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    • There are four people in the world who have won 4 Pulitzer Prizes, as Robert Frost did for poetry, but only one journalist: Carol Guzy. I am obsessed with her images and the stories she tells about them. One theme that I've heard her mention in interviews is how innocence (children and pets) in the midst of tragedies create the most powerful, emotional images.

      I had an email exchange with her yesterday and she tentatively agreed to an interview with me on Cake. She's such a wonderful woman and an icon of photography and journalism, I want our questions to be great. For people interested in her interviews on TV, this short one on CBS or this longer one on C-SPAN are incredibly moving, at least to me.

      What would you ask her?

    • My question might be.....if a photographer had a split second decision to physically intervene in an life-threatening instance or keep shooting understanding that the image capture might be for the greater good, how tough is that decision process?

    • A Q for the main interview:

      The genocide and ethnic clensing in the balkans. Do the european powers deserve to be critisied / castigagted for standing by while these atrocities occured.

      Imo it took far too long for the european nations to put troops on the ground in sufficient numbers to stop the atrocities occuring

      Lessons learnt from WW2, "never again"... seem to have been forgotten in this conflict.

      an addendum q for the end of the interview.

      The era of the professional photographer seems to be ending. News organisations are not employing full time photographers.. using agencies instead...

      How would she advise anyone starting off and looking to make a career as a professional photographer

      follow up:

      Carol uses b&w to great effect. I'd like to know her workflow for generating b&w photos from the native colour digital image.

      Follow up: was it difficult transitioning from film to digital?

    • Wow. Those two interviews/profiles are extremely moving....Thanks for sharing!

      I am curious about the storytelling. Does the editor explain the perspective of the story s/he wants the writer and photographer tell? Or is that left up to them when they get to the location? Does Carol collaborate with the reporter to help illustrate the story s/he writes? Or does Carol form a storyline in her own mind as she is taking photographs? Does she create a photo-journalistic story of her own that eventually stands independently from a reporter’s written article?

      I’m also curious if she has seen any change in how people respond to her work? Has the currently divided perspective in this country changed how people seem to respond? It seems in the past, she has focused attention on very extreme circumstances (life and death, personal tragedy, natural disasters, etc.) Are people becoming insensitive to these stories due to being oversaturated by visual imagery at every turn? Or is that making them more sophisticated, aware, and responsive?

      Very thought-provoking topic. Thanks, Chris.

    • Which image, or image series, has brought her the greatest personal satisfaction, regardless of editorial opinion or public sentiment?

      Photojournalists, and journalists in general, often have to make decisions between personal situations and personal trials, and photographic opportunities and assignments. Are any of Carol's images captured at the expense of great personal sacrifice?

      Decisive moment vs incisive moment?

    • She's obviously been doing this quite some time. I would be interested in what difference she's experienced in feedback with the rise of social media (instant feedback, scope of audience). Maybe a top two or three list of pros and cons of social media.

    • how have tools like photoshop and Lightroom changed the way journalistic photos are evaluated?

    • Chris, I would be thrilled to see your interview with Carol. Her work has helped to tell the visual stories of so many heartbreaking events - and, yet, she still manages to photograph them with an element of hope.

      Question: She's previously referred to Haiti as a second home - she's previously said she has a deep connect to those people - how difficult does she find capturing both the sorrow and hope during events such as the earthquake in Haiti? How does she balance those stories?

    • Question: Where is photography heading in this social media age, How much "staging" is considered reasonable in high repute PJ circles.

      I see more and more photographers are trying to take 1st spot on social media, which is ofcourse good thing but at he expense of originality of photograph and originality of subject's setting .

      Recently, i was looking at a photograph that won an award in travel photography contest of reputed magazine. The photograph itself made no sense and looked staged. Similarly i came across one photograph which was shot in culture i belong, and i instantly spotted that it was staged to make it very interesting and dramatic to win an award or top social media :(

    • I would ask her how she thinks photography has changed as a professional photographer. I would ask her about how she feels about the proliferation of cameras and especially mobile cameras, about what it means for the larger body of photography and what it means for her personally. I would ask her if the economics of photography have changed broadly and how and has that specifically impacted or affected her work.