All articles tagged with #photojournalism
A Ukrinform photo montage documents life amid Russia’s invasion, showing Kyiv under bombardment and rescue efforts, damage across cities like Zaporizhzhia and Odesa, border fortifications, a peaceful Lavanda Run, and ordinary moments shaping daily life in Ukraine.
The Guardian’s Monday photos of the day collection compiles global scenes—from smoke rising over Kyiv’s Dormition Cathedral after a Russian missile strike to a wide array of images including UK politics on TV, a naval interception off Portland, migrants near France, ceasefire talks, protests over a ban on Palestine Action, an animatronic Frankenwrap campaign, and other striking moments across China, Bangladesh, Ukraine, and beyond.
World Press Photo’s Photo of the Year captures a father’s detention by ICE after an immigration hearing in a NYC courthouse, portraying a mother and children in grief and highlighting the human cost of U.S. immigration policy; the image is part of Carol Guzy’s Ice Arrests at New York Court project and underscores journalism’s watchdog role.
A Guardian gallery highlights World Press Photo 2026 winners with powerful images illustrating climate crises, conflicts, and humanitarian stories from around the world, previewing the year’s winner and two finalists to be announced on April 23.
ProPublica’s visual reporters Cengiz Yar and Peter DiCampo chronicle the days around Alex Pretti’s death at the hands of CBP in Minneapolis, detailing a federal immigration crackdown, contested official claims, and the ensuing protests, tear gas, and memorials, as experienced by residents and journalists on the ground.
New York Times photographer Finnbarr O'Reilly rushed to the Spain train crash scene, photographed from multiple angles, and found a large bogie fragment outside the cordoned area—a clue that sparked a national media firestorm and raised questions about the investigation; CIAF's preliminary report suggests the rail fracture may have occurred before the derailment.
The UNICEF Photo of the Year Awards 2025 recognized powerful images highlighting children's lives and struggles worldwide, with first prize going to Elise Blanchard for her documentation of girls in Afghanistan, and other notable entries depicting air pollution in Mongolia, childhood in Indian coal mines, and various conflicts and hardships across the globe. An exhibition of the winning and honorable mention photos will be held in Berlin until April 2026.
Lynsey Addario, a Pulitzer Prize-winning photojournalist with 25 years of experience covering conflicts worldwide, discusses the challenges of balancing her dangerous profession with family life, the risks involved in war reporting, and her hope and dedication to photojournalism despite the hardships.
The article highlights the resilience and potential of girls worldwide, featuring powerful photographs by Danielle Villasana that depict girls facing challenges such as migration, displacement, and violence, while emphasizing the importance of support, education, and opportunity to empower them, in celebration of the International Day of the Girl.
The article explores the controversy surrounding the authorship of the iconic 'Napalm Girl' photograph taken during the Vietnam War, including recent investigations and allegations that challenge Nick Ut's claim to have taken the photo, raising questions about memory, truth, and journalistic integrity.
Photojournalist Robert Nickelsberg's book "Legacy of Lies" documents the brutal civil war in El Salvador during the early 1980s, highlighting the impact of U.S. foreign policy in the region. Through black-and-white photographs and essays, the book captures the violence fueled by U.S. support for El Salvador's right-wing military government against left-wing guerrillas, resulting in significant civilian casualties and social upheaval. The work provides a visual narrative of the Cold War's influence on Latin America and the enduring consequences of U.S. intervention.
A photograph of a secret birthday party in Kabul captures the quiet resistance of Afghan teenage girls living under Taliban rule. The image, part of a project by photojournalist Kiana Hayeri and researcher Mélissa Cornet, highlights the struggles and resilience of Afghan women as the Taliban restricts their rights. Their work, "No Woman's Land," documents the complex realities faced by women across Afghanistan, showcasing both the oppression and the small acts of defiance that persist, such as celebrating birthdays and sharing uncovered images on social media.
New York Times photojournalist Doug Mills captured a "one in a million" image of a bullet whizzing by Donald Trump's head during an assassination attempt at a Pennsylvania rally. Mills, using a high-speed camera, didn't realize he had taken the historic photo until an editor spotted the bullet's path. Trump was grazed in the ear, and three others were hit, including a volunteer firefighter who was killed. The sniper, Matthew Thomas Crooks, was shot dead by law enforcement.
The film "Civil War" by Alex Garland follows a group of journalists on a road trip to interview a fascist president in a politically chaotic America. The movie focuses on the evolving relationship between two photographers, Lee and Jessie, as they navigate the ethical challenges of their profession in a war-torn environment. The film's final image, captured by Jessie, depicts the extrajudicial killing of the president by insurgent soldiers, serving as a condemnation of bloodlust and the impact of war on journalists. However, the film's portrayal of journalistic objectivity and its political message are criticized for being vague and lacking context, leaving the audience with a sense of futility and an underexposed perspective.
In the new action movie "Civil War" directed by Alex Garland, the focus is on photojournalists capturing the horrors of conflict, with Kirsten Dunst playing a seasoned photojournalist. The film's action scenes are unsettling in their simplicity, using realistic sound effects and visuals to convey the starkness of violence. Critics are divided on the film's politics, with some finding it opaque, but Garland sees it as requiring viewer participation. Kirsten Dunst emphasizes the film's open-ended nature, leaving interpretation up to the audience. "Civil War" is now in theaters.