RSS
 

Posts Tagged ‘Photojournalists’

Photojournalists won’t be allowed to capture the handing over of the articles of impeachment against Donald Trump

18 Jan

Image US Capital, West Side. Captured by Martin Falbisoner used under CC BY-SA 3.0

It’s been revealed the United States Senate will be cracking down on the press corps for the Senate impeachment trial of U.S. President, Donald J. Trump, severely limiting photojournalists ability to document the monumental moment.

Later today, when House leaders hand off the articles of impeachment to the Senate, still photographers won’t be allowed to document the monumental moment, an unprecedented move that’s raising concerns over credentialed reporters’ and photographers’ ability to exercise their First Amendment right to the freedom of the press.

According to a report from Roll Call, Capitol Police Chief Steven A. Sund and Senate Sergeant-at-Arms Michael C. Stenger are putting in place restrictions that will allow just a single video camera to be present in the room. No still photographers will be allowed to press the shutter and no audio recordings will be allowed.

Even after today, the remainder of the trial will see only a single press pen set up on the second floor of the Senate, where legislators will enter and exit the chambers. Reporters and photographers won’t be able to move outside the pen, except for before and after the processions when they’re escorted by proper authorities.

Following news of these restrictions, The Standing Committee of Correspondents, a five-member panel of journalists representing the credentialed press in Congress, fired back saying the restrictions ‘fail to acknowledge what currently works on Capitol Hill, or the way the American public expects to be able to follow a vital news event about their government in the digital age.’

Roll Call reports the ‘planned restrictions […] rejected every suggestion made by the correspondents,’ regarding press access during the trial and The Standing Committee of Correspondents has rejected the claim these planned restrictions are being put in place to protect the lawmakers, saying Capital Police have implemented these rules ‘without an explanation of how the restrictions contribute to safety rather than simply limit coverage of the trial’

Other individuals chimed in on the matter, including Alexandria Ocasio-Cortez, a U.S. Representative for the NY-14 district, who shared the following tweet:

Photographer and teacher David Hobby also shared his thoughts on the matter, saying:

Unfortunately, these restrictions likely mean photographer David Burnett won’t be able to use his now-iconic 4 x 5 film camera to capture the transfer of articles for the third impeachment in U.S. history.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photojournalists won’t be allowed to capture the handing over of the articles of impeachment against Donald Trump

Posted in Uncategorized

 

NPPA sues California over controversial ‘freelancer’ bill that harms photojournalists

19 Dec

The National Press Photographers Association (NPPA) has announced its new lawsuit against California’s Assembly Bill 5 (AB5), which forces some independent contractors (freelancers) to become employees of their clients.

The AB5 bill was passed in September but won’t go into effect until next month. Though the law aims to prevent companies from exploiting workers by falsely declaring them as independent contractors, critics say it unfairly restricts people like freelance photojournalists who desire the freedom and copyright benefits associated with being an independent contractor.

In a statement published on Wednesday, the NPPA claims this law ‘discriminates against some visual journalists’ who wish to work as freelancers but are instead forced to become employees ‘whether they desire this working relationship or not.’

The NPPA argues that this legal requirement violates the U.S Constitution because, in part, only certain freelancers are covered by it; others, including graphic artists and marketing photographers, are allowed to retain their independent contractor status.

Photojournalists who also shoot video are forbidden from acting as freelancers under Assembly Bill 5, as well, which the NPPA alleges is ‘a content-based restriction on speech.’ Other issues introduced by AB5 include a limit of 35 assignments or submissions per year per client for still image photojournalists. The organization notes that many other types of freelancers also face similar restrictions, including freelance writers and freelance editors.

The NPPA lays out the negative impact this law will have on freelancers, stating:

NPPA members impacted by the law range from retirees who will be losing extra income to mid-career professionals whose journalism clients are part of their overall business model. All of the impacted members are experienced journalists, trained in ethics and professional standards, who keep their local community informed on matters of public concern. Their voices will be silenced when the impact of AB5 hits their businesses. Some NPPA members report that their income from certain clients is expected to drop by 60-75% next year due to AB5.

In addition to earning concerns, the organization also points out that by forcing photographers to work as employees, these photojournalists will lose the copyrights to the images they capture under their employment, whereas freelancers retain the copyrights unless they choose to surrender them to their clients.

