Podcasts about World Press Photo

In this episode of De Donkere Kamer Podcast, I speak with curator and visual editor Kira Pollack, former director of photography at TIME and former deputy editor at Vanity Fair.We talk about the power of images, not only in how they are made, but in how they are seen, shared and remembered. Kira reflects on her years at TIME, where she helped shape some of the magazine's most influential visual stories, and on what it means to work with photographers like Nadav Kander, James Nachtwey and many others.The conversation also moves into the present. As a 2025 Walter Shorenstein Media in Democracy Fellow at Harvard Kennedy School, Kira is researching how AI can help us understand visual archives, protect authorship and make unseen photographic histories more discoverable.We speak about visual literacy, trust, archives, the changing role of photojournalism and this year's World Press Photo Award, where Kira served as jury chair.A conversation about influence, responsibility and why photography still carries so much weight, especially now.On August 27 at 4 PM CEST, we welcome World Press Photo winner Ebrahim Alipor for an online masterclass about building visual stories without access, budget or institutional support.Tickets are €25 and you can ask Ebrahim your personal questions. Can't join live? There's a replay at a small extra cost. Register here.

L'émission 28 minutes du 12/05/2026 Elle a passé des mois dans l'intimité de la famille d'un taliban en Afghanistan Lauréate du prix World Press Photo 2026, la photojournaliste Élise Blanchard publie “Dans la maison d'un taliban” (éditions Le Cherche Midi). Pendant trois ans, après le départ des forces américaines en 2021, elle effectue plusieurs séjours, en Afghanistan, au sein de la famille d'un taliban rencontré lors d'un reportage. À travers leur quotidien, elle documente la résilience, l'humour, et la soumission des femmes, face à un système oppressif. En finir avec la Françafrique : Emmanuel Macron a-t-il tenu sa promesse ? Emmanuel Macron a choisi Nairobi pour organiser, avec le Kenya, le sommet “Africa Forward”, les 11 et 12 mai 2026. Il marque ainsi une rupture symbolique avec l'héritage de la Françafrique en choisissant, pour la première fois, un pays hôte anglophone. En 2017, lors de son discours à Ouagadougou, il affirmait : “Il n'y a plus de politique africaine de la France.” Depuis, la situation s'est fortement dégradée au Sahel avec le départ précipité de l'armée française du Mali, du Burkina Faso et du Niger entre 2020 et 2023. Dans le même temps, Emmanuel Macron a pris une série de mesures visant à reconnaître le passé colonial français. Aujourd'hui, il souhaite faire du continent africain un partenaire financier important. Il a notamment annoncé 14 milliards d'euros d'investissements, publics et privés, en Afrique. On en débat avec Nicolas Normand, ancien ambassadeur de France au Mali, au Congo Brazzaville et au Sénégal, Meriem Amellal, journaliste à France 24, spécialiste de l'Afrique et du Moyen-Orient et Martial Ze Belinga, économiste et sociologue. Xavier Mauduit revient sur l'histoire des hantavirus, ces maladies transmises par les rongeurs, après que la France a recensé son premier cas positif à ce virus. Marie Bonnisseau raconte l'histoire d'un touriste allemand, qui a obtenu 1 000 euros de dédommagement pour ne pas avoir réussi à obtenir de transat durant son séjour dans un hôtel grec. 28 minutes est le magazine d'actualité d'ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement 12 mai 2026 Présentation Élisabeth Quin Production KM, ARTE Radio

La storia con cui partiamo oggi è avvenuta nei locali della Questura di Brescia e ricorda molto la vicenda "Separati dall'ICE", la foto che ha vinto il World Press Photo che mostra a distanza ravvicinata un migrante ecuadoriano che viene brutalmente separato dalla moglie e dai figli, una foto scattata presso il tribunale di New York. È la storia di un uomo deportato dalla Questura di Brescia verso il Pakistan per questioni burocratiche all'inizio di aprile, lasciando qua la moglie e tre figli piccoli con un'attività commerciale che non può andare avanti, mentre nei comunicati sui giornali diventa "Un 32enne pakistano messo a disposizione dell'Ufficio Immigrazione della Questura per aver prodotto documentazione contraffatta al fine di ottenere fraudolentemente il rilascio di un titolo di Soggiorno". La puntata di Breccast di oggi continua poi con notizie in breve, diversi appuntamenti nel fine settimana in particolare, e un approfondimento a più voci dedicato a La Piazza. Brescia 28/05/1974 uno spettacolo teatrale dell'Associazione ARCI I Sogni in Tasca APS che avrà la sua prima al teatro Der Mast di Brescia il 25 maggio 2026.

Ilvy Njiokiktjien is a Dutch photojournalist, filmmaker, podcast host and educator who has been creating and sharing stories for almost two decades. She is based in Utrecht, the Netherlands and is a contributing photographer to VII Foundation. Ilvy is committed to documenting the social and political issues that shape our world. Her work is characterized by a sensitive eye and a compassionate and personal relationship with her subjects.  For nearly 2 decades, she chronicled South Africa's first post-apartheid generation. Ilvy became intrigued by these young adults and portrayed them in her own, personal and intimate style. “Equality is there on paper, but a majority of young people believes white South Africans still have better chances, as the legacy of centuries of inequality is still there.” The result is the project Born Free – Mandela's Generation of Hope, which sparked a documentary, an interactive website, a book, feature articles, and a traveling exhibition. Her work with Ukraine's LGBTQ community in March 2022 tells the tale of people's loves and fears – and their resolve in the face of Russian aggression. Ilvy's latest project on co-housing follows people who opt to live in non-traditional groups or who welcome extended family members into a shared home.  Ilvy was the first woman to win the Dutch Silver Camera Award for photographer of the year and was named the first ever Photographer Laureate of the Netherlands in 2013. In addition to numerous awards from international organizations such as World Press Photo and POYi, Ilvy's images have appeared in The New York Times, The Washington Post, National Geographic, The Guardian, Stern, Der Spiegel, TIME, and other major outlets. She has exhibited at Visa pour l'Image in France, New York's Photoville, and museums and festivals around the world.  On episode 281, Ilvy discusses, among other things: Her foray into podcasting for Canon The pattern of her work life How things have changed since she started Collaboration and the importance of writing and interviews Approach to personal long-term projects Her current project about ‘receiving states' Her approach to research Why it's good to reinvent yourself Using a simple Google search to generate ideas Her project in South Africa, Born Free Why she got kicked out of her internship on The Star newspaper Her interest in ‘interactive long reads' and the book she made with one of her subjects The perils and advantages of social media Her family history project and the joint exhibition that came of it The tendency for younger documentary photographers to be introspective and why that might be Her foray into podcasting - asking her fellow VII photographers four questions The importance of failure Her 'dream story' Referenced: Carl De Keyser Matt Black Sara Terry Become a A Small Voice podcast member here to access exclusive additional subscriber-only content and the full archive of 200+ previous episodes for £5 per month. Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides. Follow me on Instagram here. Need a new website? I will build you one with Squarespace. Details here.

Foto ganadora World Press Photo 2026, Artemis 2, mstdn ca, Antimateria, Videos Extraños, Crossing the Floor, Politica Colombiana Folclórica, Nudifier App, Encuentros cercanos en los cielos Bogotanos, Resistencia Eléctrica de una Vaca, Precios y Mapas.

Carol Guzy's World Press Photo of the Year image shows two daughters clinging to their father as ICE agents detain him at his immigration hearing. The renowned photojournalist says she hopes her work can cut through today's media noise and make people feel for others.

- Rafael Correa publica lista de alcaldes expulsados de RC por la elección de Carlos Encalada en la Prefectura del Guayas- Riesgo País de Ecuador cae a 404 puntos, su nivel más bajo en 11 años- Luisa González niega haber solicitado asilo político a México- Así operaba la banda del secuestro en Guayaquil: captaban víctimas en taxis y las obligaban a vaciar sus cuentas- Imagen de una familia ecuatoriana separada por ICE gana el World Press Photo

Bialobrzeski, Peter www.deutschlandfunkkultur.de, Fazit

As Sudan's war enters its fourth year, much of the story is told in numbers, millions displaced, thousands killed. But photojournalist Abdulmonam Eassa is trying to show something else. He's spent years documenting Sudan, from the hope of the 2019 revolution to the devastation of today's conflict. His latest work, “War in Sudan: A Trapped Nation,”just earned him a World Press Photo award. He takes us behind the images on what's described as the world's forgotten war.

De winnaars van de World Press Photo 2026 zijn bekend. Een ijsbeer op een dode walvis. Dronebeelden van de oorlog in Oekraïne. Een sociaal robot die een bejaarde vrouw vasthoudt. Beelden die je niet loslaten. Beelden die je iets vertellen over waar we als mensheid staan. En die je ook iets vertellen over de fotograaf die ze maakte.Want achter elke winnende foto zit iemand die een keuze maakte. Om erheen te gaan. Om stil te staan. Om af te drukken op precies dat moment. Fotojournalistiek is geen toeval, het is moed, timing en een rotsvast geloof dat één beeld het verschil kan maken. In een tijd waarin iedereen een camera heeft en AI beelden genereert op commando, worden die keuzes alleen maar belangrijker. Wat is een foto nog waard? En wie bepaalt dat?https://www.worldpressphoto.org/collection/photocontest/2026/europe

Lester Kiewit speaks to South African photojournalist Halden Krog about his 2026 World Press Photo award for capturing the final moments of a herd of elephants marked for culling in Zimbabwe. Good Morning Cape Town with Lester Kiewit is a podcast of the CapeTalk breakfast show. This programme is your authentic Cape Town wake-up call. Good Morning Cape Town with Lester Kiewit is informative, enlightening and accessible. The team’s ability to spot & share relevant and unusual stories make the programme inclusive and thought-provoking. Don’t miss the popular World View feature at 7:45am daily. Listen out for #LesterInYourLounge which is an outside broadcast – from the home of a listener in a different part of Cape Town - on the first Wednesday of every month. This show introduces you to interesting Capetonians as well as their favourite communities, habits, local personalities and neighbourhood news. Thank you for listening to a podcast from Good Morning Cape Town with Lester Kiewit. Listen live on Primedia+ weekdays between 06:00 and 09:00 (SA Time) to Good Morning CapeTalk with Lester Kiewit broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/xGkqLbT or find all the catch-up podcasts here https://buff.ly/f9Eeb7i Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalkSee omnystudio.com/listener for privacy information.

