David Burnett has always been something of a rarity amongst photojournalists, unafraid of radically varying his way of seeing and photographing as the subject matter demands in order for a great story to be told.
His avoidance of cliché and technical perfection at the expense of that story is refreshing. There is no one single archetypal David Burnett image – instead there is a range of them and he is always experimenting, learning and growing.
Mr Burnett’s willingness to try out new things may well be the product of a freelance way of life, always needing to produce something different from what the staffers and longterm contractors come up with.
Only one thing is predictable about his photographs, that they will be emotionally engaging and graphically precise, and that they will tell a story alone or in context.
That precision and engagement are revealed in conversation and doubtless in his teaching. Seize any chance you can to speak with him, listen to his insights and especially take part in one of his photography workshops like The Creative Eye with David Burnett, details below.
Vignette Creative – The story on Story – David Burnett – Pt 1
Vignette Creative – The story on Story – David Burnett – Pt 2
Pulitzer Prize-winning Australian expatriate photojournalist Daniel Berehulak has been awarded first prize for his General News photo story on the drug addict executions situation in the Philippines in the World Press Photo 2017 Photo Contest. (At time of writing the WPP 2017 website is being hammered and pages are refusing to load.)
Congratulations to Daniel Berehulak for his win and for working on one of the most important stories of our time.
In common with many Australian newspaper and magazine photographers, Mr Berehulak moved overseas some years ago to further his freelance photojournalism career. However, his Australian connection remains strong as a brand ambassador for Panasonic’s Lumix flagship cameras and lenses.
Micro Four Thirds mirrorless camera systems are increasingly being chosen by photojournalists for their light weight, compact size , small lenses and high image quality rivalling if not surpassing that of photojournalism’s former analog mainstay 35mm cameras when loaded with slow colour and medium high speed monochrome film.
Results obtained with M43 cameras often remind me of what I used to get on my 6×4.5cm and 6x6cm 120 roll film cameras while the image quality from APS-C cameras like those made by Fujifilm is reminiscent of results from larger 120 roll film formats like 6x8cm, 6x9cm and wider.
Meanwhile digital medium format cameras systems like Fujifilm’s coming GFX 50S approach if not surpass the image quality once obtained from sheet film. The newspaper and magazine photography career opportunities we once had may not exist anymore but at least our choice of digital camera types and sensor sizes is approaching the wide variety of analog cameras that once existed.