Without a doubt photojournalists meet a lot of remarkable people. It must often be humbling, whether its a high achiever or someone who embodies the best of humanity in the worst circumstances. But I imagine it is powerfully invigorating too. Throughout his career Rick Rickman has certainly documented many such stories, especially of athletes, and in this story he focused on men attempting to become Navy Seals.

There is a mythic legend about the difficulty that only a few achieve, or maybe it would be better to say survive through the 24 weeks of training. For theNavy Seal Class 211, who Rick followed throughout their course in the late 1990s, only 35 of the 139 starting candidates made it to the end.

Rick’s full essay captures the extensive training demanded in the course, and his accompanying essay breaks down the details of just how grueling it is, certainly physically but also mentally and emotionally, such as Hell Week when for five days the candidates train continuously without any sleep.

If you visit Rick’s full story in the Photojournalism Archive, you will also discover that becoming a Seal means defending your country in the most dangerous circumstances, and some exceptional men pay the ultimate price.

You can view Rick’s Navy Seal story here.

While you’re there you can see more of Rick’s stories and the work of other remarkable photojournalists at the Photojournalism Archive.

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project. Our goal is to preserve and share these stories, and we welcome your support.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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If you’ve seen the work of Mary Calvert (here or elsewhere) you know she has a remarkable gift for making images of people at their most vulnerable with respect and compassion.

In today’s post, I want to share her story about women in Ethiopia who disproportionally suffer from untreated obstetric fistula, a debilitating condition caused by deep tears during child birth that result in incontinence. (And if that makes you not want to look, I encourage you to continue and trust Mary’s vision.)

According to the World Health Organization, it is estimated that more than 2 million young women live with untreated obstetric fistula in Asia and sub-Saharan Africa, and globally as many as 100,000 are affected by it each year.

As if the condition isn’t bad enough, the women who have been injured giving birth are often ostracized.

The Bahir Dar Fistula Hospital in Ethiopia specializes in treating women with no limited or no access to healthcare and working to restore their health and dignity.

A 30-minute surgery under local anesthesia can resort the women to normal function, and their treatment at the hospital also gives them a close community of peer support.

As with all our posts, you can learn more about this story and Mary’s reporting here.

While you’re there you can see more of Mary’s stories and the work of other remarkable photojournalists at the Photojournalism Archive.

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project. Our goal is to preserve and share these stories, and we welcome your support.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

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Recently we added another April Saul essay to the Photojournalism Archive about the challenging life journey of Mao Doum Groff, a Cambodian refugee who at 17 arrived in the United States having endured abandonment and abuse.

It is difficult to grasp the cultural shock she must have experienced leaving a refugee camp, boarding a plane and landing in Pennsylvania. It is maybe harder to imagine the challenge of facing an unknown new life while carrying the baggage of years of trauma.

With the support of her host family, Mao adapted to her new home, and started her own family.

With more time, she confronted her past.

And later faced her future.

As with any April Saul story, her relationship with those she photographs is always a work in progress, cultivated over time and full of the twists and turns that are only revealed through persistence, compassion and respect.

I strongly urge you to visit the Photojournalism Archive and see the full photo story here. There is so much more to Mao’s search for family than what is shared in this post.

While you’re there you can see April’s other work and a new video we just added to her story on Jorge, who was blinded as a child by a stray bullet.

In the archive you can also see the work of the other photojournalists who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project. Our goal is to preserve and share these stories, and we welcome your support.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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Back in the day we used to talk about our desensitization from the 24 hour news cycle brought on by cable television, but today it often feels like we’re living in an information glut on steroids. As our attention spans shrink and our information increasingly comes from images more than words, it has become harder for the work of photojournalists to penetrate. (Not to mention the shrinking numbers of those are able to work.)

In 2017 Carol Guzy covered the end of the Islamic State invasion of Iraq as the city of Mosul was being liberated from ISIS. I encourage you to check out her excellent photo essay of Mosul that summer here, which we featured in a previous post.

But it’s her “sidebar” story on the Faces of Mosul that penetrates as a timeless reminder of the cost of war regardless of the who, what, when and where.

The power of the essay is its focus on the human experience and regardless of which side of the conflict the person comes from.