Con Rodrigo Cuevas exploramos su último trabajo, 'Manual de belleza'. También entrevistamos a Brais Lorenzo, uno de los fotoperiodistas ganadores del World Press Photo. Y exploramos la literatura de culto de Makenna Goodman y John Fowles, autores que nos descubre Laura Fernández. Todo en el día en el que hemos descubierto que tres películas españolas competirán por la Palma de Oro en Cannes. Lo contamos con Conxita Casanovas.Escuchar audio

Je scrolt door je tijdlijn en ziet een foto die je raakt. Een vluchteling op een boot. Een politieagent die iemand vasthoudt. Een brand. Maar klopt het wel? Is het echt? En nog belangrijker: maakt het eigenlijk uit? Want als niemand meer weet wat echt is, wat is een foto dan nog waard?We leven in een tijd waarin AI beelden maakt die niet te onderscheiden zijn van echte foto's. Waarin nieuwsfoto's worden gemanipuleerd, context wordt weggeknipt en beelden worden gebruikt als wapen. Dat is niet nieuw, maar het gaat wel harder dan ooit. En terwijl dat allemaal speelt, lopen er fotojournalisten rond die hun leven riskeren om de waarheid vast te leggen. Voor een foto. Eén foto. Omdat die ene foto er nog steeds toe doet. In deze uitzending praten we over vertrouwen, over de waarde van het echte beeld en over wat fotografie nog betekent als iedereen alles kan maken.

Photographer Ami Vitale: National Geographic Explorer at Large on Przewalski's Horses, Jane Goodall's Legacy, and Finding Hope in the Face of Extinction.Ami Vitale is a National Geographic photographer, documentary filmmaker, writer, and a newly-named national Geographic Explorer at Large who has traveled to more than 100 countries. She began her career as a photo editor for the Associated Press before becoming a contract photographer with National Geographic. A six-time World Press Photo award winner, she has also received the Daniel Pearl Award for Outstanding Reporting, the Lucie Humanitarian Award, and was named Magazine Photographer of the Year at the International Photographer of the Year awards. She is a Nikon Ambassador, a Royal Photographic Society Honorary Fellow, the author of the bestselling book Panda Love, and the founder and Executive Director of Vital Impacts, a nonprofit that has raised millions of dollars to support conservation projects worldwide. She is based in Montana.Notable Links:Ami Vitale Website Ami Vitale Instagram Vital Impacts  Przewalski's Horses Story for Nat GeoJane Goodall Institute Roots and Shoots BioRescue Project Beyond The Lens Interview with Ami Vitale, Episode 53, January 10, 2024 on Apple Podcasts*****This episode is brought to you by:National Geographic Museum of Exploration - Discovery begins here.Muench Workshops - Photography workshops and expeditions to the coolest places on the planet.Luminar Neo - Try Luminar Neo today at skylum.com, and use promo code "RICHARD" for a 15% discount, just for my listeners.Kase Filters - My listeners can get 10% off the Kase Filters Amazon page when they visit. beyondthelens.fm/kase and use coupon code BERNABE10 Follow Richard Bernabe:Substack: https://richardbernabe.substack.comInstagram: https://www.instagram.com/bernabephoto/Twitter/X: https://x.com/bernabephotoFacebook: https://www.facebook.com/bernabephoto

Today, the show travels to Bangladesh. It's the first of two specials, as we visit India too in the coming weeks. Bangladesh is roughly the size of England, with a population of between 170 and 200 million people. Dhaka is one of the busiest, loudest, most relentlessly alive cities you are ever likely to walk through. The city runs on noise, an orchestra of car, bus, rickshaw and tuk-tuk horns and beeps that never quite stops, layers of sound that, after a while, start to feel almost normal. We walk the riverbanks of the Buriganga, explore the shipyards of Keraniganj, lose ourselves in the markets of Old Dhaka, and find ourselves unexpectedly invited through a wall into a Krishna festival in full swing. Along the way, we photograph the sand carriers of the river and spend time in a city that rewards anyone willing to look past the surface. Into all of this walked my travel partner, Lynn Fraser, and I, with cameras and the great fortune of having GMB Akash as our guide, a World Press Photo winner who has spent his career photographing lives on the margins in a way that gives people back their dignity rather than reducing them to their hardships. This isn't a formal interview with him, more time spent together in his city, with his people. You'll get a very clear sense of who he is. We certainly did. Read more about our photographic adventures on our photography travel website, The Journey Beyond. Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily. WHY: A Sketchbook of Life is available here.

A 85. adás vendége Révész Tamás fotográfus, fotóriporter, a World Press Fotókiállítás szervezője.Karrierét a MÚOSZ képszerkesztő képzésének elvégzése után a Képes Újság fotóriportereként kezdte 1965-ben, innen ment át az először Tükör, majd Új tükör néven futó legendás hetilaphoz, ahol egészen 1989-ig, annak megszűnéséig dolgozott.Már ezen időszak alatt vállalt munkákat külföldi lapoknak, kiterjedt kapcsolati hálójának segítségével a rendszerváltás után néhány évig szabadúszóként dolgozott, és ügynökséget is alapított. 1991-ben, azaz 35 éve vette át a Keleti Éva által Magyarországra hozott World Press Photo kiállítás hazai rendezését, amely pályázaton korábban már zsűriként is részt vett.1996-ban váratlanul jött a lehetőség, hogy kimenjenek Amerikába szerencsét próbálni, amely óriási kihívásnak ígérkezett, és - mint később kiderült - az is volt: egy rendkívül termékeny és tanulságos időszak, kellemes és embert próbáló epizódokkal egyaránt.Néhány éve költöztek vissza újra Magyarországra, ahol oktatóként és fotográfusként is továbbra is aktív életet él, a családi kötelékek miatt pedig az Egyesült Államok, Svájc, Magyarország tengelyen.Munkáját számos díjjal tüntették már ki, úgy, mint a Pulitzer–, az Arany Kamera–, a World Press Photo–, a Balázs Béla– vagy az Alekszandr Rodcsenko–díj, fotóit számtalan kiállításon láthattuk, és több mint egy tucat könyve jelent meg.Örvendetes hír továbbá, hogy idén életműkiállítása is lesz a Műcsarnokban, ami július 16-án nyílik majd és október 18-ig lesz látható (a podcastben még egy héttel korábbi nyitásról beszélünk, az nem érvényes), véssétek be a dátumot a naptáratokba.Változatos és tanulságos életpályájáról beszélgetünk az adásban, érintve a fotográfusi hivatás előzményeit, a karrierépítés lépcsőit, a World Press Photo-t, az amerikai éveket és a jelenkort is. Szóba került még bolíviai kiküldetése, a holland király kitüntetése, a kudarcok kezelése, sőt, még Ziza, szeretett kiskutyája is.Jó szórakozást kívánok hozzá!--------FONTOS:A wopcast-et támogathatod Patreon-on és egyszerű utalással is..Patreon:https://www.patreon.com/wopcast.Az utalás ide érkezhet:Kocsány Kornél - CIB Bank10700495-62634067-51100005--------Révész Tamáshttps://www.instagram.com/tamasrevesz/http://www.tamasrevesz.com/--------A Tamás által említett inspirációk:.Korniss Péterhttps://varfok-galeria.hu/muveszek/korniss-peterhttps://www.instagram.com/peter_korniss/.Sopronyi Gyulahttps://www.instagram.com/gyula_sopronyi/https://hu.wikipedia.org/wiki/Sopronyi_Gyula.W. Eugene Smithhttps://www.smithfund.org/https://www.instagram.com/eugenesmithfund/.James Nachtweyhttp://www.jamesnachtwey.com/https://www.instagram.com/jamesnachtwey/--------A wopcast, a wonderzofphotography és a wonderzofpainting:https://www.facebook.com/wopcastforlifehttps://www.facebook.com/wonderzofphotographyhttps://www.instagram.com/wopcast_hunhttps://www.instagram.com/wonderzofphotographyhttps://www.facebook.com/wonderzofpaintinghttps://www.instagram.com/wonderzofpaintingwww.youtube.com/@wopcast--------Ha bármi kérdésetek, kérésetek lenne, keressetek bátran awonderzofphotography@gmail.com emailcímen vagy közvetlenül bármelyikközösségi médiás felületen.--------Műsorvezető: © Kocsány Kornélhttps://linktr.ee/kornelkocsanyArculatfelelős: © Kocsány Ákoshttps://www.akossnaps.com/

Joachim Ladefoged is a Danish photographer born in 1970. He has worked as a professional since 1991, and is a member of the international photo agency VII. Today he is a staff photographer at the Danish Daily Jyllands-Posten, but over the years he has worked regularly for magazines such as The New York Times Magazine, Mare, The New Yorker and TIME.Joachim has received numerous awards for his work from institutions such as Visa D'Or, World Press Photo, POYi, Eissie, and Agfa, as well as Picture of the Year in Denmark. Over the years he has published 3 monographs, Albanians, Mirror and Time After My Time.Joachim photographs everything with the same inventiveness and diligence, whether sports, war or commerce. His highly accomplished career has seen him master complex, violent news stories, commercial assignments, daily news, and rich, vibrant, and spectacular feature stories. Joachim is credited with being one of the driving forces behind the new wave of Danish photojournalism.In episode 274, Joachim discusses, among other things:Having arthritis as a teenager and the impact it had on his life (good and bad)Starting his career as an intern at a local newspaperMoving on to ‘the best job in the world' at national newspaper PolitikenWinning the World Press Photo awardWords of wisdom received from Magnum legend Constantine ManosGetting into Magnum… and being chucked out againBeing part of ‘the new wave of Danish photojounalists'Why changing direction on becoming a father was “the right decision, but a hard decision”Why three photographers were just made redundant on his newspaperHis approach to shooting and lighting portraitsHis book project Time After My TimePhotographing his kids with the iPhoneInstagram Become a A Small Voice podcast member here to access exclusive additional subscriber-only content and the full archive of 200+ previous episodes for £5 per month.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Need a new website? I will build you one with Squarespace. Details here.

Als am 11. September 1973 die Panzer vor dem Präsidentenpalast aufrollen, setzt sich Salvador Allende an den Schreibtisch und hält seine letzte Rede. 1970 gewählt, wollte er Chile auf demokratischem Weg zum Sozialismus führen. Doch stattdessen versinkt die polarisierte chilenische Gesellschaft im politischen Chaos, nicht zuletzt, weil die CIA gezielt Propaganda gegen Allende betreibt. Dann, bevor eine demokratische Lösung gefunden werden kann, beginnt Chiles Militär den Putsch. Der 11. September wird der letzte Tag Salvador Allendes und das Ende der chilenischen Demokratie……….Das Folgenbild zeigt Salvador Allende, der ein letztes Mal aus der Tür des Palastes tritt. Foto: Hans Peters / Anefo, „World Press Photo (1974)“, Creative Commons Namensnennung – Weitergabe unter gleichen Bedingungen 3.0 (CC BY-SA 3.0). Lizenz: https://creativecommons.org/licenses/by-sa/3.0/…….Literatur:Streeter, Stephen M.: „Uncool and Incorrect in Chile”. The Nixon Administration and the Downfall of Salvador Allende, Jefferson 2023.Rinke, Stefan: Kleine Geschichte Chiles, München 2007.Hagen, Waltraud; Jacobs, Peter: Salvador Allende. Eine Chronik, Berlin 2008.……PREMIUM - testet einen Monat lang gratis!His2Go unterstützen für tolle Vorteile - über Steady!Klick hier und werde His2Go Hero oder His2Go Legend……WERBUNGDu willst dir die Rabatte unserer weiteren Werbepartner sichern? Hier geht's zu den Angeboten!…….UNTERSTÜTZUNGFolgt und bewertet uns bei Spotify, Apple Podcasts, Podimo oder über eure Lieblings-Podcastplattformen.Wir freuen uns über euer Feedback, Input und Vorschläge zum Podcast, die ihr uns über das Kontaktformular auf der Website, Instagram und unsere Feedback E-Mail: kontakt@his2go.de schicken könnt. An dieser Stelle nochmals vielen Dank an jede einzelne Rückmeldung, die uns bisher erreicht hat und uns sehr motiviert.…….COPYRIGHTMusic from https://filmmusic.io: “Sneaky Snitch” by Kevin MacLeod and "Plain Loafer" by Kevin MacLeod (https://incompetech.com) License: Creative Commons CC BY 3.0 https://creativecommons.org/licenses/by/3.0/ Hosted on Acast. See acast.com/privacy for more information.

