News Archive

Exhibit Of War And Protest Photographs Opens London

LONDON - The exhibit “Great Frontline Photos: Pictures of War and Protest” curated by photojournalism author and editor John G. Morris opens November 11, America’s Veteran’s Day, at The Frontline Club in London.

“For me this is an opportunity to pay tribute to my dear colleagues of World War II in London, Robert Capa and Larry Burrows, both of whom died in Vietnam,” Morris wrote to News Photographer magazine.

Frontline is London’s new press club, at 13 Norfolk Place. The opening of the exhibit includes a press conference and then a panel discussion featuring speakers Christiane Amanpour and Morris, moderated by BBC diplomatic editor Brian Hanrahan.

The photographic exhibit includes classic war and protest images provided by the Associated Press, Laura Beilby, Heidi Bradner, Bobbi and Russell Burrows, Cornell Capa, Christie’s, Horst Faas, Martine Franck, Philip Jones Griffiths, Mark Grosset, Suzanne Hodgart, Gary Knight, Getty Images, Life, Magnum Photos, Steven Macleod, Don McCullin, James Nachtwey, Potosi, Michael Rand, Marc Riboud, Jinx Rodger, Joe Rosenthal, Agency VII, Marjorie Silk, Kevin Smith, David Turnley, Jeff Wedener, Richard Whelan, and Shogo Yamahata.

Many of the photographic prints were made by traditional methods by “the best” printers in New York, San Francisco, and Paris, Frontline said in their press release, but some of the new prints were made by Potosi Ldt. in London using a combination of conventional printing techniques and new digital technology, including high resolution drum scans of original prints.

“The club's ground floor restaurant is public; roughly half of the show can be seen without going upstairs,” Morris says. For more information please see



NPPA Joins Opposition Of Proposed New Jersey Transit Corp. Ban On Photography

DURHAM, NC – The National Press Photographers Association has joined with the Society of Professional Journalists, the Radio-Television News Directors Association, and the Reporters Committee for Freedom of the Press in opposition of a proposed ban of photography on New Jersey public transportation and its property by the New Jersey Transit Corporation, a ban that excepts members of the press and other authorized individuals only under certain special conditions.

NPPA’s pro bono legal counsel in First Amendment matters, Kurt Wimmer, of the law firm Covington & Burling in Washington, DC, has filed a legal brief with the agency on behalf of NPPA opposing the adoption of the New Jersey Transit Corporation’s proposed new photography ban.

In a letter to George D. Warrington, the executive director of New Jersey Transit Corporation, commenting on the proposed new rules, NPPA and the other press groups expressed opposition to the ban because it would, in counsels’ opinion, violate the First Amendment rights of photojournalists and other photographers; the ban would not achieve New Jersey Transit’s goal of enhancing national security or passenger safety by preventing intelligence gathering activities on New Jersey Transit property; and it would impair the ability of photojournalists to perform their job effectively. 

In opposing the photography ban, Wimmer and attorneys for the other organizations point out that the proposed change in rules would not leave open any alternative means for photographing on New Jersey Transit’s property, and that the proposed ban by itself is unconstitutional.


NPPA Odd-Numbered Regional Elections Now Underway

DURHAM, NC – NPPA members in Regions 3, 5, 9 and 11 can vote during the entire month of November, 2005, for Regional officers as directed in the organization’s Standing Rules, NPPA national secretary Sean D. Elliot announced at the beginning of the month.

“Elections for officers in Regions 1 and 7 have been postponed, because at this time the minimum number of candidates required by the NPPA’s Standing Rules have not been nominated to run for those offices,” Elliot reports.

Elections will be held online with balloting taking place through the member’s only area of the NPPA Web site. A full page of the candidates’ statements, biographies, and pictures is also on the Web site. Voting may be done at any time starting the first of November through the end of the month. Results will be announced early in December.

Elliot says, “The NPPA’s Standing Rules require a minimum of two candidates for each office in each Region in order to hold a valid election. In the event the minimum number of candidates cannot be fielded, elections are postponed until one month after the candidates have been nominated and qualified to run for office.”

“To run for office in the NPPA an individual must be a News Division member in good standing for the year preceding candidacy and must be nominated by the nominating committee in the Region in which they reside.