Ultimately, the organization claims that it repeatedly attempted to get the bill modified so that it won’t negatively impact freelance photojournalists, but that California lawmakers have been ‘unsympathetic and unresponsive to our pleas.’ The lawsuit was filed in Los Angeles, California; the full legal complaint can be accessed on the NPPA’s website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NPPA sues California over controversial ‘freelancer’ bill that harms photojournalists

Posted in Uncategorized

 

ACLU files First Amendment lawsuit against US government on behalf of 5 photojournalists

27 Nov

The American Civil Liberties Union (ACLU) has sued the United States government on the behalf of five photojournalists who allege their rights were violated ‘on multiple separate occasions’ while reporting on conditions at the US-Mexico border. According to the ACLU, the Department of Homeland Security made a database of journalists and photojournalists who were reporting on US-Mexico border conditions and used this database to target, detain, and interrogate them.

The lawsuit was filed on the behalf of Bing Guan, Go Nakamura, Mark Abramson, Kitra Cahana and Ariana Drehsler, all of whom are professional photojournalists and U.S. citizens, according to the ACLU. The lawsuit alleges these individuals were among the journalists included in Homeland Security’s secret database.

The database allegedly contained the photojournalists’ names, birth dates, headshots, and information about whether they’d been interrogated. An ‘X’ was allegedly used to cross out the individuals who had already been interrogated, indicating that the ‘random’ secondary screenings and interrogations they were subjected to weren’t actually random.

Bing Guan said in a statement to the ACLU:

‘I was being targeted by my own government for reporting on conditions at the border.‘

The ACLU explains that photojournalists were detained when they attempted to reenter the United States, at which point they were allegedly interrogated about various matters ranging from their observations of the condition of the border and shelters to whether they could identify people from a series of headshots. Multiple photojournalists claim they were forced to reveal the images they had taken and that at least one officer had used a phone to snap images of the photos.

Forcing the photojournalists to disclose details about their sources and observations was a violation of the First Amendment, according to the ACLU, which calls the ‘disturbing actions’ a potential deterrent that may prevent other journalists from pursuing similar work.

The ACLU said in its announcement of the lawsuit:

‘That the government’s actions occurred at the border makes them no less unlawful … When the government tries to circumvent constitutional protections, we must hold it accountable. No journalist should have to fear government interference for having the persistence, courage, and commitment to expose the truth.’

The lawsuit can be read in full on the ACLU’s website. Plaintiffs seek an official declaration that their First Amendment rights were violated; they also want the records related to their interrogations to be expunged and more.

Via: ACLU

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ACLU files First Amendment lawsuit against US government on behalf of 5 photojournalists

Posted in Uncategorized

 

Hong Kong photojournalists attend press conference in riot gear following protests

14 Jun

Yesterday, the Hong Kong Police Force (HKPF) witnessed an unusual sight as they held a press conference following a series of city-wide protests regarding a controversial extradition bill. Photographers and journalists who attended the meeting were clad in various riot and protest gear, including high-visibility vests, helmets, gas masks and more following a request from the Hong Kong Journalist Association as a means of meta-protesting the HKPF’s treatment of citizens and journalists throughout the month-long protests taking place in the city.

The bill, officially called the ‘Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation (Amendment) Bill’ was first published by the Government of Hong Kong on March 29. Immediately, the bill faced backlash, as Hong Kong residents, civil rights organizations, journalist organizations and foreign governments fear the bill will require the city and its residents to abide by Chinese law and subsequently subject them to a China’s court system if suspected of a crime, even if the individual has never stepped foot on Chinese territory.

Protests have been ongoing since the bill was first revealed, but on June 9, hundreds of thousands of protestors took to the streets of Hong Kong to object to the bill and call for for the resignation of Hong Kong Chief Executive Carrie Lam. In the days following, the Hong Kong Free Press has reported the HKPF has used excessive force on photojournalists, journalists and protestors, including the use of more than 150 rounds of tear gas and multiple instances of firing bean bags at protestors.

The solidarity to show up to the press conference covered in riot gear came after the Hong Kong Journalist Association called upon the media to show up in protective gear, according to a report (tweet embedded above) from the Hong Kong Free Press.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hong Kong photojournalists attend press conference in riot gear following protests

Posted in Uncategorized

 

Photojournalists reveal their favorite publications to work with and what they pay

02 May
Photographer Genna Martin on assignment for Seattle PI.

Columbia Journalism Review recently surveyed a group of photojournalists on their favorite publications to work with based on several criteria, including arguably the biggest one – pay. As a result, they’ve published an article revealing the day rates for some top publications as well as some insight into other factors, such as balancing a lower day rate with exposure to a wider audience.