Somosi Rita művészettörténész Mary Ellen Mark: Női sorsok című kiállításról beszél, amely a Mai Manó Házban, a Magyar Fotográfusok Házában látható 2026. január 11-ig. A tárlat Magyarországon először mutatja be a világhírű amerikai dokumentarista fotográfus életművét. Mary Ellen Mark (1940–2015) a 20. század egyik legmeghatározóbb alkotója, akinek képei mély emberséggel és páratlan érzékenységgel közelítenek a női sorsokhoz, a társadalom peremére szorult közösségek életéhez és az emberi méltóság kérdéséhez.Rita arról beszél, hogy Mark munkái egyszerre szólnak a dokumentálásról és az együttérzésről. „Nem kívülről figyeli a világot, hanem benne él. A képein mindig ott van a kapcsolat a fotós és az alany között – ez a bizalom és az empátia teremti meg a képek erejét.”A kiállítás több ikonikus sorozatot is bemutat. Láthatók a Ward 81 pszichiátriai intézet női betegeit ábrázoló felvételek, az Indian Circus színes, vibráló képei, valamint a Streetwise sorozat, amely az amerikai utcagyerekek életét követi, és amelyből később Oscar-díjra jelölt film is született. A tárlat egy külön szekcióban bemutatja a Teréz anya misszióit megörökítő képeket is – ezek a fotók a hit, a szolgálat és az emberség mély üzenetét hordozzák. Mary Ellen Mark képei több évtizeden át jelennek meg a világ legnagyobb magazinjaiban, köztük a LIFE, a The New Yorker, a New York Times Magazine, a Rolling Stone és a Vanity Fair hasábjain. Munkásságát olyan rangos díjakkal ismerik el, mint a World Press Photo Életműdíj, a Cornell Capa-díj, a George Eastman House Életműdíj, valamint a World Photography Organisation kitüntetése a fotográfiához nyújtott kiemelkedő hozzájárulásáért. Rita kiemeli, hogy a kiállítás nemcsak képeket, hanem filmrészleteket és eredeti dokumentumokat is bemutat, ezáltal az életmű teljes ívét tárja a közönség elé. „A fotók ereje abban rejlik, hogy nem ítélkeznek. A néző szembenéz az emberi léttel, és közben felismeri, hogy mindannyiunkban ott él ugyanaz a törékenység és ugyanaz az erő.”A Női sorsok kiállítás célja, hogy közelebb hozza a magyar közönséghez a női történetek sokszínűségét és az empátia kultúráját. A képek nem a fájdalmat, hanem a méltóságot mutatják meg – azt a belső tartást, amellyel a nők viselik életük kihívásait.A Sláger FM-en minden este 22 órakor a kultúráé a főszerep S. Miller András az egyik oldalon, a másikon pedig a térség kiemelkedő színházi kulturális, zenei szcena résztvevői Egy óra Budapest és Pest megye aktuális kult történeteivel. Sláger KULT – A természetes emberi hangok műsora

Við veljum saman brot af því besta í síðasta þættinum fyrir jól. Við fjölluðum um Sharenting í nóvember og áform yfirvalda á Spáni að setja skorður á það hverju foreldrar megi deila af börnum sínum á netinu og hverju ekki. Og svo reyndum við að svara stærri spurningum, hversu miklu af lífi barna er í lagi að deila á samfélagsmiðlum? Hvað þurfum við að hafa í huga og hverjar geta hætturnar verið? Svo fjöllum við um fréttaljósmyndun. Það er umfjöllun frá því í september, en við tókum viðtal við framkvæmdastjóra World Press Photo í tilefni af 70 ára afmæli samtakanna og fórum yfir nokkrar af eftirminnilegustu fréttaljósmyndum sögunnar.

The Stringer Documentary & the Napalm Girl Mystery – A Deep Dive into Photojournalism Controversy Published on 10 Frames Per Second Blog – Your go‑to source for photojournalism insight Table of Contents What Is The Stringer? Meet the Key Players – Gary Knight & Bao Nguyen Why the Napalm Girl Photo Matters Forensic Evidence: The Road‑Testing of the Iconic Shot Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture The Hidden History of Vietnamese & Local Freelance Photographers How to Watch The Stringer and Join the Conversation Takeaway: What This Means for Photojournalism Today 1. What Is The Stringer? The Stringer is a newly released documentary (Netflix, 2024) that investigates the authorship of the world‑famous “Napalm Girl” photograph taken in Vietnam, 1972. Core premise: The film follows journalist Gary Knight and director Bao Nguyen as they trace a decades‑old secret held by a Vietnamese stringer‑photographer, Nguyễn Thành Nghệ (Wintan Nei). Format: A blend of on‑the‑ground interviews, archival footage, and forensic road‑testing that reconstructs the exact location, timing, and line‑of‑sight of the iconic image. Why it matters: The image is one of the most published photographs in history and is universally credited to Associated Press staff photographer Nick Ut. The documentary questions that credit, shaking a cornerstone of photojournalistic mythology. 2. Meet the Key Players – Gary Knight & Bao Nguyen Person Role Why They're Important Gary Knight Founder of the VII Foundation, mentor, and documentary “connective tissue.” Provides insider knowledge of the photojournalism world, contacts, and credibility that anchors the investigation. Bao Nguyen Director of The Stringer Chose to frame the story as a journey, not just a series of talking‑heads, and insisted on a central narrator (Gary) to guide viewers. Carl Robinson Former AP Vietnamese‑language photo editor (local hire). His 2022 email sparked the whole investigation; his memories and documents are a primary source. Horst Fass Senior AP photographer in Vietnam (the “gatekeeper” of the image). His decision to run the picture on the wire is central to the credit controversy. Nguyễn Thành Nghệ (Wintan Nei) Vietnamese stringer who claimed to have taken the shot. The film's “secret” – his testimony and forensic evidence challenge the accepted narrative. Nick Ut AP staff photographer historically credited for the photo. The focal point of the debate; his name appears on every caption of the image. 3. Why the Napalm Girl Photo Matters Iconic status: Frequently cited in textbooks, museums, and peace‑activist campaigns. Cultural impact: Symbolizes the horrors of the Vietnam War and the power of visual storytelling. Professional legacy: The credit has shaped career trajectories, awards (Pulitzer, etc.), and AP's brand. If the credit shifts, we must reconsider how many other war‑zone images were attributed, potentially rewriting a large part of photojournalism history. 4. Forensic Evidence: The Road‑Testing of the Iconic Shot The documentary's most compelling section is the road‑forensics – a scientific recreation of the moment the photo was taken. Methodology: Researchers drove the exact route described by Wintan Nei, measuring distances, angles, and terrain features. Key Findings: Line‑of‑sight analysis shows the photographer would have been ~150 meters from the burning road—far beyond the reach of a 35 mm lens used by Ut. Shadow & lighting study matches the sun angle on July 29, 1972, which aligns with Wintan Nei's timeline, not Ut's. Camera metadata (Pentax vs. Nikon) – expert testimony confirms Ut's camera was not a Pentax, the model allegedly used by Wintan Nei. Independent verification: World Press Photo hired a former Bellingcat investigator, and INDEX a Paris-based research group. French photographer Tristan da Cunha corroborated the forensic report.  Cunha also worked with AD Coleman on his Robert Capa investigation (Ep. 35) These data points form the strongest case in the film that Nick Ut did not take the photograph. 5. Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture Immediate pushback: Numerous journalists launched letter‑writing campaigns to film festivals and employers, asking for the documentary to be removed. Attempted bans: Some media outlets threatened to fire staff who publicly supported the film. Defensive stance: Many veteran photographers argued that the film attacks “iconic” heroes and undermines the profession's reputation. Key quote from Gary Knight: “Journalists don't ban books or films they haven't read. Our job is to investigate, not to protect mythologies.” The controversy illustrates the “wagon‑circling” phenomenon—protecting revered figures at the expense of truth. 6. The Hidden History of Vietnamese & Local Freelance Photographers The documentary spotlights a systemic issue: local photographers' contributions have been consistently erased. No Vietnamese names appear in a May 1975 Time editorial thank‑you list, despite hundreds of local staff. Many local photographers sold film to AP, NBC, or CBS, but credits always went to Western staff. Examples of overlooked talent: Dang Van Phuoc – AP's most prolific photographer during the war (lost an eye in the field) *needs his own wikipedia entry. Catherine Leroy, Francoise Demulder, Kate Webb – Women who covered Vietnam but remain under‑recognized. Result: A distorted, Western‑centric narrative of war photography that marginalizes the very people who captured the ground truth. 7. How to Watch The Stringer and Join the Conversation Platform Availability Tips Netflix Global (over 100 countries) Use the search term “The Stringer”; enable subtitles for multilingual audiences. Film festivals Sundance 2024 (screened), Frontline Club (London) Look for Q&A sessions with Gary Knight or Bao Nguyen. Social media #TheStringer on Twitter, Instagram, and Facebook Follow the hashtag for updates, behind‑the‑scenes clips, and scholarly debate. What you can do: Read the forensic report (available on the Seven Foundation website). Share the story with your photography community to spark discussions on credit attribution. Support local photographers by following their work on platforms like Vietnam Photo Archive or Fotodoc Center. 8. Takeaway: What This Means for Photojournalism Today Transparency is essential. Photo agencies must disclose the full chain of custody for images, especially in conflict zones. Credit deserves rigorous verification. The Napalm Girl case shows that even decades later, new evidence can overturn long‑standing attributions. Elevate local voices. Recognizing Vietnamese, Cambodian, Bosnian, Serbian, Ukrainian, and other native photographers enriches the historical record and promotes equity. Forensic tools are now part of journalism. Road‑testing, GIS mapping, and metadata analysis are valuable assets for future investigations. Bottom line: The Stringer isn't just a documentary—it's a catalyst urging the photojournalism community to re‑examine its myths, honor the unsung creators, and adopt a more accountable, data‑driven approach to storytelling.

In deze aflevering van De Donkere Kamer ga ik in gesprek met oorlogsfotograaf Eddy van Wessel. Al meer dan dertig jaar werkt hij in conflictgebieden: van voormalig Joegoslavië tot Syrië, Irak en nu vooral Oekraïne. Met zijn herkenbare analoge, zwart-wit beelden wil hij niet de wapens, maar de levenskracht en kwetsbaarheid van mensen in oorlog zichtbaar maken.Eddy vertelt waarom hij uiteindelijk in Zweden belandde, hoe het is om steeds opnieuw naar het front terug te keren en waar voor hem de grens ligt tussen noodzakelijk risico en roekeloosheid. Hij legt uit hoe drones de oorlog compleet veranderd hebben, hoe hij zichzelf dwingt om te blijven voelen én toch door te fotograferen, en waarom hij zijn foto's ziet als een stil, grafisch protest tegen de zinloosheid van oorlog.We hebben het over zijn nieuwe boek “Ukraine”, zijn tentoonstelling in Soest en Kiev, zijn liefde voor analoge film en diepe zwarten, en zijn werk voor Protect Ukraine, waarbij fotografie en concrete hulp elkaar raken. Een gesprek over angst, verantwoordelijkheid, rouw, wilskracht – en over de troost van stilte, familie en een donkere kamer aan een Zweeds meer.website Eddy: https://eddyvanwessel.com/koop het boek: https://fw-books.nl/product/eddy-van-wessel-ukraine/website Protect Ukraine: https://protectukraine.nl/Wil je na deze aflevering dieper duiken in documentaire fotografie en visual storytelling?De volgende online masterclass van De Donkere Kamer wordt gegeven door Ebrahim Alipoor – een Iraans-Koerdisch documentairefotograaf en World Press Photo-winnaar, bekend om zijn langlopende projecten over onderbelichte gemeenschappen en sociale en politieke thema's in het Midden-Oosten. Hij neemt je mee in hoe je vanuit een persoonlijke betrokkenheid een langetermijnproject opbouwt met geen budget noch groot netwerk: van eerste vonk, research en toegang krijgen, tot ethiek, veiligheid en het vormgeven van een consistente beeldtaal.Je volgt de masterclass gewoon vanuit je zetel, live met Q&A of achteraf via de replay.

Behind the Curtains of World Press Photo and its 70 Anniversary! This week we go behind the scenes with Joumana El Zein Khoury, Executive Director of the World Press Photo Foundation, to discuss the past, present, and future of photojournalism and the foundation. This year marks WPP's monumental 70th Anniversary, and Joumana reveals the major changes she implemented with her team, including a regional judging model that now sees 80% of winners being local photographers. We pull back the curtain on how WPP actually works: how to apply and get your image seen, how the judging rounds are done, how the Joop Swart Masterclass was revamped to give mentees a sustainable survival toolkit, the immense challenge of maintaining trust in an age of generative AI and the major celebrations for the 70th Anniversary. This is an inspiring, and fun at times of course, talk about the immense responsibility of curating the world's most powerful visual stories. Grab that coffee, settle in, and let's go behind the scenes of the World Press Photo Foundation with the wonderful Joumana El Zein Khoury. *****

La guerra nel Corno d'Africa è passata sul corpo delle donne, una storia di violenza raccontata della fotografa italiana Cinzia Canneri, premiata nell'ultima edizione del World Press Photo.Negli ultimi 30 anni centinaia di migliaia di persone sono fuggite dall'Eritrea nel tentativo di raggiungere, soprattutto, l'Europa. Fuggono da dittatura, detenzioni arbitrarie e sparizioni forzate diffuse e sistematiche, da un governo che impone un servizio militare obbligatorio a tempo indeterminato, anche alle donne. Una vera diaspora secondo Siid Negash, attivista eritreo, portavoce della Ong “Eritrea Democratica”, che combatte contro la violazione dei diritti umani in Eritrea. Donne che fuggono, con i figli, dalle violenze che sono proseguite nonostante l'accordo di cessazione delle ostilità firmato nel 2022. Una storia di impunità a cui si è opposta l'attivista etiope per i diritti delle donne e musicista Meseret Hadush, originaria del Tigray che nel 2023 ha fondato la l'Ong Hiwyet che si batte per perseguire i responsabili delle violenze.

Multiple award winner Lee-Ann Olwage from South Africa joins us today to discuss her incredible journey from film set decorator to winning in the Sony World Photography Awards and World Press Photo. Her powerful approach is rooted in collaborative storytelling, giving marginalized voices agency and celebrating their identity on the African continent. We dive into her project "#BlackDragMagic", where she collaborated with amazing drag artists to champion the queer, lesbian, gay, bisexual, and trans community and confront the daily threat of violence in South African townships. We also discuss her uplifting series, "The Right to Play," which visualizes the dreams of young girls in Kenya avoiding FGM and child marriage by proudly setting their sights on becoming lawyers and pilots, and her newest documentation of the "State Ballet of Georgia".  Don't miss this profound conversation on ethics, purpose, and the language of the image—and stick around to hear the wonderful moment her assistant got a marriage proposal while surrounded by amazing drag queens! Enjoy it. *****

Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo, Ed has been recognized for his complex imagery and its compelling rendering of the human condition. Ed's innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015's Multimedia Photographer of the Year. Ed's embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Ed continues to create compelling imagery and engage with the world in new ways.Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Ed's images have been published and exhibited worldwide. His editorial assignments and personal projects have generated fourteen books.In 2002, Ed in partnership with his wife, writer + filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues.In 2019, The Enigma Room, an immersive installation, premiered at NYC's Photoville festival, and has since been seen in Israel, the Netherlands, South Korea, and New Mexico, USA.HIs new book is, A Period In Time: Looking Back While Moving Forward, 1977 - 2022. In episode 269, Ed discusses, among other things:Wanting to contribute to positive changeDonating his archive and whyA lesson learned on being assertiveHis new book A Period In TimePublishing extracts from his journal entriesEditing language in response to modern sensibilitiesSeeing the impact of identity politics in the USAHis book project with his wife, Julie, American SketchesAmerica being less divided than we are being led to believeHis interest in ‘advocacy journalism'Website | Instagram Become a A Small Voice podcast member here to access exclusive additional subscriber-only content and the full archive of 200+ previous episodes for £5 per month.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

Omayra Sánchez was a 13-year-old girl who was tragically trapped for almost three days under the debris of her home after the 1985 eruption of the Nevado del Ruiz volcano in Colombia. Despite rescue efforts and media coverage, her legs were hopelessly pinned, and rescue workers could not reach her with the necessary equipment to free her without amputating her legs. After approximately 60 hours, she died from complications, likely a heart attack, gangrene, or hypothermia.Her story became a global symbol of the disaster and the failures in the official response, and a photo of her by Frank Fournier won the World Press Photo of the Year in 1986. Send me a text but know that I can't respond here Support the showYou will find the full transcript behind the show notes: https://interspanish.buzzsprout.comIf you have a story or topic you would like me to cover, please send your suggestions to: InterSpanishPodcast@gmail.com Please visit my socials: https://linktr.ee/InterSpanish

In deze aflevering zit ik aan de keukentafel in Rotterdam bij een van de meest invloedrijke Nederlandse fotojournalisten: Vincent Mentzel (1945). Hij brak zijn studie aan de kunstacademie af, leerde het vak in de donkere kamer bij Maria Austria, werd in de jaren '70 staffotograaf bij NRC en groeide uit tot de fotograaf die het Binnenhof van dichtbij vastlegde – vaak nóg dichterbij dan de politici zelf doorhadden. Hij won meerdere World Press Photo-awards, zat later zelfs in het bestuur, fotografeerde generaties politici, kunstenaars en collega-fotografen, en blijft op zijn tachtigste (!) vrolijk doorgaan… met zijn iPhone.We praten over leren kijken (echt kijken), over waarom hij in de donkere kamer altijd “wegdrukte wat niet relevant was”, over vertrouwen tussen fotograaf en geportretteerde, over de verleiding en het gevaar van AI-beelden, over het bewaren van je archief en waarom fotografen daar veel te laat over nadenken. Hij vertelt hoe zijn iPhone-archief van tienduizenden beelden uiteindelijk een boek werd, waarom sommige mensen níet in dat boek staan, en waarom hij het leven nu ook in termen van troost, schoonheid en nalatenschap bekijkt.Het is een gesprek over fotografie als geheugen, als spel én als bewijs dat je nieuwsgierigheid je lang jonger houdt dan je paspoort.Hier vind je Vincent's insta account: @vincentmentzelEn hier kan je zijn Handpalmfotografie boek bestellen.

What's harder to photograph: adrenaline-fueled Kid Jockeys in Indonesia, or the silent, restricted streets of North Korea? Today, we sit down with Belgian documentary photographer Alain Schroeder, traveling around the globe, looking for the next thing that piques his interest. He is honored for his amazing work with a long list of awards, including multiple World Press Photo awards, Picture of The Year, Travel Photographer of the Year, Visa pour l'image, Siena or Nikon Press Photo Awards, to name just a few, with of course countless major exhibitions around the world. Alain walks us through his incredible career shift—from covering 500 magazine sports covers, starting his own photo agency to dedicating his life to deep personal stories. We dive into the chaos of the Kid Jockeys in Sumbawa, the unique challenges of shooting Kim City in North Korea, and the resilient Grandma Divers (Haenyeo) of South Korea.  Tune in for a powerful, fun conversation with great advice on what separates an award-winning picture from an ordinary one, how to get your work seen these days, and how to stay creatively fresh after decades in the business. Enjoy it! *****

World Press Photo fagnar 70 ára afmæli á árinu. Samtökin fóru í naflaskoðun í tilefni tímamótana. Við ræðum við Joumana El Zein Khoury, framkvæmdastjóra World Press Photo, í þættinum og rifjum upp eftirminnilegustu fréttaljósmyndir sögunnar. Myndir sem breyttu heiminum. Svo segir Dagný Hulda Erlendsdóttir okkur allt um upplýsingaáróður í stríði. Þessi upplýsingahernaður er margslunginn. Hann er í fjölmiðlum, í orðræðu stjórnmálamanna, á rásum á YouTube, mikið á samfélagsmiðlum, bæði í færslum og ummælum við færslur. Við ræðum við konu frá Úkraínu sem segir að meira að segja þar í landi trúa einhverjir árórðri Rússa um stríðið sem Úkraínumenn finna vel fyrir á eigin skinni. Svo kemur spákona líka við sögu í umfjölluninni og sérstök deild Ísraelshers sem hefur það hlutverk að dreifa rógi og lygum um blaðamenn á Gaza.