“Regional directors serve as voting members of the NPPA’s board and meet annually to approve the organization’s budget, make other decisions regarding the governance of the NPPA, and hear reports from the various committee’s and programs. Associate directors serve as the regional membership officer, dealing with the day-to-day needs of the members in the Region and they are designated as the stand-in for the Regional director if needed. Associate directors are not required to attend the annual meeting and may only vote if they are in attendance as proxy for the regional director.”

Members interested in running for office should contact either one of their regional officers. Anyone with questions about the NPPA’s election process, or specific questions about this election, should contact Elliot via eMail at [email protected].

The candidates in this odd-numbered Regional election are:

• Region 3, candidates Tom Costello and Ron Soliman for director and Dylan Moore and Linda Epstein for associate director;
• Region 5, candidates Chris Birks and Mike Borland for director and Nathan Pier and Greg Morley for associate director; 
• Region 9, candidates Pete Soby and Mel Stone for director and Ray Meints and Craig Moore for associate director;
• Region 11, candidates Russ Kendall and Adam Amato for director and Kurt Austin and Bill Goetz for associate director.

If you’re an NPPA member in one of these Regions and you are signed in to the NPPA Web site members’ area, you’ll be able to vote for your candidates during the entire month of November.

Contact NPPA national secretary Sean D. Elliot at [email protected] with questions.


Photojournalist Jerry Cooke, 84

Photographer Jerry Cooke, the former director of photography for Sports Illustrated magazine whose work also graced 47 Sports Illustratedcovers over the years - as well as being published in Life, Time, Fortune, National Geographic and many other magazines - died October 27 at his home in East Hampton, NY.

Sports Illustrated director of photography Steve Fine told the magazine’s staff in an eMail the next day, “For more than half a century, you couldn’t attend a Kentucky Derby or an Olympics without running into Jerry at the finish line. Some of his more notable pictures include Cathy Rigby on the balance beam, Bobby Fischer pondering his next move, and Bob Hayes winning the 100 at the 1964 Olympics.”

Cooke came to New York City in 1939 from the Ukraine, where he was born in 1922, and started photography as a darkroom assistant the year after he arrived in America. A family member loaned him a camera and he became a photographer. By 1951 he had already shot assignments for Life magazine, and that year he was the president of the American Society of Media Photographers (ASMP).

Sports Illustrated has posted an online gallery of Cooke’s pictures as a tribute here.


2006 Cutting Edge VII Workshop Goes To Jacksonville

Shawn Montano, director of the NPPA Cutting Edge workshop, announced that the 2006 workshop will be held January 20 and 21, 2006, in Jacksonville, FL. Cutting Edge is an NPPA educational seminar with emphasis on the craft of editing.

Cutting Edge VII: The Chronicles Of Editing will feature as faculty Lou Davis, chief photojournalist for WTVD-TV in Raleigh-Durham, NC;Matt Rafferty, the 2004 Cutting Edge Editor of the Year, a video editor for WJW-TV 8 in Cleveland, OH; and Montano. The 2005 Cutting Edge Editor of the Year, who will be named in December when the year's points are final, will also be there.

Last year's Cutting Edge was held January 29 in Raleigh-Durham, NC, and featured speakers Brian Weister of KMGH-TV in Denver, CO, and Vicki Hildner, special projects editor at KCNC-TV in Denver. Montano was the 2001 NPPA Television Editor of the Year and works at KCNC-TV.

For more information contact Montano at [email protected]


New York Area Photographers Raise $1,325 For The NPPF Hurricane Katrina Relief Fund

By Todd Maisel

NEW YORK, NY – New York and New Jersey news photographers raised $1,325 at a fundraiser in late September when eight great metropolitan-based photographers showed their photographs of the destruction and human suffering in New Orleans and Mississippi caused by Hurricane Katrina.

The money, raised at a function of the New York Press Photographers Association, was presented by NYPAA president Ray Stubblebine of Reuters, and NYPPA treasurer Bill Perlman of the Star-Ledger in New Jersey, to NPPA Region 2 director Harry DiOrio, who transferred the donation to the National Press Photographers Foundation’s Hurricane Katrina Relief Fund. The NPPA/NPPF relief fund is administered by a committee acting on behalf of the Foundation, a nonprofit charity that’s offering financial assistance to NPPA members and other photojournalists who suffered losses during the hurricanes in Alabama, Mississippi, and New Orleans.

New York area photographers wanted to raise money to lend an helping hand to their peers who live and work in the areas hit hardest by the storms, including a few photographers who have been told by their employers that there’s only a three month guarantee on their salaries as they go about their jobs, some without a place to live and others sharing living space with family.

Photographers from across NPPA’s Region 2 experienced the hurricane’s destruction firsthand while on assignment in the South and they showed their photographs to about 75 photographers and journalists at Jeolado, a popular Korean restaurant on Manhattan’s East Side. Among those showing pictures and answering questions from their fellow photographers were Vincent Laforet and Chang Lee, of The New York Times; Mike Appleton, Craig Warga, and Bryan Smith of the New York Daily News; Matt McDermott of the New York Post; Chad Rachman of the Staten Island Advance; and Reuters’ newest staffer, Shannon Stapleton.

Each story told by the photographers revealed different hardships, the dangers in lawless areas, and the difficulty establishing communications in decimated communities. But all were unanimous about the amount of destruction from the storms and the horror of seeing people who didn’t survive lying in the streets or floating in the sewage-filled waters. The New York area photographers, many who are also long-time NPPA members, opened their pocketbooks to give money to the fund that will be distributed to photojournalists in need.

During last week's 48th annual NPPA Flying Short Course, print auctions in Boston, Austin, and Eugene also raised cash for the NPPF/Katrina Relief Fund. The print auction in Eugene raised $1,854 according to NPPA vice president Tony Overman, and the print auction in Austin raised $1,425 according to NPPA president Alicia Wagner Calzada.

Anita Baca of the San Antonio Express-News says that at the Austin auction, “the tender and touching image of Saleh, the ‘Lion Heart,’ photographed by Deanne Fitzmaurice of the San Francisco Chronicle, the 2005 Pulitzer Prize for Feature Photography winning photograph, brought the highest bid of $125 from John Liston, photography editor for The Monitor in McAllen, TX. A photograph by Zach Ryall, director of photography for the Austin American-Statesman, of the late Stevie Ray Vaughn and his brother, Jimmy, playing a double-neck guitar, drew a lot of bidding as well. San Antonio College photography advisor Tricia Buchhorn took home the much sought after print of the Texas Blues legend Vaughn for $100.

Those interested in making a donation to the Fund can contact the Fund committee members: NPPA past president Bob Gould; JohnBallance at The Advocate in Baton Rouge; and Tim Mueller at The Advocate.

For more information please contact Gould at [email protected] or NPPA vice president Tony Overman at [email protected].


2005 Flying Short Course Wraps Up In Eugene; Student Quarterly Clip Contest Moves Online

The 48th annual National Press Photographers Association Flying Short Course wrapped up Sunday at the University of Oregon in Eugene, concluding its third and final stop of this year's coast-to-coast program. The NPPA's traditional fall educational event, which has brought award-winning speakers and workshops to photojournalists and students in cities across American for nearly five decades, opened Friday at Boston University's College of Communications and appeared Saturday in Austin at the University of Texas College of Communication School of Journalism.

In this year's new format, each Flying Short Course stop was a two-day affair with national traveling faculty presenting programs on one day, and local and regional faculty presenting workshops and programs during an additional day. In another new twist this year, the Flying Short Course moved out of hotel and convention hall venues and back into college and university journalism schools in keeping with the tradition of being an educational event in an educational environment.

The national traveling faculty for 2005 included NPPA Newspaper Photographer of the Year Jim Gehrz of the Minneapolis Star Tribune; 2005 Pulitzer Prize-winning photojournalist Deanne Fitzmaurice of the San Francisco Chronicle; Bill Marr, associate editor of National Geographicmagazine; two-time Pulitzer Prize-winning photojournalist MichaelWilliamson of The Washington Post; Brian Storm, president of MediaStorm; and freelance photojournalist and editor DaveEinsel. Full information about the Flying Short Course is available online at

During the 48th annual NPPA Flying Short Course, print auctions in Boston, Austin, and Eugene raised cash for the NPPA/NPPF Katrina Relief Fund. The print auction in Eugene raised $1,854 according to NPPA vice president Tony Overman, and the print auction in Austin raised $1,425 according to NPPA president Alicia Wagner Calzada.

"I think the programs were great, the traveling staff was great, and the caliber of the presentations were very high. It was a well-rounded group who covered a wide spectrum of topics and everyone seemed to be impressed with the two-day format," said Timothy "T.C." Baker, the Flying Short Course organizing chairperson. "We've already started planning the 2006 Flying Short Course and are looking at potential sites."

"Everyone raved about 'Hands-On Saturday' in Eugene," NPPA vice president Tony Overman reported. "Portfolio reviewers were overwhelmed with students. We had 20 reviewers and they were completely full. The crowd stayed for hours and everyone was pleased afterwards." Overman wrote to the NPPA board that the "University of Oregon was fantastic, ... the venue was awesome, ... and the national faculty was great."

On Saturday at the Flying Short Course local and regional program in Eugene, Overman announced a partnership with to take the NPPA Student Quarterly Clip Contest online. (Read a related story and the annoucement here).

“The Flying Short Course is important because it’s an opportunity for the photojournalism community to come together and share our passion for the craft, and to help each other to get better at what we do,” said Brian Storm, president of MediaStorm, a multimedia production studio that publishes social documentary projects incorporating photojournalism and audio reporting. Before MediaStorm he was vice president of News, Multimedia and Assignment Services for Corbis, and for seven years before that he was director of multimedia at

In his Flying Short Course presentation, Storm talked about topics such as: Why Photojournalists Should Gather Audio; Podcast interview on Interactive Narratives; The Week in Pictures; Picture Stories; Aging in America by Ed Kashi and Julie Winokur; Hope at Heartbreak Motel by Kari Rene Hall; and the 2002 Olympic Torch Relay by Jim Seida and John Brecher. Storm also plans to cite two Corbis projects that he's proud of: Corbis Assignment Services, and the Corbis News Section Front.

San Francisco Chronicle staff photojournalist Deanne Fitzmaurice showed her full essay "Lion Heart" and talked about the story, the saga of an Iraqi boy named Saleh who was mained by a roadside bomb in Iraq and saved by American doctors who brought the child to a children's hospital in Oakland, CA, in a humanitarian effort. Twenty images from her essay won the 2005 Pulitzer Prize for Feature Photography for Fitzmaurice, and she told Flying Short Course audiences some of the stories behind the pictures as well as the efforts that it took for her and a reporter to stay on the story for an extended period of time.

FSC speaker Bill Marr, associate editor of National Geographic magazine, showed workshop audiences some of the new approaches the magazine is taking for its covers on the issues that go on the news racks as compared to the different covers that subscribers receive at home, as well as other new features that are in the magazine now since photojournalistChris Johns assumed the editor-in-chief's role in January of this year.

NPPA Best Of Photojournalism Newspaper Photographer of the Year Jim Gehrz of the Minneapolis Star Tribune told the FSC audience about how his winning portfolio came from shooting daily general assignments, while two-time Pulitzer Prize-winner Michael Williamsonshared a few of the discoveries he's made by working a shift or two a week on the picture desk at The Washington Post and what it's like on the "other" side of the newsroom, where picture editors represent photography in news meetings. He also talked about how he goes about building relationships with his subjects before photographing them, and what it takes to get the pictures that he wants to make.

In a panel discussion Saturday evening in Austin, photographers who covered the aftermath of Hurricane Katrina showed photographs and talked about their experiences, including some of the close-calls they encountered while doing their jobs in the hours and days after floodwater filled New Orleans as violence broke out during rescue and evacuation efforts. Eric Gay of the Associated Press, Jake Nielson of Agence France Presse, Ted Jackson of The Times-Picayune in New Orleans, Melissa Phillip of the Houston Chronicle, and JohnDavenport of the San Antonio Express-News were among those who participated in the discussion.

Anita Baca of the San Antonio Express-News says that at the Austin print silent auction, “the tender and touching image of Saleh (the ‘Lion Heart’) photographed by Deanne Fitzmaurice of the San Francisco Chronicle, the 2005 Pulitzer Prize for Feature Photography winning photograph, brought the highest bid of $125 from John Liston, photography editor for The Monitor in McAllen, TX. A photograph by ZachRyall, director of photography for the Austin American-Statesman, of the late Stevie Ray Vaughn and his brother, Jimmy, playing a double-neck guitar, drew a lot of bidding as well. San Antonio College photography advisor Tricia Buchhorn took home the much sought after print of the Texas Blues legend Vaughn for $100.

After the hurricanes the NPPA staff in Durham, NC, prepared consolidated online resource Web pages for journalists covering Hurricane Rita and Hurricane Katrina’s aftermaths. Also, applications are now being accepted from photojournalists who wish to apply for financial relief from the NPPA-NPPF/Hurricane Katrina Relief Fund.

The 48th Annual Flying Short Course was sponsored by the National Press Photographers Association, the professional society of photojournalists founded in 1946 and based in Durham, NC, along with the generous support of Canon and Nikon.



NPPA Student Quarterly Clip Contest Goes Online

EUGENE, OR - The National Press Photographers Association today announced a partnership with to take the NPPA Student Quarterly Clip Contest online. The announcement was made simultaneously on Saturday at the three stops of the 2005 Flying Short Course in Eugene, Austin, and Boston.

“This online competition is the result of two years of hard work by many people, including Jack Zibluk at Arkansas State University, and our friends at, to make this contest accessible, timely and educational,” said NPPA vice president Tony Overmanduring opening remarks at the FSC local/regional program in Eugene. “NPPA embraces its opportunities to help young photojournalists establish strong ethics and an appreciation for quality story-telling images.”

The fully-digital contest will begin the first quarter of the 2005-2006 academic year, with entries starting the first week of December.

The contest is open to all NPPA student members and is designed to enhance the learning experience with quicker judging and results. A winner's gallery and up-to-date point totals for NPPA College Photographer of the Year contest will also be featured. 

In Austin, NPPA president Alicia Wagner Calzada told the FSC audience, "We listened to what the students said about the contest and wanting it to be online, and we heard you, and hope that you'll embrace it on the Web." Taking the SQCC online eliminates printing and postage costs, allows instant entry verification, and will make last-minute entries easier (all important factors to student photojournalists).

“This is a natural fit for us,” said Joe Barrentine, co-founder of “We are all about helping student journalists get great information and other resources to help prepare them for careers in the business.” is an online resource for college journalists created by Washington State University students Brian Immel and Barrentine. The site features page design galleries with pages from more than 150 college newspapers as well as photo and page critiques by industry professionals.

“Trying to get a Photographer of the Year to critique your work when you are in the middle of nowhere can be challenging,” Barrentine said. “We want every student, no matter what school they attend, to be able to learn from the best in the business.” 

Changes in the SQCC are big news for student members, but they are also important for the NPPA at large. “While this is a momentous change for the student contest, it is just one more step in our journey to have NPPA's competitions reflect the tools and techniques of the trade,” Overman said.

Questions about the Student Quarterly Clip Contest can be directed to chairman Jack Zibluk ([email protected]) or Joe Barrentine ([email protected]).


NPPA Members Win Top Three Spots In 2005 Gordon Parks International Photography Competition

NPPA member Sarah Meghan Lee of Albuquerque, NM, is the winner of the 17th Annual Gordon Parks International Photography Competition, announced by The Gordon Parks Center for Culture and Diversity at Fort Scott Community College in Fort Scott, KS. Second place was awarded to NPPA member Benjamin Rusnak of Boca Raton, FL, and third place went to NPPA member Dr. VME Edom Smith, of Chesapeake, VA.

Parks, a world-renowned photojournalist, filmmaker, novelist, poet, and composer was born in Fort Scott in 1912. The Gordon Parks Center for Culture and Diversity was established at Fort Scott Community College in 2004.