So by the numbers, how do top publications stack up for freelance photographers? CNN comes out on top with the best day rate at $ 650, though National Geographic is close behind with typical rates between $ 500-650. Harper’s Magazine’s rate was hard to pin down but reported rates varied from $ 500 up to $ 1000 per day. 

The New York Times’ recently boosted rate of $ 450 per day makes it more competitive with the top-paying outlets, but CJR notes that the photographers they spoke with acknowledged the Times’ wider reach and top-notch editorial staff go a ways to compensate for the lower pay. Coming in with the lowest day rate of the bunch is the Washington Post, offering $ 350. 

Check out the full article at Columbia Journalism Review for some interesting insights on working for these top publications.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photojournalists reveal their favorite publications to work with and what they pay

Posted in Uncategorized

 

Photojournalists and documentary filmmakers ask camera manufacturers for encryption

15 Dec
Photo via UNclimatechange on Flickr. Used under Creative Commons license

Over 150 photojournalists, filmmakers and media professionals have signed an open letter addressed to major camera manufacturers, asking them to add encryption to their products. While many of the storage devices and computers photographers use to store files offer encryption, the cameras themselves do not. 

The letter points out that when a photojournalist’s camera or memory card is stolen or confiscated, which happens regularly, their footage and images are left exposed and vulnerable, potentially putting the photographer and their sources in real danger. Encryption is commonplace in smartphones, messaging apps and many operating systems, but not in image capture devices or memory cards.

The letter is addressed to Canon, but the Freedom of the Press Foundation says they’ve sent similar copies to Nikon, Fujifilm, Sony and Olympus. You can see the body of the letter below; head to Freedom of the Press Foundation’s website to see the full list of signees. 

Dear Canon,

We, the undersigned documentary filmmakers and photojournalists, are writing to urge your company to build encryption features into your still photo and video camera products. These features, which are currently missing from all commercial cameras on the market, are needed to protect our safety and security, as well as that of our sources and subjects worldwide.

Without encryption capabilities, photographs and footage that we take can be examined and searched by the police, military, and border agents in countries where we operate and travel, and the consequences can be dire.

We work in some of the most dangerous parts of the world, often attempting to uncover wrongdoing in the interests of justice. On countless occasions, filmmakers and photojournalists have seen their footage seized by authoritarian governments or criminals all over the world. Because the contents of their cameras are not and cannot be encrypted, there is no way to protect any of the footage once it has been taken. This puts ourselves, our sources, and our work at risk.

Many technology companies have in recent years embraced encryption technology, often including it in their products and enabling it by default. Indeed, encryption has, in some sectors, become an industry-best practice. Apple’s iPhones encrypt all data stored on them by default, as do many phones running Google’s Android operating system; text messages and voice calls made with WhatsApp, iMessage, FaceTime, and Signal are all protected using end-to-end encryption technology; and laptops and desktop computers running modern versions of Microsoft Windows and macOS encrypt all data stored by default too.

However, we face a critical gap between the moment we shoot our footage and the first opportunity to get that footage onto more secure devices.

As filmmakers and photojournalists who value our own safety and the safety of our sources and subjects, we would seek out and buy cameras that come with built-in encryption. Adding these data security features to your product line would give your company a significant competitive advantage over other camera manufacturers, none of whom currently offer this feature.

Beyond the commercial motivation for adding encryption features, we know your company has commendably committed to corporate social responsibility. Building encryption into your products is not just about helping the filmmakers and photojournalists who buy them, but about making the world a better place. As filmmakers and photojournalists, we use our lenses to hold powerful people to account — and ultimately to change society for the better. Encryption features will allow us to continue to tell the most important stories, from some of the most dangerous places in the world.

You can help us reach that goal by starting to work towards building encryption into your camera products.

Thank you for your consideration.