Những tranh cãi xung quanh bức ảnh nổi tiếng “Napalm Girl” ( Em bé Napalm ) đã bùng lên kể từ khi một bộ phim được chiếu tại Mỹ khẳng định tác giả của bức ảnh này không phải là Nick Ut mà là một người khác. Trong suốt 53 năm qua, bức ảnh “Napalm Girl”, còn được biết dưới cái tên "Terror of war" ,vẫn được xem là biểu tượng cho sự tàn khốc của chiến tranh Việt Nam. Bức ảnh được chụp ngày 08/06/1972 tại Trảng Bàng khi máy bay của không quân Việt Nam Cộng Hòa ném bom napalm nhầm mục tiêu vào một thánh thất Cao Đài nơi mà một nhóm phụ nữ và trẻ em lúc đó đang trú ẩn. Trong ảnh, người ta thấy Kim Phúc, một cô bé 9 tuổi, bị bỏng nặng, thân thể lõa lồ vì quần áo bị cháy hết, cùng với một số trẻ em, từ làng Trảng Bàng vừa chạy vừa la khóc đau đớn, hoảng loạn trên quốc lộ, trước khi bất tỉnh và được đưa vào bệnh viện.   Chính nhờ bức ảnh này mà ông Nick Ut, một phóng viên nhiếp ảnh trẻ làm việc cho hãng tin Mỹ AP ở Sài Gòn lúc ấy, trở nên nổi tiếng thế giới: Ngay ngày hôm sau “Napalm Girl” được đăng trên trang bìa của New York Times, gây chấn động dư luận quốc tế. Tác giả của bức ảnh ngay năm đó được trao Giải Pulitzer về báo chí. Sang năm 1973, tổ chức World Press Photo ( Giải Báo ảnh Thế giới ) đã trao giải “Bức ảnh của năm” cho “Napalm Girl”. Thế nhưng, ngày 16/05/2025,  World Press Photo lại thông báo tạm ngưng ghi tên tác giả của bức ảnh “Napalm Girl” là Nick Ut sau khi một bộ phim tài liệu của đạo diễn Mỹ gốc Việt Bảo Nguyễn tựa đề “The Stringer: The Man Who Took The Photo”, được trình chiếu lần đầu tiên tại Liên hoan phim Sundance ngày 25/01/2025. Các tác giả của  bộ phim khẳng định, sau nhiều năm điều tra, thật ra tác giả của bức ảnh ”Napalm Girl” không phải là Nick Ut, mà là ông Nguyễn Thành Nghệ, được giới thiệu là một “nhà báo tự do” (a stringer).  Bộ phim dựa trên cuộc điều tra của nhà báo Mỹ Gary Knight về tuyên bố vào năm 2022 của Carl Robinson, một nhân viên của hãng tin AP ở Sài Gòn năm 1972. Theo Robinson, ông đã được Horst Faas, trưởng bộ phận ảnh của AP tại Sài Gòn vào thời điểm đó, ra lệnh phải ghi Nick Ut là tác giả bức ảnh, vì Nick Ut là phóng viên chính thức của hãng tin. Bộ phim phỏng vấn rất nhiều người, trong đó có một số phóng viên có mặt tại Trảng Bàng ngày 08/06/1972, nhưng lại không hỏi hai nhân vật chính trong câu chuyện này là Nick Ut (hiện sống tại Mỹ) và bà Kim Phúc (hiện sống ở Canada).  Sau một cuộc điều ra riêng của World Press Photo, giám đốc điều hành World Press Photo, Joumana El Zein Khoury, đưa ra một tuyên bố vào tháng 5: "Mức độ nghi ngờ quá lớn để duy trì việc ghi nhận tên tác giả như hiện tại". Tuy nhiên, World Press Photo cũng không ghi lại tên tác giả bức ảnh. Theo trang mạng PetaPixel, ông Bảo Nguyễn, đạo diễn phim "The Stringer" đã hoan nghênh quyết định của Worlfd Press Photo. Đạo diễn phim đã viết vào tháng 5: "Những phát hiện của họ kết luận rằng, dựa trên các bằng chứng hình ảnh và kỹ thuật hiện có, Nguyễn Thành Nghệ, một nhiếp ảnh gia người Việt Nam lâu nay bị lãng quên, dường như có nhiều khả năng là người chụp bức ảnh này hơn Nick Ut. Việc xem xét lại này một phần được thúc đẩy bởi bằng chứng được trình bày trong "The Stringer", một bộ phim tài liệu điều tra do tôi đạo diễn với sự hợp tác chặt chẽ của một nhóm các nhà báo và đoàn làm phim, nhiều người trong số họ là người Việt Nam.Sự công nhận này có ý nghĩa sâu sắc đối với tất cả chúng tôi, những người tham gia. Nhưng trên hết, nó đại diện cho bước đầu tiên quan trọng trong việc ghi nhận người mà chúng tôi tin là đã thật sự chụp bức ảnh đó: Nguyễn Thành Nghệ. Chúng tôi hy vọng thế giới sẽ biết đến và gọi tên ông ấy". Ông Bảo Nguyễn còn khẳng định rằng "The Stringer" không phải là một bộ phim về Nick Ut, mà là một cuộc khám phá sự thật, ký ức và "gánh nặng thầm lặng của một người đàn ông đã mang trong mình một bí mật hơn năm mươi năm". Ngay sau khi được trình chiếu, bộ phim đã gây tranh cãi rất nhiều trong giới phóng viên nhiếp ảnh quốc tế, nhiều người tin vào những khẳng định trong phim “The Stringer”, nhưng cũng có nhiều người nghi ngờ tính xác thực của bộ phim. Về phần mình, ngay trước khi "The Stringer" được trình chiếu lần đầu tiên, hãng tin AP đã bác bỏ những khẳng định trong bộ phim và đã tiến hành các cuộc điều tra riêng để đi đến kết luận là không có lý do gì để thay đổi tên tác giả của bức ảnh “Napalm Girl”. Ngay sau khi World Press Photo đình chỉ quyền tác giả của Nick Ut cho bức ảnh "Em bé Napalm", ba nhân vậy nguyên là chủ tịch và giám khảo của World Press Photo đã viết một bức thư ngỏ bày tỏ sự thất vọng trước quyết định của tổ chức này và yêu cầu World Press Photo khôi phục quyền tác giả của Nick Ut. Tính đến đầu tháng 6, 400 nhiếp ảnh gia chuyên nghiệp đã ký vào bức thư đó. Mặc dù không nêu rõ ai là người chụp bức ảnh nổi tiếng “Napalm Girl”, bức thư ngỏ cho là "vẫn chưa có đủ bằng chứng không thể chối cãi" để có thể kết luận đó không phải là ảnh do Nick Ut chụp.  Cũng nhằm biểu thị sự ủng hộ đối với Nick Ut trong vụ này, năm nay ban tổ chức Liên hoan Ảnh Báo chí Thế giới "Visa pour l'image" tại thành phố Perpignan của Pháp, mà giám đốc là ông Jean - François Leroy, ngay từ tháng 5 đã mời ông đến dự.  Trả lời RFI Việt ngữ ngày 02/09/2025 tại Perpignan nhân Liên hoan Visa pour l'image, ông Nick Ut cho biết:  “Họ đã mời tôi cách đây mấy tháng rồi. Nhân dịp này tôi vừa tới thì gặp ông Jean - François Leroy hôm qua. Ông rất mừng khi gặp lại tôi và ông nói: “Chúng tôi ủng hộ Nick Ut trong vụ bức hình Em bé Napalm”. Họ rất là phản đối, bởi vì bức ảnh “Em bé Napalm” đã từng được nói rất nhiều tại Pháp, nhất là tờ báo Paris Match đã từng sử dụng bức hình này rất nhiều. Cách đây ba mươi mấy năm, Visa pour l'image cũng đã từng mời tôi tới đây và tôi đã gặp những phóng viên nổi tiếng, họ luôn luôn ủng hộ tôi. Khi bức hình đó được làm thành phim “The Stringer”, họ rất bực tức và phản đối luôn cả World Press rất nhiều. Cách đây hơn một năm tôi đã nghe câu chuyện đó. Sau đó phim thành hình là phim “The Stringer”. Tôi cũng đã coi phim đó rồi. Phim hoàn toàn là không đúng sự thật, bởi vì họ nói ảnh đó là tôi lấy của một người làm cho NBC. Thật ra ông ấy không phải là nhà báo, mà là một tài xế được mướn mấy tiếng đồng hồ một ngày thôi. Báo chí Việt ngữ nói ông ấy là một nhà báo làm cho đài truyền hình là không đúng sự thật, tại vì tất cả những người Việt Nam làm cho báo Mỹ trong thời chiến tranh tôi đều biết hết.  Tôi được người bạn từ bên Úc gọi tôi một cái message ( tin nhắn ) nói rằng ông Nghệ không có làm báo gì hết. Ông ấy đi du học ở tại Mỹ năm 63 vào thời ông Diệm, học một khóa học về truyền hình tại New Jersey, nhưng thật sự là học làm tình báo. Khi trở về Việt Nam, ông là sĩ quan Việt Nam dưới chính quyền Sài Gòn, chuyên đi khai thác tù binh. Vào ngày 08/06/1972 ở  Trảng Bàng, ông ấy đứng nhìn vào máy hình để bắt những tù binh của Cộng sản về điều tra. Người bạn tôi cho biết là trước khi mất nước năm 75, ông Nghệ đã được tòa đại sứ Mỹ đưa đi trước một tháng. Chỉ có những người nhân viên mật vụ của Mỹ mới được đi sớm. Ông này chưa làm nhà báo bao giờ! Ông chỉ là một tài xế lái xe chở những người của đài truyền hình cameraman, soundman đi Trảng Bàng hôm đó. Tôi cũng không ngờ 53 năm bây giờ mới đem câu chuyện này ra. Những người làm trong AP với tôi tại sao năm mươi mấy năm trước không tố cáo, đợi bây giờ mới tố cáo chuyện này? Trong lúc những người làm việc của AP tới nay vẫn còn tố cáo ông Robinson. Họ nói: "Anh em làm việc chung với mà tại sao ông lại nói Nick Ut như vậy?"  Vào dịp kỷ niệm 50 năm ( chấm dứt chiến tranh Việt Nam ), cũng có một cô giám đốc của AP tới dự lễ ở Sài Gòn. Cô đã nói thẳng với ông Carl Robinson: "Nick Ut có làm gì ông đâu mà ông tố cáo ông ấy ăn cắp hình này kia?" Ông không trả lời gì hết. Trong bộ phim, họ khẳng định là khi xảy ra vụ ném bom ở Trảng Bàng, từ cái góc đang đứng thì ông không thể chụp được bức hình "Em bé Napalm" nổi tiếng đó.  Một người phóng viên thì không phải đứng một chỗ, tôi phải chạy cùng hết. Khi thấy bom nổ, tôi chụp bằng ( ống kính ) tele ( chụp từ xa ). Sau khi cô Kim Phúc bắt đầu chạy ra với mấy đứa em cùng với quân đội Việt Nam Cộng Hòa thì tôi chạy tới chụp hình đó, rồi tôi chạy thụt lùi lại. Tôi chạy cùng hết, bởi vì tôi biết là Kim Phúc sẽ tới chỗ nào để mà ngừng lại Những hình ảnh đó sẽ được chiếu thứ sáu tuần này ( 05/09/2025 ) tại Visa pour l'image, hàng chục tấm hình tôi đều có. Ông tài xế ông nói ông có một bức hình mà hình của ông ấy bây giờ ở đâu, phim của ông ấy đâu? Không bằng chứng gì hết! Lúc tôi về hãng AP để tráng phim, tôi không phải là người tráng phim, mà do một người Nhật tráng phim thành ảnh. Lúc đó tôi rất là bận với phỏng vấn của hãng AP và sau đó tôi đi về để đợi quay trở lại Trảng Bàng sáng sớm hôm sau cùng với ông giám đốc của tôi và một người reporter. Ngày hôm sau, tôi tới đó khoảng 8 giờ sáng thì gặp bố mẹ Kim Phúc đang chạy trên quốc lộ đi tìm con. Tôi chụp hình cha mẹ đang chạy đi tìm thì tôi mới hỏi: “ Bà kiếm ai?” Bà nói là đang tìm một đứa con gái mà hôm qua đến nay không có tin tức". "Con tên gì?" "Tên là Kim Phúc". "Con bà tôi đã đưa bệnh viện rồi, không biết còn sống hay chết, bởi vì cô đã bị cháy phỏng hết rồi". Hai vợ chồng nhảy lên xe đò chạy về Củ Chi để vô thăm con. Bức hình quá nổi tiếng, cho nên Kim Phúc chỉ nằm trong bệnh viện có mấy tiếng đồng hồ thì được đưa về bệnh viện Sài Gòn ngay. Sau khi bức hình được đăng lên báo trên toàn thế giới, chính phủ Mỹ yêu cầu tất cả bác sĩ cố cứu sống Kim Phúc. Lúc đưa vô bệnh viện thì họ nghĩ là Kim Phúc sẽ chết, nên để cô nằm chung với mấy người đã chết rồi. Khi thấy cô còn tỉnh họ mới đưa về bệnh viện Sài Gòn cứu cấp  . Những nhân chứng của tôi trong trận Trảng Bàng mà còn sống thì bây giờ có ông Dave Burnett và những người phóng viên đã làm cho báo New York Times. Họ đã lên tiếng rất nhiều.   Thế còn cô Kim Phúc, "Em bé Napalm" trong bức ảnh, có đã lên tiếng về vụ này chưa? Cô đã lên tiếng rất nhiều. Cô khóc và nói: “Tại sao chú tôi chụp hình tôi và  đưa tôi vô bệnh viện mấy chục năm nay không ai nói về bức hình đó, tại sao bây giờ tố cáo chú Nick Ut của tôi?” Cô đã đưa lên Facebook hết rồi chứng nhận "chú tôi đã chụp hình và đưa tôi đi bệnh viện. Đã mấy chục năm chú tôi lúc nào cũng gọi điện thoại thăm mỗi tuần”. Tôi sẽ gặp lại cô Kim Phúc tại Washington ngày 09/09. Về quyết định của World Press Photo liên quan đến tác giả  bức ảnh "Napalm Girl" này thì ông có nhận định như thế nào?  Thật ra tôi không có bao giờ để ý chuyện đó, bởi vì hình đó là của AP. Là một hãng lớn nhất thế giới,  AP lúc nào cũng ủng hộ, họ đã tuyên bố đã đi điều tra lâu lắm rồi. Sau khi nghe tin về vụ làm phim họ đã phỏng vấn tôi trong một ngày. Sau đó họ đưa tin đến tất cả các hãng thông tấn nước ngoài để nói hình đó là của Nick Ut và AP vẫn ủng hộ tôi.  Khi làm phim The Stringer, họ không hề phỏng vấn tôi về chuyện này. Diễn viên Đỗ Yến ở thành phố Hồ Chí Minh, là bạn thân tôi của tôi, đã có mời Bảo Nguyễn tới một bữa cơm cùng nhiều đạo diễn Việt Nam. Thật sự tôi lúc tôi không quen biết (những người đó ), tôi chỉ ngồi nói chuyện, chào hỏi sơ qua. Tôi không ngờ những người đó đã âm thầm làm phim về tôi.  Như vậy sắp tới đây ông sẽ có những hành động gì để chống lại những khẳng định đó? Bây giờ tôi có hai luật sư. Luật sư của tôi bên Mỹ và luật sư tại Paris. Họ sẽ đưa bộ phim ra tòa, hy vọng là phim này sẽ bị hủy bỏ. Đạo diễn phải rút lại bộ phim đó. Bởi vì người bỏ tiền ra làm phim đó là ông Gary Knight. Chúng tôi đã làm việc với nhau tại Hà Nội cách đây ba năm. Tôi không ngờ người bạn mà tôi mới biết đây tự nhiên đi làm phim để tố cáo tôi. Trả lời qua email trong cuộc trả lời phỏng vấn độc quyền với BBC ngày 17/5, ông Nguyễn Thành Nghệ đã khẳng định ông không phải là lái xe làm việc cho đài NBC mà là một phóng viên tự do, đi cùng anh rể là Trần Văn Thân, người làm việc cho NBC. Vào ngày 8/6/1972, NBC khi ấy đang không có tài xế trong khi ông có bằng lái nên đã tình nguyện chở nhóm phóng viên đến hiện trường và hôm đó ông mang theo duy nhất một chiếc máy ảnh Pentax. Thật ra, chính hãng tin AP cũng đã nhìn nhận "cuộc điều tra của chúng tôi đặt ra những câu hỏi quan trọng mà có thể chúng tôi sẽ không bao giờ có thể trả lời được",  "hơn năm mươi năm đã trôi qua, nhiều người liên quan đã qua đời, và công nghệ có giới hạn của nó". Theo hãng thông tấn Mỹ, "có nhiều khả năng" là bức ảnh được chụp bằng máy ảnh Pentax, trong khi Nick Ut đã tuyên bố trong một số cuộc phỏng vấn rằng ông sử dụng hai máy ảnh Leica và hai máy ảnh Nikon vào hôm đó. AP cho biết thêm: "Câu chuyện là Ut đã chụp bức ảnh bằng máy ảnh Leica. Cuộc điều tra của AP cho thấy điều đó rất khó xảy ra. Nhưng Nick Ut cũng sử dụng các máy ảnh khác, bao gồm cả máy ảnh Pentax thừa hưởng từ người anh trai quá cố của ông". Tranh cãi có thể sẽ còn kéo dài, nhất là vì, theo thông báo của các nhà sản xuất và đạo diễn, hãng Netflix vừa mua lại bộ phim "The Stringer" và sẽ chiếu trên nền tảng của họ trong năm nay. Tuy nhiên, Netflix hiện chưa đưa ra thông báo chính thức về vụ này.  

