the publication yesterday of “exclusive images taken by a photojournalist of Islamic militants publicly executing, by decapitation, a young Syrian…near Aleppo, on August 31, 2013.” TIME said in the announcement that, “because of the danger in reporting inside Syria,” it cannot confirm the identity or political affiliation of the victim, or the motivation of the killers.
The unnamed photographer gave a statement to Time in which he says, “I was feeling awful; several times I had been on the verge of throwing up. But I kept it under control because as a journalist I knew I had to document this, as I had the three previous beheadings I had photographed that day, in three other locations outside Aleppo.”
Read more at TIME Lighbox. A link to the images accompanied the announcement, but some of us at PDN couldn’t quite bring ourselves to look. Do such images, presented with so little context, do more harm than good? Do they inform, and stir public outrage that ultimately discourages atrocity? Or does the photographer’s presence encourage the atrocity by giving the perpetrators a forum?
We’d like to hear from our readers about this. The images are posted at http://ti.me/14OW3hX.
June 10th, 2013
A difficult reality of photojournalism is that photographers often define their careers by covering conflict. Egyptian photojournalist Mosa’ab Elshamy is the latest example. Elshamy began photographing as a citizen journalist during the Arab Spring protests in Egypt in 2011, when he documented demonstrations against then-President Hosni Mubarak in Cairo’s Tahrir Square. Two and a half-years later, he’s made the transition from being an amateur to being a photojournalist who is watched by top photo editors and a nearly 40,000-strong Twitter following.
Elshamy’s work in Egypt, and from Gaza during the 2012 war there, has been published by the likes of The Economist and Harper’s among others, and he’s won awards in the Egypt International Photography Contest and Arab Union of Photographers competition. Yet during the last few weeks his photos of Egypt’s descent into violence, particularly his images of the clearing of a pro-Morsi sit-in at Rabaa at the end of July, have earned him the cover of The New York Times and bylines for TIME International and AlJazeera English, among other publications.
Patrick Witty, international picture editor of TIME, says he first heard about Elshamy’s work on Twitter at the end of July. “After the massacre at Rabaa Square on July 27, someone I follow tweeted about a picture he made,” Witty told PDN in an email. “I tracked it back to his Flickr account and reached out to him.” (more…)
December 29th, 2010
Photographer Miller Mobley: How to Build Relationships with Clients from PDNOnline on Vimeo.
Miller Mobley built a successful business as an editorial and commercial photographer in his native Alabama, then gave it up to start all over again in New York City. In this video produced by PDN, he discusses how he landed jobs in both places, and the importance of showing new work to potential clients every time he approaches them. To learn more about how Mobley launched and then re-launched his career, see our story, “Miller Mobley’s Transition,” at PDNonline.com.
Last week TIME magazine called Brazilian photographer Mauricio Lima “Wire Photographer of the Year.” This is the first year TIME has singled out a wire photographer for recognition.
A former sports photographer, the Sao Paulo-based Lima joined AFP ten years ago and has worked in Latin America and the Middle East, among other places.
According to TIME, Lima’s photos from Afghanistan stood out among “the millions of images” coming through the wires this year. It was Lima’s first trip to Afghanistan, during which time he spent a month embedded with Marines in Helmand Province, and another month working on his own while based in Kabul.
Lima told TIME that his goal in Afghanistan was “to document the lives of ordinary people in this extraordinary situation,” which he accomplished by creating “parallel stories, the ones behind the headlines.”
In a gallery of Lima’s images posted on TIME.com, TIME photo editor Phil Bicker commended Lima on his pastel color palette, which Bicker said was perfect for the “dry, dusty landscape and ancient culture” of Afghanistan. Lima noted that “capturing real colors and lights” in his images and using “very little post production” were keys to his work.
To read more about Lima’s work and see a gallery of his images visit: