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"In Biafra in 1968, a generation of children was starving to death. This was a year after oil-rich Biafra had seceded from Nigeria, and, in return, Nigeria had attacked and laid siege to Biafra. Foreign correspondents in the blockaded enclave spotted the first signs of famine that spring, and by early summer there were reports that thousands of the youngest Biafrans were dying each day. Hardly anybody in the rest of the world paid attention until a reporter from the Sun, the London tabloid, visited Biafra with a photographer and encountered the wasting children: eerie, withered little wraiths. The paper ran the pictures alongside harrowing reportage for days on end. Soon, the story got picked up by newspapers all over the world. More photographers made their way to Biafra, and television crews, too. The civil war in Nigeria was the first African war to be televised. Suddenly, Biafra's hunger was one of the defining stories of the age-the graphic suffering of innocents made an inescapable appeal to conscience-and the humanitarian-aid business as we know it today came into being. "

Playing "god" in a digital age: The thin line between art and the subjectivity of photojournalism Jarle recently commented on the post "Crazy light", in which I wrote: "We are constantly challenged to make scenes that are less than interesting, more interesting." The question that this raises, however, is when and how are the conventions of honest visual reportage bent for the sake of making images more compelling? Jarle continues: Correct. We all strive to make our photos more interesting. But, ethically and philosophically speaking, isn't this in direct conflict with the "our pictures must always tell the truth" mantra? There's often a thin line between photojournalism, "art" and subjective, commentary photography. And, playing the devil's advocate, what's the difference between adding motion blur in Photoshop and using a slow shutter speed? I'll start out by agreeing with much what Jarle has said here. From a purist perspective, "Straight" photography should be a style of photography that records what the eye witnesses without elaboration or embellishment. For the most part, this form of photography, what is photojournalism today, has remained pretty much true to form. At the same time, it is possible to find quite a few examples of photojournalism from the 1980s to the present day, that deviate from the normal conventions.

"Photos: Haiti One Year Later * Next * Back * 1 of 13 Haiti One Year Later Shaul Schwarz / Reportage by Getty Images for TIME * Next * Back Port-au-Prince Today A woman stands outside of her house in the Fort National neighborhood, an area hit hard by the quake. One year after the devastating 2010 earthquake, the city remains littered with rubble. * Haiti's Earthquake Destruction: TIME Exclusive Photographs "

links for session emphasis http://emphas.is/ Tomas VAN HOUTRYVE North Korea slide show: http://www.viiphoto.com/showstory.php?nID=1158 Laos slide show: http://tomasvanhoutryve.com/reportage/laos/laos_slide01.html

Submit between 3 - 6 images as an exhibition series. Images must fall into the criteria of reportage, fashion, documentary, landscape, wildlife, portraiture or fine art photography. The judges are seeking dynamic and arresting images which portray a compelling narrative.

"Corentin Wauters: Gamma is one of the most famous photojournalism agencies. Some even call it legendary. How important has it been for photojournalism? Michiel Munneke: I think Gamma - but also others like Magnum, for instance - played an extremely important role from early years on, especially in documenting crucial news events around the world. It's important to realise that in those days you had magazines like Life and the Picture Post who very generously allocated tens of pages to events like the war in Vietnam, for example. Those publications and photographs made a huge impact on their readerships. I think it's fair to say that the founders of Gamma, like Raymond Depardon - although he moved to Magnum at the end of the '70s - and Gilles Corron, who died in 1970 in Cambodia, can be classified as legendary. They played a very important role in news documenting in those years. Raymond Depardon said that in 1966 you only had to travel far away and take three shots to get published in magazines Paris Match or Le Nouvel Observateur. How has the profession of photojournalism changed since Gamma was founded? If Depardon was saying that competition for space in publications like Paris Match or Le Nouvel Observateur is stronger, then he's absolutely right. Competition is far more severe. Circulations are going down, advertising revenues are shrinking, and consequently budgets for journalism and for photography are being cut. image Nowadays its very rare that publications send photographers for assignments overseas. Take a renowned magazine like Time. They still have photographers on staff but they very rarely get assignments to go overseas. It's a sign of the times. Gamma, but also other big photojournalism agencies like Sipa, were founded in Paris. The city had a big name as a centre for photojournalism. To what extent is that true today? I think for those years it was really true. But now, in the era of globalisation and digitisation, it doesnâ