Award-winning photographer Tom Stoddart discusses his work with Matthew Butson, Head of the Getty Images Archive
Tom Stoddart began his photographic career on a local newspaper in his native North East of England. In 1978 he moved to London and began working freelance for publications such as the Sunday Times and Time Magazine. During a long and varied career he has witnessed such international events as the war in Lebanon, the fall of the Berlin Wall, the election of President Nelson Mandela, the bloody siege of Sarajevo and the wars against Saddam Hussein in Iraq.
“The photographs that have emerged during several days of unrest in Ferguson after the fatal shooting of an unarmed black teenager by a police officer have drawn mournful comparisons to pictures of the Deep South in the 1960s or of more recent racial unrest, like the 1992 Los Angeles riots. But they have also prompted a flood of commentary about the differences half a century has made in the visual economy…. Today, the imagery one sees depends on the filters one uses. One person’s Twitter feed may be full of footage of police firing tear gas or of peaceful protesters with their hands up. But David J. Garrow, a historian at the University of Pittsburgh’s law school and the author of several books on the civil rights movement, noted that when he searched for images of Ferguson on Google, roughly half showed what appeared to be looting. Such images look “more like Watts in 1965 or Newark in 1967, not Birmingham in 1963 or Selma in 1965,” Dr. Garrow said. And historically, he said, such photos were “deadly when it came to white public opinion.””—Randy Kennedy and Jennifer Schuessler in The New York Times: Ferguson Images Evoke Civil Rights Era and Changing Visual Perceptions
The Power of a Photograph: A snapshot that changed United States military policy
On Jan. 18, 2005 in Tal Afar, Iraq, a car approached an American patrol on a dark street after curfew, spooking a unit already on high alert. Warning shots were fired to no avail, and, when the driver failed to slow down, the unit opened fire. The two passengers in the front of the car—a civilian mother and father—were killed instantly. In the back were six children, one of whom was badly wounded. It was a family, not insurgents, in the vehicle. Hondros—who had been embedded with the unit and was out on the patrol—captured the complete events on camera, providing heartbreaking images of the tragedy for the world to see. In the clip above, Sandy Ciric and Todd Heisler relay the events of that night, and discuss the tremendous impact that those now-famous pictures had on the lives of those involved, and on military policy in Iraq in general.
An Associated Press video journalist has been killed in an ordnance explosion in the Gaza Strip, together with a Palestinian translator and three members of the Gaza police.
Simone Camilli, 35, died Wednesday when Gaza police engineers were neutralizing unexploded ordnance in the Gaza town of Beit Lahiya left over from fighting between Israel and Islamic militants.
Camilli and a translator working with the AP, Ali Shehda Abu Afash, were accompanying the ordnance team on assignment when the explosion occurred. The police said four other people were seriously injured, including AP photographer Hatem Moussa.
Camilli, an Italian national, had worked for The Associated Press since 2005.
Camilli is the first foreign journalist killed in the Gaza conflict, which took more than 1,900 Palestinian lives and 67 on the Israeli side.
According to the World Health Organization, Vietnam is one of many countries with a high rate of drug-resistant TB but the efforts to fight TB are critically under-funded. Pulitzer Center grantees Jens Erik Gould and David Rochkind are in Vietnam to examine how the lack of funding is impacting communities with high drug-resistant TB.
“A portfolio review is a chance for a photographer to get feedback on their work. Photographers should feel welcome to ask questions and seek the advice of the editor on anything from aesthetics and technique, to best business practice and how to value the work. You must be prepared to discuss the images that you are presenting; this means knowing your subject matter and its relevance in detail.”—Reportage by Getty Images Senior Photo Editor Patrick Llewellyn: A Guide to Portfolio Reviews
“Some would say that we’ve crossed the threshold of photos being too abundant," says Jurgenson, who’s now a researcher at Snapchat. "[Years ago] if you saw someone taking a photo you’d stop and say ‘That must be important.’ Now, you convey respect and importance by not taking a photo.”—We are all Glassholes now | The Verge (via nathanjurgenson)