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    'The traditional funding model, of agencies and magazines pushing money at photographers to do projects, is not what it used to be. Photographers these days have to explore all avenues to try to get enough money to continue their projects, and grants are a very important part of that.'

    -Jon Jones, Sunday Times Magazine Director of Photography and Getty Images Editorial Grant judge

    2014 marks the ten year anniversary of the Getty Images Grants program, which has now awarded over $1 million in funding to photographers. In this video, some of the winners and judges of the Editorial Grant reflect on their experiences with the program and why it is so important to photojournalists.

    Lynsey Addario was just finding her way as a young photographer when September 11 changed the world. One of the few photojournalists with experience in Afghanistan, she gets the call to return and cover the American invasion. She makes a decision she would often find herself making—not to stay home, not to lead a quiet or predictable life, but to set out across the world, face the chaos of crisis, and make a name for herself.

    It’s What I Do: A Photographer’s Life of Love and War, by Reportage by Getty Images photographer Lynsey Addario, is the riveting true story of her life and the unique challenges she faces: war, kidnapping, gender bias, and motherhood. The book is now available for pre-order.

    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

    "What are the advantages of using an iPhone?"

    Photojournalist Benjamin Lowy talks to Richard Aedy, of the Australian Broadcasting Company Radio Network, about the virtues of using a mobile phone in the field. In the above video, Lowy, who has made mobile-phone images while working in Libya, Afghanistan, and his own backyard of New York City, explains how he chooses the right tool for the job. As for the question above, Lowy says:

    When you shoot with an SLR or rangefinder or any type of camera, you’re taking this huge black box and throwing it in front of your face. And you’re blocking out your ability to interact with your subject. Sometimes that can be good if you need if you need to cut your empathy off, so like if you’re at a funeral and you need to pull yourself emotionally out of a situation. But a lot of times I’m just talking to someone out on the street, and all of the sudden I am cutting the level of empathy and the level of interaction and intimacy with people by putting a camera against your face. So by using the phone I can keep eye contact with the people I’m photographing.

    Hear more segments from ABC RN’s ‘Media Report’ on the show’s website.

    Shiite men and boys with the Shebil tribe dance around with their weapons during a demonstration calling for a united nationwide inter-sect fight against ISIS. Lynsey Addario/Reportage by Getty Images Shiite Muslims read the Koran and pray at the Ali Imam Mosque in Najaf. Lynsey Addario/Reportage by Getty Images Friends and relatives of Alla Abbas al Rubaiye, 17, a Mahdi army supporter, weep while Abbas' body is prepared for burial in the holy city of Najaf. Lynsey Addario/Reportage by Getty Images

    Iraq is a country divided. Battles are being waged not just by ISIS and between Sunnis and Shiites, but within the groups themselves. In June, Iraq’s leading Shiite cleric, Grand Ayatollah Ali al-Sistani, issued a call to arms, urging his followers to join forces with the government’s military in order to stop the march of the Islamic State in Iraq and Syria (ISIS). Simultaneously, another of Iraq’s foremost political leaders, Muqtada al-Sadr, resurrected his Mahdi Army, one of the most experienced and largest battle groups in the country. Al-Sadr refuses to let the government have any control of his forces.

    Reportage by Getty Images photographer Lynsey Addario traveled throughout the country to witness how these tensions are affecting the Shiite population.   

    Please see more from her work here - Iraq: A Country Standing Divided

    One day left to bid on prints like this one! Please support the Chris Hondros Fund Benefit Auction, which advances the work of photojournalists telling stories of great importance.

    Image: Birds, Livingston, Ill, 2013. Photo by Armando Sanchez

    The figures are shocking. More than 70 journalists killed in 2013 alone, already 14 more in 2014, with hundreds more assaulted, imprisoned or kidnapped…’if any other industry had such large numbers murdered, there would be an enormous campaign.’

    Aidan Sullivan, of Reportage by Getty Images and A Day Without News?, on Security and Safety Issues for Media Workers, via World Press Photo. Sullivan will speak about journalist safety at TEDx Atlanta tomorrow.

    'If you go to ask somebody about the war, you don’t ask them about the war. You ask them about where they came from, who their parents are. The war becomes part of the texture of their life, and then people will tell you about the war.

    Since its launch in 2004, the Getty Images Grants for Editorial Photography have celebrated and supported independent photojournalism, as evidenced by the many dynamic and compelling projects completed over the years.

    In this video, two-time Editorial Grant winner Eugene Richardstakes us on an intensely emotional and powerful journey as he shares his experience working on his grant project “War is Personal.”

    The Getty Images Grants are now accepting applications.

    Photo by Natalie Naccache/Reportage by Getty Images Photo by Natalie Naccache/Reportage by Getty Images Photo by Natalie Naccache/Reportage by Getty Images

    Natalie Naccache Joins Reportage

    The Lebanese-British photographer Natalie Naccache, based in Beirut, has joined our roster of featured contributors. She was previously part of Reportage Emerging Talent program and her photographs have been published in places such as The New York Times, Le Monde, Der Spiegel, The Independent, Marie Claire and more. She also recently participated in this year’s Noor Masterclass.

    One of Natalie’s longstanding interests has been Lebanese high society. Her recent photoessay, titled “Paris of the East,” examines debutante balls and other extravagant events that serve as escapes from the harsher realities of life in Lebanon. But Natalie’s photos pose the question: Is the party over soon? See more of this work on the Reportage Web site.

    (Photos by Natalie Naccache/Reportage by Getty Images)

    Robert Nickelsberg at UC Berkeley on April 15

    As a photographer for Time Magazine and the New York Times, Robert Nickelsberg gained a close-up look at the last 25 years of Afghan history, as it emerged from war with the Soviet Union to civil war to Taliban rule and, finally, to America’s war after 2001. His collected work appears in his new book “Afghanistan: A Distant War.” On April 15, he will be speaking about his work in the country with UC Berkley journalism chair Lydia Chavez and Tim McGirk of the school’s Investigative Reporting Project.

    Read more and RSVP here.

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