Signed,

Over 150 Filmmakers, Photographers, and Media Workers Around the World

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photojournalists and documentary filmmakers ask camera manufacturers for encryption

Posted in Uncategorized

 

Canon 35mm F1.4L II: a photojournalist’s perspective

07 Dec

By Jordan Stead

I prefer prime lenses to zooms because I can already see the frame before I raise the camera to my eye. After you’ve shot with a lens for a long time you get used to it. After looking through a 35mm lens for so long, I can visualize the field of view instinctively. And 35mm suits the way that I shoot. It’s challenging, and at the same time, a very versatile focal length. 

The original Canon EF 35mm F1.4L USM, wide open at F1.4. (Photo: Jordan Stead, seattlepi.com)

A tendency when I’m using zooms is to shoot at the widest end most of the time. I always try to put myself as close to something as I possibly can, and so I end up zooming out as much as I possibly can. By being fixed at 35mm, it’s not super wide, it’s not tight, but it can be both simply by stepping back or stepping forward. It forces me to think about composition, it makes me work harder, and it makes me think more about layering.

The author with a typical camera and lens outfit for a two-photographer team shooting professional sports. More specifically, Super Bowl 49. Several camera bodies, several long sports lenses, and at least one 35mm F2 prime.

Photo: Josh Trujillo, seattlepi.com

I remember buying my original Canon EF 35mm F1.4L from a strange man in a California parking lot during an internship years ago. I can safely say that shooting with it as extensively as I did enabled me to build my personal vision as a photographer. It’s been a staple in many photographers’ bags since the 1990’s, and it’s by no means a bad lens following the release of the Mark II.

The original Mark I offers good sharpness, robust build quality, and despite the fact that it isn’t technically weather resistant, I can guarantee you it actually is very weather resistant in normal use. Even bodily fluid resistant. And somewhat drop resistant. The durability of that era of L-series lens is impressive.

Using a 35mm and want a 50mm or 85mm field of view? Step in and think layering instead of zooming. Shot on the original Canon EF 35mm F1.4L USM at F4.5. (Photo: Jordan Stead, seattlepi.com)

There are a couple of downsides to the original EF 35mm F1.4, but only if you’re pixel peeping. Corner sharpness isn’t outstanding: It tends to have kind of a smear to it, which I don’t actually mind too much. I’ve always enjoyed a little natural vignetting, because it tends to draw your eye more to the center of the frame, but there are times when the chromatic aberration can be pretty bad. If you’re shooting something like a lot of backlit trees, or a portrait of somebody with blond hair, backlit, your photograph will contain some wild Christmas colors. 

Shot on the original Canon EF 35mm F1.4L USM at F4. (Photo: Jordan Stead, seattlepi.com)

After years and years of heavy use, my original 35L was repaired three or four different times, due to being abused in just about every possible way. It had been dropped many times, slammed against something while dangling off my shoulder while running, soaked through with snow, rain and probably a fair amount of beer, too. At the end of its life, it would only work when shot wide open at F1.4. I do recall the autofocus switch assembly popping completely out of the lens body at one point with a long trail of electronics dangling out after. I pushed the guts back into the body, gaffer taped it over, and kept on shooting.

Canon EF 35mm F1.4L II USM

Price: $ 1,799 USD

Aperture range: F1.4-F22

Nine rounded aperture blades

Two Aspherical Elements, One UD Element

Blue Spectrum Refractive Optics

Weather-sealed design

Once my original 35L turned to dust, I found myself unwilling to spend $ 1,300 to replace it. Canon’s non L-series EF 35mm F2 IS was getting outstanding reviews across the board and it was much smaller and lighter than the F1.4 version. The 35mm F2 doesn’t have a big red ring on it, so it’s a little subtler (and cheaper), and comes with image stabilization. I’ve discovered now, having shot with the 35mm F2 for over a year, that IS on short glass can be truly amazing – especially when panning or shooting in low light and keeping ISO low.

Can you tell the difference between F1.4 and F2? If you can’t – or don’t care – opt for the cheaper, lighter, IS-equipped Canon EF 35mm F2 IS USM, used here at F2. (Photo: Jordan Stead, seattlepi.com)

With IS, you can get away with a 0.5 second exposure if you are super, super still. That’s something you’d be hard pressed to be able to get away with on a non-IS lens, including the old 35mm F1.4. Then there’s the price. For so much less than the F1.4, you’re still getting solid build quality, with stabilization, and all you’re really losing in return is a stop of light. But you definitely don’t get that particular, dreamy F1.4 look, unless you’re close enough to a subject to throw their background significantly out of focus.

