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    • Photojournalists have been my heroes all my life, so I was surprised to read on Petapixel some of the controversy around photojournalism. Kainaz is the photo editor for Vox, formerly a photo editor for NPR, who was a freelancer in India:

      This was disturbing too, a perspective I hadn't considered:

      Is it simply that if it bleeds it leads or?

      đź“·: The Atlantic

    • I'll stay well away from the attempts of any analysis of the colours of the viewers, but I wholeheartedly agree that at least World Press Photo has been a "catastrophe porn" show for many years now, and that's why I have stopped to pay any attention to it.

      There are many extremes in contemporary photo art. As an example, I often have a problem with glamorous exhibitions of "modern photography" where strangely composed pictures of arbitrary subjects require a wallful of small print to explain some very postmodernist maelstrom of meaning author has somehow assigned to a frame. And it's perfectly okay. But the dramatic, world championship style competition of who can capture and transmit the most suffering creeps me out.

    • Djeneta (right) has been bedridden and unresponsive for two and a half years and her sister Ibadeta for more than six months, with uppgivenhetssyndrom (resignation syndrome), in Horndal, Sweden, on March 2, 2017. It is a condition believed to exist only among refugees in Sweden.

      Reading through the descriptions of all 33 nominees, I felt the pictures were powerful images that enhanced my understanding of important stories.

      By contrast, I tend to stop reading “news articles” when the slant of the writer is this brazen:

      because the images and narratives chosen by powerful news agencies and newspapers continue to speak to foundational myths that Europe (and white ex-colonists and plantation owners in America) manufactured about Africa, in order to better ease their conquest and exploitation of a regionally, politically and socially complex, dynamic continental shelf.

      Rather than seeing the image selection process as one based on artistic or commercial biases, the aljazeera writer believes that Reuter’s photo selection process is part of a European conspiracy to “better ease their conquest and exploitation”.

    • After a couple days to ponder, my opinion is we need to see disturbing images of wars, famines, natural disasters, and political protests — no matter what color people are in the images and who took them. Here are white people in America taken by Mark Peterson:

      The women testifying against the team doctor for U.S. Gymnastics:

      I don't think that because you're white you should be knocked for risking your life to tell the story of the Rohingya, or if you're of color, documenting white people rioting in Paris.

    • There are lots of important things in life that people don't care much about and which aren't photogenic. Think budgets, recidivism, infrastructure.

      One thing we universally care about is tragedy. Tragedy is a foundation of art, no doubt going back much further than the ancient Greeks.

      Those photographs? They document tragedy. And they do it because we care.

    You've been invited!