Each face draws us in and reflects back what feels like a complete story of their individual experiences, even as we know virtually nothing about them.

It brings to mind a host of cliches about the power of an expression, but more importantly it invites us to pause, connect and reflect.

In the photojournalism archive you can see more of Carol’s work on the The Faces of Mosul here:

While you’re visiting Carol’s Mosul stories you can also see her recent work on ICE arrests in New York, for which she has received numerous accolades including World Press Photo of the Year for 2026.

In the archive you can also see the work of the other photojournalists who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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In an earlier post I wrote about the remarkable work of April Saul, who I consider to be the QUEEN of follow-ups. From a photojournalism perspective, her long term commitment to her stories has created a remarkable body of work. But spend any time with April and it quickly becomes apparent that what drives her to follow up again and again is her deep ties to her surrounding communities, particularly in Camden, New Jersey, where she and her camera are ubiquitous.

One of the stories she has covered for a couple decades is that of Jorge Cartagena, who was blinded by a stray bullet from a drive-by shooting when he was 9 years old as he walked home from a corner market.

So often the headlines of a tragedy come across as cliches rather than the complex truths at the heart of life’s struggles. But in April’s photographs the individuality of Jorge’s story is revealed. His struggles, his victories, his family’s challenges, the ways in which the community comes together to support him, and how sometimes help can be hard to accept.

In the nearly two decades since he was shot, Jorge has persevered. In 2020, he graduated from high school, today he is the proud father of Melody, and is pursuing his interest in music.

In the photojournalism archive you can see more of Jorge’s story, accompanied by interview clips with April Saul talking about her work and relationships with Jorge. You can view that story here: Jorge

While you’re visiting April’s story on Jorge, you can also see her story about Renee Ramsey, a transgender woman who underwent gender reassignment surgery in her late 70s, one of the oldest to do so.

In the archive you can also see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:
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Blue Sky -- @photojarchive

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Photojournalism’s ability to show us world’s we may never experience IRL but can visit in our minds through the photo stories captured by the best in-depth photojournalists.

Mary Calvert is known for her deep dives into stories of trauma and suffering, such as the stories of men and women veterans who experienced sexual trauma during their service.. (We profiled that work in Close Enough #3.

But, she also has stories of beautiful worlds beyond the reach of most of us, worlds we can look into and escape to other lives. Among those is her story about the Rev. Ted Hoskins - and his work as a minister to the coastal fishing communities along Maine’s southeast islands.

The Rev. Hoskins served the congregation of the Saugatuck Community Church, but he also ministered to the fishing communities on five islands in the same region, including Isle au Haut, Rockland, Frenchboro, and Matincus. His lobster boat, Sunbeam, doubled as a floating church.

Mary documented his work as he prepared to retire.

The Ernest Hemingway lookalike was also “an ardent advocate for social justice and for the sustainability of Maine's fishing communities, according to his 2023 obituary.

She traveled along side Hoskins as he conducted his last Easter services — for five different churches — shortly before retiring.

His replacement the Rev. Rob Benson, arrived from Washington D.C. with his young family.

You can see the complete photo essay of Maine Sea Coast Minister here, as well as more of Mary’s work.

While you are visiting the archive, check out the work of the other photographers who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. In the meantime, we could use some help with the cost of licensing software and other essential products. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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In the Photojournalism Archive there are many stories that capture the spirit of what it means to be an American, the nation’s remarkable diversity of land and culture, and the challenges faced within its borders.

But to commemorate the 4th of July, I think Alan Berner’s story Crossing America After 9/11 captures all those elements and more. Three weeks after the 9/11 attacks, Alan and Seattle Times reporter Alex Tizon drove from the Northwest to New York City documenting the everyday lives of a nation in crisis.

At the Alamo they met Korean War veteran “Lefty” Luster.

At the memorial to the Oklahoma City bombing they found Bonnie Martinez celebrating her quinceanera at the memorial honoring her father who was killed in the attack.

Alan’s skill as a photographer can turn a roadside accident into a compelling moment in time.

After falling asleep at the wheel and flipping her car driving Highway 305 between Battle Mountain and Austin, Nevada, Lori Atkins escaped without injury.

In Monument Valley, Alan met Rose Yazzie, a full-blooded Navajo, who lives without electricity, phone or running water and has never left the Navajo Nation in her 58 years.

To complete the story, on the one-year anniversary of the World Trade Center attacks Alan was in New York City to document the first commemoration.

Native New Yorkers Bernadette and Rodney Johnson pay their respects as they watch the names of the victims revolve on a midtown electronic tower.

You can see the complete photo essay Crossing America After 9/11 as well as more of Alan’s work.

While you are visiting the archive check out the work of the other photographers who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. In the meantime, we could use some help with the cost of licensing software and other essential products. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

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High on the list of the joys of archiving photojournalism collections is discovering or rediscovering forgotten gems that not only captured the story at the time but transport us back, whether we were there or not. It is a sensory journey as well as a journalistic one.

David Hume Kennerly’s archive spanning 60 years of photojournalism work at its highest echelons is replete with those nuggets of brilliance.

His photo story about the last rid of the Myrtle Avenue El Train in 1969 reveals life in Brooklyn on the cusp of change. As David writes, “The El ran from the Brooklyn waterfront to Queens and had been operating since 1888. It was the last train line in the country with wooden passenger cars - a beaten-up relic of a more modern America that was leaving that station behind.”

His essay also captures the commuters and much more of their lives beyond the train.

You can see the complete photo essay The Last Ride, as well as more of David’s work.

While you are visiting the archive check out the work of the other photographers who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. In the meantime, we could use some help with the cost of licensing software and other essential products. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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As celebrations across the country gear up for PRIDE week, it is good to remember a time when openly celebrating one’s sexual orientation carried much more risk. When being seen at a PRIDE event could threaten a job, when AIDS was deadly and politically toxic.

In the Photojournalism Archive, the work of husband and wife team Saul Bromberger & Sandra Hoover not only captures the journalistic side of San Francisco PRIDE parades from 1984-1990, but as with all their work, there is a beautiful poetry to the images.

Saul writes, “Our intention was to be close to the people, ‘get closer and then closer’ we kept saying, and ‘then take a step back and see the whole scene’. We committed to doing this over and over again, to connect with the community and to tell this story.”

You can see the complete photo essay PRIDE - Hearts of the Movement, as well as more of Sandy and Saul’s work.

While you are visiting the archive check out the work of the other photographers who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. In the meantime, we could use some help with the cost of licensing software and other essential products. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:

Instagram -- @photojournalismarchive

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Carol Guzy’s photojournalism accomplishments are well established with an unmatched list of accolades, culminating this year with earning the World Press Photo of the Year for this image. (Along with several other awards.)

The picture is part of her extensive work documenting ICE agents arresting immigrants as they exist court hearings, following family members separated from their loved ones and reporting on protests against the government’s tactics.

There are many contributing factors to why Carol’s work is just so consistently brilliant, and one of them is crystalized in an interview with Afonso Saldedo for his substack Fonzieland.

Carol spent more than six months couch surfing in NYC so she could spend all day, every day, in the corridors outside the immigration court to document the story, and then evenings and weekends following the families after they left court. (This is typical of her approach, anyone who’s seen her dive into a story knows she will outlast everyone, returning again and again far beyond virtually everyone else’s tolerance level.)

But WHY? Because, as she told Afonso, the longer she stays on a story, the more it hones her instincts to anticipate the action and be in the right place at the right time.

Hundreds of hours to capture THE moments.

You can view the full story, from NYC to Minneapolis to Ecuador, in the Photojournalism Archive here: Separated by ICE

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

It’s been more than 30 years since John Kaplan documented the lives of orphans in Russia who were hit particularly hard by the economic crisis the country was in during the 1990s.

And yet looking at his photo essay just makes you want to reach in and make sure they’re ok.

John was the first journalist allowed to witness conditions in an orphanage in the former Soviet Union in 1992.

His images each tell a compelling story and at the same time leaving you begging for more, from the scrappy kids like Sergei (in the first image above) to the most vulnerable, like a baby girl with hydrocephalus who was receiving no medical care.

Sadly, the orphan crisis that John documented only got worse with time as can be seen in this summary report from Human Rights Watch.