Neodvisni dokumentarni fotograf iz Čila je dolga leta delal za New York Times. Prejel je štiri prestižne nagrade World Press Photo, bil je tudi fotograf leta v Latinski Ameriki. Pri svojem delu je Tomas Munita doživel marsikaj. Bil je tudi v Afganistanu, Pakistanu, Siriji. V Bangladešu je spremljal na stotisoče pregnanih pripadnikov muslimanske manjšine Rohinga, ki so se leta 2017 tja zatekli iz Mjanmara. Zdaj se posveča posledicam, ki jih imajo ribogojnice lososov za ekosisteme v čilskem delu Patagonije.

Today's guest is a photographer whose work isn't just beautiful — it's vital, especially in a world where conservation isn't just about nature, but also about us — our cultures, communities, and connection to place. Pat Kane is an Indigenous Algonquin Anishinaabe photojournalist based in Yellowknife, in Canada's Northwest Territories, and a proud member of the Timiskaming First Nation. His powerful work documents the lives and stories of Indigenous people across the North — from traditional knowledge keepers to modern youth shaping their own narratives. In Part 1 of this two-part conversation, we explore Pat's journey into photojournalism, the importance of community collaboration, and how he builds long-term trust in the places he photographs. He talks about his project made for the Joop Swart Masterclass -the World Press Photo's best-known educational program for emerging photographers-, navigating identity, responsibility, and representation — all while working in some of the most extreme environments on Earth. Coming next week in the second part, will dive into his National Geographic assignment, working in the deep cold with photography gear, his latest caribou conservation project supported by the 2024 Jane Goodall Vital Impacts Grant, and about co-founding the amazing Far North Photo Festival in Yellowknife. This is a conversation about identity, environment, purpose — and photography in -40 degrees Celsius — told through the lens of a powerful, grounded voice in contemporary documentary work, with of course some good laughs at times too.

A photograph is taken in an instant, but an award-winning long-term photography project can take ten years - as Tatsiana Chypsanava discovered. 

In this episode of Donkere Kamer, I speak with Maria Abranches, a Portuguese documentary photographer and World Press Photo winner, whose work shines a light on the invisible, often overlooked lives of domestic workers in post-colonial Portugal.Originally trained as an architect, Maria left the stability of that profession to pursue storytelling through photography. Her award-winning project Maria tells the story of a woman trafficked from Angola at the age of nine – a story rooted in Portugal's colonial history and still painfully relevant today.We talk about what it means to tell someone else's story with care and integrity, how photography can challenge power structures, and why Maria still photographs weddings to fund her independent work. We also explore identity, visual language, trust, and how to build a meaningful career on your own terms.This is a conversation about courage, contradiction, and the transformative potential of long-term, intimate documentary work.

Het zonlicht schijnt door een raam op het gezicht van de 9-jarige jongen Mahmoud die voor zich uitstaart. Hij mist twee armen en zijn ribben zijn zichtbaar. Het is de winnende World Press Photo van fotograaf Samar Abou Elouf. Haar ogen vertelden door de lens van haar camera één van de vele verhalen die tot ons komen in de oorlog tussen Hamas en Israël. In Podcast de Dag vertelt fotojournalist Ilvy Njiokiktjien wat deze foto zo indrukwekkend maakt. Ze heeft contact met fotografen in Gaza en weet in welke omstandigheden zij hun werk doen. Het wordt steeds moeilijker om te laten zien wat daar gebeurt. Journalisten wordt het werken moeilijk gemaakt en zijn een doelwit voor het Israëlische leger, volgens de Internationale Federatie van Journalisten (IFJ). En toch bereiken de verhalen over bombardementen, honger en verwoesting ons. Correspondent Nasrah Habiballah legt uit wie haar ogen in Gaza zijn en hoe moeilijk het is om een beeld te vormen van het leven in Gaza. Ondanks al die foto's en video's die op ons af komen en zoveel Palestijnse journalisten die proberen te vertellen hoe het eraan toe gaat, blijven er plekken over waar niemand een blik op werpt. Reageren? Mail dedag@nos.nl Presentatie en montage: Marco Geijtenbeek Redactie: Sid van der Linden

Conocemos el ambiente en Roma días antes del funeral del Papa Francisco con la periodista Esther Puisac. Saludamos a dos fotógrafos españoles que se hacen hueco entre los premiados del World Press Photo. La falta de transportistas abre el debate de la reducción de la edad de acceso al carnet de conducir y la tecnología podría ayudarnos a prevenir accidentes. Además, Benjamín Gaya anota las lecciones antropológicas que nos deja la serie ‘El cuento de la criada'.

Le Journal en français facile du jeudi 17 avril 2025, 18 h 00 à Paris.Retrouvez votre épisode avec la transcription synchronisée et des exercices pédagogiques pour progresser en français : http://rfi.my/Bapn.A

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Elon Musk's AI DOGE logo UC Berkeley students rally as university expects Trump demands on DEI, hiring, deportations and more Activists plan “Day without an Immigrant” protests on May Day to protest Trump policies, following days of protests at ICE detention centers Public Employees for Environmental Responsibility blasts Musk-Trump attacks on science, climate research, environmental justice and democracy Activists say Zimbabwe law restricts civil society by targeting non-governmental organizations, government claims it's fighting terrorism Oakland activists speak out against Social Security cuts as “most effective social reform” approaches 90th anniversary Palestinian journalist evacuated from Gaza wins “2025 World Press Photo of the Year” for portrait of 9-year old who lost arms in Israeli airstrike The post Nationwide Day without an Immigrant protests planned on May 1; Oakland activists rally against Social Security cuts as program nears 90th Anniversary – April 17, 2025 appeared first on KPFA.

Italiens Regierungschefin Meloni besucht US-Präsidenten, Die EZB senkt Leitzins auf 2,25 Prozent, Tote im Gazastreifen nach Beschuss durch das israelische Militär, Palästinensische Fotografin Samar Abu Elouf mit World Press Photo of the Year ausgezeichnet, Eine KI und Gamer helfen bei ESA-Mondmission, ADAC rechnet mit großer Rückreisewelle am Ostermontag, Starke Schnee- und Regenfälle sorgen für Chaos auf der Südseite der Alpen, Polarlichter erhellen Himmel über Deutschland, Das Wetter

Italiens Ministerpräsidentin Meloni trifft US-Präsident Trump, Wie China KI-Spitzenreiter werden will, Wie die Bauern zu dem Koalitionsvertrag von Union und SPD stehen, "World Press Photo" zeigt das Leid im Gaza-Krieg, Weitere Nachrichten im Überblick, Die Geschichte der Maultasche, Das Wetter Hinweis: Der Beitrag zu Europa-League darf aus rechtlichen Gründen nicht auf tagesschau.de gezeigt werden.

Miles de niños gazatíes sufren de desnutrición ya que Israel no permite la entrada de alimentos   CNDH pide al ISSSTE modificar el Reglamento de Pensiones de los Trabajadores   Este jueves y viernes se aplica la Ley Seca en ocho alcaldías de la CDMX   Más información en nuestro podcast

L'artiste et photographe malgache Rijasolo expose pour la première fois à Paris à la Fondation H ses photos artistiques. Loin du photojournalisme qu'il pratique depuis 25 ans, le lauréat du concours World Press Photo 2022 de la région Afrique, (avec son reportage « La guerre du Zébu »), nous propose un autre aspect de son travail, plus personnel et plus subjectif. Dans « La nuit porte la lumière », titre de son exposition, Rijasolo explore l'invisible, la nuit vibrante de vie et les contradictions des Malgaches.  À lire aussi«La nuit porte la lumière»: le photographe malgache Rijasolo expose à la Fondation H, à ParisÀ lire aussiRijasolo, un oeil insulaire

El teatro hace la vida humana visible, nos da a ver de qué está hecha. Es un mirador a la existencia. ¡Feliz Día Mundial del Teatro!En el programa de hoy, nos trasladamos también a la primera Feria del Cómic de Madrid, que abre sus puertas en Matadero. Elisa McCausland, comisaria de la feria, nos explica cómo este evento ha reunido a librerías especializadas y sellos editoriales. La feria se inaugurará con una charla de Richard McGuire y se enfocará en tres grandes temas: la casa como unidad narrativa, la ciudad como espacio de experimentación artística, y los multiversos como oportunidades de encuentro.Además, exploramos el recién inaugurado Museo Nacional de Artes Escénicas en Almagro, donde Irene Pardo, directora del Festival Internacional de Teatro Clásico de Almagro, nos comparte su visión sobre la modernización del espacio, destinado a la preservación del patrimonio teatral español.En el ámbito de las artes escénicas, se presenta la nueva puesta en escena de "Los cuernos de Don Friolera" de Valle-Inclán, dirigida por Ainhoa Amestoy. Raúl Losánez analiza la importancia de esta obra y su tratamiento en el teatro contemporáneo, destacando cómo la obra aborda temas como los celos, el honor y las tradiciones militares con un enfoque irónico y profundamente crítico.Finalmente, cerramos con noticias sobre el fotoperiodismo, con la inclusión de dos fotógrafos españoles entre los ganadores del World Press Photo, y la salida del nuevo disco de Ángel Ruiz, quien rinde homenaje a la ciudad de Madrid a través de su música.Escuchar audio

Welcome to the What's Next! Podcast with Tiffani Bova.    I have the honor and pleasure of welcoming Topaz Adizes to the show today.    He is an Emmy Award-winning writer, director, and experience design architect. He is an Edmund Hillary fellow and Sundance/Skoll Stories of Change fellow. His works have been selected to Cannes, Sundance, IDFA, and SXSW; featured in New Yorker magazine, Vanity Fair, and so much else. He has garnered an Emmy for new approaches to documentary and two World Press Photo awards for immersive storytelling. But what I'm here today to talk to him about is his new book called 12 Questions for Love.    THIS EPISODE IS PERFECT FOR…anyone looking to build stronger relationships—at work or in life—through the power of better questions.   TODAY'S MAIN MESSAGE…we often focus on having the right answers, but real connection comes from asking the right questions. Topaz Adizes has spent over a decade studying human connection, guiding more than 1,200 pairs of people through transformative conversations. In this episode, he shares how the way we ask questions can strengthen workplace culture, improve team dynamics, and create more meaningful personal relationships. By shifting our approach—from looking for the “right” answer to fostering authentic dialogue—we unlock deeper understanding, trust, and collaboration.   KEY TAKEAWAYS… The best conversations start with thoughtful, well-constructed questions. Shifting from binary to open-ended questions leads to richer, more meaningful responses. A strong workplace culture starts with intentional communication and connection. Small shifts in how we structure meetings can make them more productive and engaging. Great leaders aren't just problem-solvers—they're great guides who know how to ask the right questions.   WHAT I LOVE MOST…Topaz's insight on the power of well-constructed questions. His technique to ask open-ended, connective, and intentional questions creates space for deeper conversations, whether at work or in personal relationships.   Running Time: 31:43    Subscribe on iTunes     Find Tiffani Online: LinkedIn Facebook X    Find Topaz Online: LinkedIn  Website   Topaz's Book:  12 Questions for Love: A Guide to Intimate Conversations and Deeper Relationships

After his parents' divorce, Topaz Adizes discovered the power of connection through the camera. His drive to explore human connection led him to become a filmmaker. From filmmaking to his work with The Skin Deep, Topaz focuses on creating real, vulnerable conversations in a digital world. His viral documentary The And shows how shared space and honest dialogue can deepen relationships. In this episode, Topaz joins Ilana to discuss the art of asking questions that strengthen relationships and how to create space for hard but empowering conversations. Topaz Adizes is an award-winning writer, director, experience design architect, and the founder and executive director of The Skin Deep, an experience design studio. He has earned an Emmy for new documentary approaches, and two World Press Photo awards for immersive storytelling. In this episode, Ilana and Topaz will discuss: (00:00) Introduction  (01:37) Finding Purpose in His Parents' Divorce (04:27) The Lasting Impact of Divorce on Relationships (07:16) Why The And Documentary Went Viral (11:12) How Great Questions Create Great Relationships (12:28) Ways to Craft Questions That Yield Results (14:19) The Cost of Avoiding Difficult Conversations (18:16) Creating Space for Hard, Scary Conversations (24:16) Training Your Mind to Ask Empowering Questions (26:55) Crafting Questions That Drive Clarity and Growth (32:10) Five Questioning Strategies to Deepen Relationships (38:54) A Raw Father-Son Conversation on YouTube (41:47) Aligning Passion and Profit for Sustainable Growth (52:01) The Life Topaz Wishes He Had Embraced Sooner Topaz Adizes is an award-winning writer, director, experience design architect, and the founder and executive director of The Skin Deep, an experience design studio. He has earned an Emmy for new documentary approaches, and two World Press Photo awards for immersive storytelling. Topaz's work has been showcased at Cannes, Sundance, and SXSW, and featured in The New Yorker, Vanity Fair, and The New York Times. Connect with Topaz: Topaz's Website: https://www.topazadizes.com/  Topaz's LinkedIn: linkedin.com/in/topazadizes/  Resources Mentioned: Topaz's Book, 12 Questions for Love: A Guide to Intimate Conversations and Deeper Relationships: https://www.amazon.com/12-Questions-Love-Conversations-Relationships/dp/1632174901  The And Documentary: https://www.imdb.com/title/tt4439128/  The Skin Deep YouTube: https://www.youtube.com/c/TheSkinDeep  The Unexpected Legacy of Divorce by Julia M. Lewis: https://www.amazon.com/Unexpected-Legacy-Divorce-Landmark-Study/dp/0786886161  Leap Academy: Ready to make the LEAP in your career? There is a NEW way for professionals to Advance Their Careers & Make 5-6 figures of EXTRA INCOME in Record Time. Check out our free training today at leapacademy.com/training

Stephan Vanfleteren's career began as a staff photographer for the Belgian newspaper De Morgen. He continued to contribute to its weekend magazine as a freelancer until 2009.His radical black and white social documentary work covers the disappearing phenomena of everyday life in his homeland, Belgium. Over the years, Stephan has worked in conflict zones such as Kosovo, Rwanda and Afghanistan and he is a six time winner of the prestigious World Press Photo awards among a number of other international prizes.Stephan's intense portrait photography captures the essence of humanity in subjects ranging from the ordinary man to top politicians, sports idols and celebrities.He has exhibited in Brussels, Amsterdam, Berlin, Paris, London, Liverpool and Verona and his books include: Elvis & Presley (Kruse Verlag, 2001) a road trip across America dressed as Elvis Presley with photographer Robert Huber; Flandrien (Mertz, 2005) on the Flemish obsession with cycling; Belgicum (Lannoo 2007) an enigmatic portrayal of Belgium and Portret 1989-2009 (Lannoo 2009). His most recent books are Atelier published by Hannibal Books, an ode to the ability to observe, represent, elevate, and ultimately, connect, and Present, a journey through his oeuvre, with expansive personal reflections and stories from three decades of encounters and photography, from street photography in world cities like New York to the genocide of Rwanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits, and Charleroi – Il est clair que le gris est noir.In episode 244, Stephan discusses, among other things:MemoryPhotographing (older) menSkin… and lightCutting his teeth in the newspaper worldFlandrien bookRwandaBeing scared of successStill getting nervousAtlantic WallThe intensity of collaboration with a subjectBeing perceived as a ‘traitor' for shooting colourHis project with Robert Huber, Elvis and PresleyDead animalsPhotographing his dad post mortemMoving to digital from filmCharloi residency and his book Charleroi – Il est clair que le gris est noirReferenced:SebastiãoSalgadoJames NachtweyGilles PeressRobert Huber Website | Instagram“I was very scared of success. That was maybe my luck. Success was something I had difficulty dealing with. People are complimenting you on your work at the beginning and I'm just accepting that but it was difficult. And it helped me because I never arrived. I was on my way and the doubts were still there. If you think you know how to do it, it's time to leave. Sometimes if I think ‘ok, I can do that pretty well, Of course other people can do it better, but it's time to change, to have another approach…' So I had that in the early beginning, that feeling that I have to change. I love to begin something new.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