Having now shot a lot with the new EF 35mm F1.4L II, the first thing that stood out to me was the size; nearly the same as the Canon 24-70 F2.8 Mark II! Then again, compare it against the Sigma 35mm Art F1.4 and it’s around the same bulk.

It’s almost not worth talking about the image quality. I figured if the Sigma Art was as good as everyone says it is (and it is), then for $ 1,800, Canon had to have at least matched if not exceeded it. I was confident that the quality was going to be outstanding, and it is. The 35mm F1.4L II is eye-searingly sharp. Colors are amazing, bokeh is beautiful and the lack of CA is unmatched. I’ve never worried about CA a whole lot, but it was apparent when shooting the 35L II in a challenging environment (such as a backlit, daylight scene), it definitely holds its own better than both its predecessor and cheaper F2 sibling.

Canon EF 35mm F1.4L II USM: if sharp is what you want, sharp is what you’ll get. Taken at F1.6. (Photo: Jordan Stead, Red Box Pictures)

What I’ve come to really enjoy about the Mark II is the focus accuracy and speed. The Mark I is great, I’ve had tons and tons of good luck with it, but the Mark II is just so fast and so accurate, especially when paired with a body like the EOS-1D X. Considering when you first get a prime and all you want to do is shoot it wide open for a month, you judge it harshly on whether the focus is landing correctly, especially when you know your technique is up to snuff. It was great to go into my edit and see I was having a much better hit rate at F1.4. And it’s not just because of the relatively low 18MP resolution of the EOS-1D X, I’ve had similar results with the EOS 5DS R and 5D Mark III.

The fear is that I’ll probably buy a Mark II version for myself now. The 35mm F2 is just so convenient, and I really do appreciate the weight, but it can’t quite beat the image quality and autofocus performance of the 35L II. 

“F1.4 and be there?” Not the best advice (nor how the saying goes), but the Canon EF 35mm F1.4L II USM sure makes shooting wide open more fun – and rewarding. Taken at F1.4. (Photo: Jordan Stead, Red Box Pictures)

Putting this new lens on my camera has made me enjoy shooting at F1.4 more and, in turn, worry less about CA. Compared to the original 35mm F1.4 there are many advantages across the board. I really have nothing bad to say about the Mark II besides its hefty size, but that’s just the standard at this point for 35mm F1.4s, anyway.

With the inevitability of more high-megapixel bodies on the way, it is important to consider that you’re not necessarily buying a lens like the Mark II just for right now: you’re buying it for the future. With cameras like the 5DS R, older lenses – even L-series lenses – can mostly still deliver decent results, but the 35mm F1.4L II is a step up in terms of sharpness, color and CA control. If a high-megapixel body is something you’re considering in the future, you’re going to want to pick up this lens.

Check out our full gallery of samples from the Canon EF 35mm F1.4L II 

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon 35mm F1.4L II: a photojournalist’s perspective

Posted in Uncategorized

 

NYT photo editor gives career tips for photojournalists

09 Apr

Screen_Shot_2014-04-08_at_2.40.59_PM.png

As part of their continuing video series, Photo District News has released an interview with James Estrin, founder of the New York Times ‘The Lens’ blog. Estrin provides a series of tips for the aspiring photographer. While many of these aren’t groundbreaking, the video has some real gems. Notably, in his advice to photographers looking to document strife or crisis in exotic places, he says to pursue stories that are closer to home. Learn more

News: Digital Photography Review (dpreview.com)

 
Comments Off on NYT photo editor gives career tips for photojournalists

Posted in Uncategorized

 

Photojournalists discuss the ethics of non-intervention

31 Jul

Guardian.jpg

The photojournalistic tradition of trying not to play a role in the scene you’re shooting doesn’t answer every ethical dilemma. While the viewing audience of news images would hope that the photographer hasn’t intervened or staged the image, does that mean the journalist should simply observe acts of violence and crime? British newspaper The Guardian has spoken to eight photographers who’ve had to make the decision whether to shoot or act in such situations. Their perspectives (and regrets) are presented alongside a slideshow of the often harrowing images they’ve taken. (from The Guardian)

News: Digital Photography Review (dpreview.com)

 
Comments Off on Photojournalists discuss the ethics of non-intervention

Posted in Uncategorized