You can view the full story in the Photojournalism Archive here: Russia's Ruined Youth

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Those of us who have long loved newspapers have a visceral reaction to seeing the printed page as it appeared in decades past. There were space constraints that were particularly challenging for publishing visual stories, but there was also the discipline of having to make every picture or word count.

And while today’s story is about a newspaper that presumably never printed pictures, Ken Hawkins’ photo essay beautifully tells the story of Homer Garrett, publisher of the last hand-set newspaper in America.

Ken has spent the bulk of his career photographing people and stories throughout Georgia. So often those stories, anchored in the region, had national implications, and we hope to include several more in the archive in the near future. But we had to start with Homer Garrett and his remarkable one-man band publishing house.

Meeting the newspaper man through Ken’s lens transports us into Homer’s world and the accompanying article is a bittersweet story about a master craftsman contending with the end of his career.

You can view the full story in the Photojournalism Archive here: Homer Garrett & the Last Handset Newspaper

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

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In these disjointed times that seem to pull us apart rather than draw us together we all could benefit from a Fifth Grade Dance Class. Seriously.

Martha Rial is probably best known for her Pulitzer Prize-winning work on the mass displacement of people in the Rwanda genocide, but she has spent the bulk of her career telling stories closer to home, in and around Pittsburgh, PA. She has a gift for focusing her camera on the seemingly unremarkable and capturing timeless moments that invite us to identify and empathize with her subjects.

Her story about a program in the early 2000s that brought ballroom dance lessons to fifth grade students is a modern-day Norman Rockwellesque slice of brilliance.

The pictures pretty much tell the story all on their own, but for the full impact, the video version is a must.

You can view the full story in the Photojournalism Archive here: Fifth Grade Dance Class

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:

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The goal of the Photojournalism Archive is preserving the work of photojournalists whose eyewitness accounts of our history are at risk of being lost amid the decline of the newspaper industry and the constraints imposed on their ability to preserve their work.

There are so many ways in which these stories continue to enlighten us, encourage our empathy and inspire us to do better.

Rick Rickman’s in-depth look at senior athletes does all of that.

In his book, The Wonder Years, Rickman photographed the biannual National Senior Games that host a variety of competitions, individual and team.

He also delved into the back stories of some of the athletes, such as retired radiologist Dr, Granville Coggs, a Tuskegee Airman who took up running after he was diagnosed with narcolepsy and became a dedicated all-around athlete.

You can view the full story in the Photojournalism Archive here: The Wonder Years

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:

Instagram -- @photojournalismarchive

Blue Sky -- @photojarchive

Facebook -- Photojournalism Archive

Thanks for reading Photojournalism’s Substack! Subscribe for free to receive new posts and support my work.

Pulitzer-prize winning photojournalist Renée Byer is as much an empathetic reporter as she is a gifted photographer. Her ability to connect with people, understand their struggles and capture their stories is clearly visible in her photo essay, A Mother’s Journey about the relationship between Cyndie French and her terminally ill son 10-year-old Derek Madsen.

Captured in the last year of his life, the photo story is unflinching, intimate and also respectful. The purpose of the story was to highlight the fact that while billions of dollars go to cancer research each year, there is very little support for the emotional and financial struggles of the patients and their families.

Derek was diagnosed with neuroblastoma, a rare childhood cancer, and his mother had to juggle his care, advocating for the latest treatments but also how to pay for his care and maintain their home life.

Renée says that her intent was to capture how Derek was guided with the unconditional love, persistence and patience of his mother despite all odds.

You can view the full story in the Photojournalism Archive here: A Mother’s Journey

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:

Instagram -- @photojournalismarchive

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Thanks for reading Photojournalism’s Substack! Subscribe for free to receive new posts and support my work.

Pulitzer-prize winning photojournalist Rick Rickman spent 38 years covering visual stories, everything from sports to war to the every day lives in cultures around the world. As with all excellent photojournalists, seeing some of his early work gets to the essence of how he views his craft.

The story of Jim & Bill was made while Rickman was working at the Des Moines Register and developed a relationship with the pair of men living rough.

All appearances to the contrary, they were not brothers, but shared whatever shelters they could find such as an abandoned switch house alongside the railroad tracks or the occasional motel room when funds permitted.