Today's podcast has us sitting down with Venezuelan photographer and investigative journalist Fabiola Ferrero to discuss her long-term photographic projects in Venezuela, for Picturing World Cultures. Above photograph © Fabiola Ferrero Fabiola walks us through her childhood memories of Venezuela and describes how this period contrasts significantly with the country's current climate. We also discuss how she got started in photography, and how her time spent both in and out of Venezuela helped grow her photography and more. If you haven't already listened, check out all the episodes of our Picturing World Cultures podcast series here. Guest: Fabiola Ferrero Episode Timeline: 2:20: Fabiola discusses Venezuelan culture, and questions using the word resiliency in relation to the country's ongoing crisis. 5:39: How she got started in photography. 8:20: Fabiola talks about overcoming shyness, learning how to photograph people as an introvert, and the advantages of slowly building a connection with subjects. 11:12: On being the last of her family to leave Caracas. 14:43: Fabiola's early long term projects, Blurred in Despair and I Can't Hear the Birds, and the importance of image selection to building different narratives.  19:57: The impact of leaving Venezuela and how this shifted her perspective as a photographer. 24:11: The importance of Fabiola's assignment work in Venezuela and its impact on her personal work. 25:30: Episode Break 27:04: On migrating to Columbia in 2020, and her eventual return to Venezuela in 2022.  37:04: Fabiola runs us through her gear and setup. 38:09: Collaborating with other journalists in her latest project, The Wells Run Dry 44:10: The challenging topic of hope when discussing the future of Venezuela 46:50: We ask Fabiola about her mentorship program, Semillero Migrante 54:39: Fabiola Ferrero answers our PWC Visual Questionnaire. Guest Bio: Fabiola Ferrero was born in Caracas, Venezuela in 1991. Her personal work reflects how her childhood memories contrast with her country's current crisis.  Using her background in writing and investigative journalism, she develops long term visual projects focused on collaborative ways to speak about the human condition under hostile contexts. To bring opportunities to other emerging photographers, Fabiola founded Semillero Migrante in 2021. This mentorship program on the topic of migration empowers Venezuelans and Colombians and promotes the integration of both cultures. A 2018 Magnum Foundation Fellow in Social Justice, her additional recognition includes a 2021 Inge Morath Award, a 2022 Carmignac Photojournalism Award, and a World Press Photo award for Long Term Projects, which she received in 2023. Most recently, Fabiola completed a one-year fellowship at Columbia University's Institute for Ideas and Imagination in Paris. Stay Connected: Fabiola Ferrero Website: https://www.fabiolaferrero.com/ Fabiola Ferrero on Instagram: https://www.instagram.com/fabiolaferrero/ Fabiola Ferrero on Facebook: https://www.facebook.com/fabiola.ferrero/ Fabiola Ferrero on Twitter: https://x.com/FabiolaFerrero/ Fabiola Ferrero, I Can't Hear the Birds Video: https://www.youtube.com/watch?v=m_AmKsv_OTM Fabiola Ferrero, Fondation Carmignac: https://www.fondationcarmignac.com/en/fabiola-ferrero-en/ Fabiola Ferrero, Institute of Ideas & Imagination: https://ideasimagination.columbia.edu/fellows/fabiola-ferrero/ Semillero Migrante Instagram: https://www.instagram.com/semilleromigrante/  End Credits: Senior Creative Producer & Host: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens Theme Music: Gabriel Richards

If you've ever picked up a National Geographic and skimmed across the gorgeous images that cover those pages - you've probably come across the work of our guest experts. This week, we're coming to you with a LIVE! Getting Curious episode with THE preeminent nature photographers in the game about the risk and reward of their art, their conservation efforts, and how they support each other in the process like the power couple they are! Cristina "Mitty" Mittermeier, a visionary photographer, marine biologist, and avid conservationist, stands as a formidable force in the realm of environmental advocacy. In 2014 she, alongside her partner Paul Nicklen, co-founded SeaLegacy, a non-profit organization dedicated to creating a healthy and abundant ocean through powerful storytelling and impactful visual media. Through her lens, she conveys the delicate balance of natural ecosystems and the urgency to preserve these habitats that sustain a myriad of life. Her art, driven by a desire to make a difference, serves as a compelling call to action, illustrating the transformative power of photography in raising awareness and inspiring change. Paul Nicklen is a Canadian photographer, filmmaker, and marine biologist who has documented the beauty and plight of our planet for more than thirty years. Through the power of the image and, just as importantly, emotion and raw power, his work has been singled out for creating a unique connection between image and viewer by featuring wild subjects in some of the most extreme conditions known on Earth. Nicklen is a Sony Artisan of Imagery and aligns with Rolex's Perpetual Planet initiative on collaborative efforts to preserve the natural World. Nicklen has won more than 30 of conservation and photography's most prestigious awards, including the BBC's Wildlife Photographer of the Year and the World Press Photo for Photojournalism. In 2019, Mr Nicklen became the youngest person inducted into the International Photography Hall of Fame (IPHF). You can follow Cristina Mittermeier on Instagram @mitty and Paul Nicklen on Instagram @paulnicklen. For more information on SeaLegacy- check out their Instagram @SeaLegacy. Follow us on Instagram @CuriousWithJVN to join the conversation. Jonathan is on Instagram @JVN. Our senior producer is Chris McClure. Our editor & engineer is Nathanael McClure. Production support from Julie Carrillo, Anne Currie, and Chad Hall. Our theme music is “Freak” by QUIÑ; for more, head to TheQuinCat.com. Curious about bringing your brand to life on the show? Email podcastadsales@sonymusic.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A photographer's success hinges on access. This is an underlying thread in the tapestry woven in this week's show. Our discussion covers multiple facets and cultural attributes of Indian society, as seen through the eyes of a photographer with a knack for being in the right place at the right time. In this month's episode of the series, Picturing World Cultures, we speak with Indian photographer Pablo Bartholomew about his long career as a documentarian and photojournalist. From his early intimate views of 60s-era hippies launching a counterculture invasion from the West to his photojournalistic coverage of historic events, Bartholomew shares insights about dynamics at work behind the scenes. We also discuss changes to the marketplace for pictures over time, and whether an iconic picture is still able to affect a change in the world. As an antidote to a life chasing the news, Bartholomew embarked on a ten-year documentation of India's remote Naga tribes. In the show's second half, he walks us through his background research and the permissions process involved in photographing tribespeople and their customs with professional lighting gear.  There's also a personal motivation behind Bartholomew's Naga Project. As a child, he had heard many stories about goodwill the Naga showed his father's family during their flight from Burma to India during World War II.  “Principally, what I couldn't wrap my head around was that headhunters, they're supposed to be these ferocious people. Why would they let fair game pass through their backyard, to the degree where they would provide food and shelter?” he says. “So, there was in this savage something very kind. And I wanted to find out what the contradiction was.” Tune in today for more on the Naga tribes and other stories from India! If you haven't already listened, check out all the episodes of our Picturing World Cultures podcast series here.    Guest: Pablo Bartholomew Episode Timeline: 2:16: Pablo describes how the caste system functions as a defining aspect of Indian culture. 7:18: The influx of the Western hippy counterculture in India as recorded in Pablo's earliest pictures. 12:27: Capturing life on the streets of Delhi, Bombay, and Calcutta, a photo essay on Calcutta's Chinatown, and Pablo's work with the renowned Indian film director Satyajit Ray. 17:05: The rise of Pablo's photojournalism career, the dynamics of a photographer's access, and his iconic images of the tragic gas leak at Bhopal. 29:09: Pablo discusses how the work of a photojournalist has changed in the past 40 years. 32:53: Go-to camera gear, the various cameras Pablo's used over the years, and his transition from analog to digital. 36:37: Tips for mitigating the heat and humidity of India, plus equipment for image storage and film scanning. 40:10: Episode Break 41:23: Pablo's long-term project documenting the Naga tribes in Northeast India, his preliminary ethnographic research on the tribes, and gaining permission to photograph with full lighting gear.  51:43: Animist practices within the Naga tribes, and distinctions between tribes within the Naga identity. 1:00:05: Naga rituals it may be too late to photograph, and a memorable festival held by the Konyak tribe. 1:04:09: Pablo's cross-cultural project documenting economic emigres from India who have resettled in the US, France, England, Madagascar, and Portugal. 1:14:38: Pablo Bartholomew answers our PWC Visual Questionnaire.   Guest Bio: Pablo Bartholomew, a self-taught photographer born in New Delhi in 1955. His father Richard was a noted art critic as well as a photographer, allowing Pablo to learn photography at home at a very young age. In his subsequent career of nearly fifty years, Pablo has documented societies in conflict and transition, while also recording intimate details of his own generation maturing amid a changing India. From 1983 to 2004, his photojournalistic work was featured in every major international publication, from National Geographic to Paris Match and beyond. Pablo's photographs have been recognized by World Press Photo on three different occasions, including a 1985 ‘Picture of the Year' award for his riveting image from the Bhopal gas tragedy. In 2013, he was awarded the Padma Shri by the Government of India for his contributions to photography, and in 2014, he was honored with the status of Chevalier de L'Ordre des Arts et des Lettres by the French government. For more information on our guest and the gear he uses, see: https://www.bhphotovideo.com/explora/podcasts/photography/picturing-world-cultures-pablo-bartholemew-india Stay Connected: Pablo Bartholomew Instagram: https://www.instagram.com/pablobartholomew/ Pablo Bartholomew Facebook page: https://www.facebook.com/parabart Pablo Bartholomew Bhopal photo from World Press Photo 1985: https://www.worldpressphoto.org/collection/photocontest/1985 Pablo Bartholomew Wikipedia page: https://en.wikipedia.org/wiki/Pablo_Bartholomew Pablo Bartholomew Nagaland Project: https://ninefish.in/viewing-room/the-nagas/ TEDxIIMRanchi: Pablo Bartholomew - A Life in Photography https://www.youtube.com/watch?v=zBldVr4YIBE Kishor Parekh: https://en.wikipedia.org/wiki/Kishor_Parekh