They came from very different backgrounds, were bonded by their alcohol addiction and remained companions for 14 years.

You can view the full story in the Photojournalism Archive here: Jim & Bill

You can also view some of his other stories here: Rickman Stories, with more to come soon.

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:
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The great thing about a photojournalism archive is no matter what is happening in the world today you’re guaranteed to find connections with the stories that have come before.

David Hume Kennerly’s story about the end of Vietnam War from within the White House captures an administration coming to grips with a difficult decision, the gravity of war, dealing with unanticipated circumstances and the humanity of those making the hard decisions.

Kennerly, who at the time was President Gerald R. Ford’s Chief White House Photographer, has the ability to both develop an easy rapport with public figures that gains him remarkable access and then blend into the background to capture candid moments.

His story in the Photojournalism Archive includes the chronology of key events in the final months of the Vietnam War as well as his story-behind-the-story commentary on how it unfolded.

You can view the full story here: End of the Vietnam War

You can also view his other stories here: Kennerly Stories, with more to come in the future.

In the archive you can see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:
Instagram -- @photojournalismarchive

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April Saul is a truly remarkable photojournalist, for many reason, but chief among them is that she follows her visual stories for years, even decades, returning over and over to connect, capture and document. She is the QUEEN of the follow up, telling the stories of people from childhood to adulthood, from teen years to the end of life, from one generation to the next.

She has the ability to wrap herself in people’s lives, become personally involved in their triumphs and tragedies but still keep her focus on documenting the story.

We hope to feature many more of her work in the future, but a good starting place is her story about Renee Ramsey, a transgender woman who underwent gender reassignment surgery in her late 70s, one of the oldest to do so.

Renee’s long wait to transition to an identity she had carried insider herself from childhood was both liberating and challenging.

In the photojournalism archive you can see more of her story, accompanied by interview clips with April Saul talking about her work and relationships with Renee. You can view that story here: Renee Ramsey

You can also watch and listen to Renee tell her own story here: Renee's story

While you’re visiting April’s story on Renee check out her story on Jorge, who was blinded as a boy in a drive-by shooting and today is a father.

In the archive you can also see the work of the other photographers who have contributed stories to date. Our goal is to preserve and share these stories.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:
Instagram -- @photojournalismarchive

Blue Sky -- @photojarchive

Facebook -- Photojournalism Archive

Thanks for reading Photojournalism’s Substack! Subscribe for free to receive new posts and support my work.

As we absorb the news this week of the drastic layoffs at the Washington Post including all the staff photographers, it’s important to get a visual reference to what this loss means.

The birth of the Photojournalism Archive came about because of the work of Carol Guzy, the most decorated photojournalist of her generation, who earned three of her four Pulitzer Prizes while working at the Post, only to be laid off a dozen years ago. But she continues to commit her life to photographing in-depth stories documenting the human experience in all its struggles, beauty, heartache and hope.

You can view her full PHOTO story on those escaping Isis in Iraq in 2017.

Scars of Mosul

The images of suffering, especially of children, can be so hard to look at, but as Carol has said so often, if they have to live it the least we can do is look at it.

Photojournalism is a powerful tool to help us to witness, to see, to connect, to empathize, and to care. Ironically, in a time when images are ubliquious and we struggle to tell what is real, the work of professional photojournalists, those with the skills to capture TRUTH, is being dismantled and discarded.

The goal of the Photojournalism Archive is to preserve and share their work.

While you’re visiting Carol’s story on the Scars of Mosul check out the work of the other photographers who have contributed stories to date.

Photojournalism Archive

On other fronts, we would appreciate your support of the archive and its development. Fundamentally, this is a community archive project and we welcome your stories, support and ideas.

We continue to look for funding that will allow us to produce more stories, more efficiently. In the meantime, we could use some help with the cost of licensing software and other essential products. If you feel so moved, please contribute through our support portal or email me, Randa Cardwell, at photojournalismarchive@gmail.com. Thank you for any support you can offer.

Donate

And please follow us on:
Instagram -- @photojournalismarchive

Blue Sky -- @photojarchive

Facebook -- Photojournalism Archive

Thanks for reading Photojournalism’s Substack! Subscribe for free to receive new posts and support my work.