Parks personally picked the winners after the competition was narrowed down to finalists, and they were asked to submit a large print for Parks to review. In a handwritten note that Parks sent with his selection of the winners to the Gordon Parks Center executive director Jill Warford, the legendary photographer wrote: “Dearest Jill – This was a most difficult task. All of the pictures are wonderful and it took hours and a lot of thought to reach a decision. My love and congratulations to all contestants! – Gordon Parks.”

Lee’s winning photograph showed a young woman waiting for medical treatment in a Haitian hospital, and that treatment never arrived. Rusnak’s second place photograph showed Angela Mercado, a mother of five, welling up with tears as she talked about the donated land and the new home that will be built on it for her family to live in, replacing the shelter made from black plastic sheeting that they live in now. Smith’s third place photograph shows a Sunday afternoon street scene in Rocheport, Missouri, a small river town “that’s seemingly isolated from the rest of the world,” the photographer wrote.

Lee, an NPPA member since 1998 who has taught at the Santa Fe Workshops and is represented by ZUMA Press, started photography as an assistant to a picture editor at USA Today before working with international relief agencies in Rwanda covering the refugee crisis in the mid-1990s. Her work as a freelance photojournalist has appeared in USA Today, The New York Times, Los Angeles Times, and the Boston Globe.

Rusnak, a staff photojournalist for Food For The Poor, has been an NPPA member since 1992. Smith, a photojournalist and educator who is the daughter of Professor Clifton C. Edom andVi Edom, and is a director of the Truth With A Camera Workshop, has been an NPPA member since 1995.

First place in this year’s contest received an award of $1,000, with $500 awarded for second place and $250 for third place. An exhibit of the finalists’ photographs will hang at Fort Scott Community College.

Parks awarded honorable mentions to Dean Tokuno of Yuba City, CA, for his picture “To Feel the Sunshine One Last Time”; to LouiePalu of Toronto, Ontario, for “Hands of Help”; to David Humphreyof Pendleton, IN, for “If Only My Eyes Could See”; and to AbirAbdullah of Dhaka, Bangledesh, for “Rescued Dead Child.”

Other finalists this year included Leroy Skalstad of Milwaukee, WI, for “Homeless Couple”; Jonathan French of Washington, DC, for “Blue Fields”; Debra Cram of Kittery Point, ME, an NPPA member, for “Queer”; Helen M. Giovanello of Torino, Italy, and New York City, for “Mother Of Fallen Soldier”; Keith Shawe of Tacoma, WA, for “Smoke”; and Steven Herppich of Cincinnati, OH, an NPPA member and a staff photojournalist for The Cincinnati Enquirer, for “Election.”

The photography competition is an integral part of the center’s Celebration for Culture and Diversity and it’s been conducted there since 1990. More than 3,100 photographers from around the world have participated in the annual program that, inspired by the photography of Parks, reflects important themes in life such as social injustice, the suffering of others, and family values.

Entry forms for the 18th Annual Gordon Parks International Photography Competition will be available after February 1, 2006, on the Web site,


A Letter From Paris: Perpignan's Report Card

One in a series of regular dispatches from the front lines of photojournalism:

By John G. Morris

PERPIGNAN, FRANCE - Visa Pour l’Image, the photojournalism festival held here annually the first week of September, serves as a kind of report card on the state of the world. The report this year was anything but excellent. The year began with the horrible aftermath of the tsunami. Just as the festival was getting underway, came word and equally horrible first pictures of hurricane Katrina. It was a bit too much.

Nevertheless, the festival was once again the family reunion of the world’s photojournalists. More than 3,000 professional photographers, journalists, picture editors, and agency representatives from 61 countries paid their dues (50 Euros) to attend the 29 exhibitions, the six nightly projections, the interminable “debates,” the previews and press conferences that make Perpignan unique.

Visa Pour l’Image can be described as a circus with three major rings and innumerable sideshows, presided over by ringmaster Jean-Francois Leroy, a journalist who learned the trade at Paris Match and has directed Visa for seventeen years. The three circus rings are the refurbished 16th century Couvent des Minimes, which houses more than half the exhibitions; the modern Palais des Congres, whose seven floors house the commercial sponsors and the world’s picture agencies, as well as two theaters and a rooftop restaurant; and theCampo Sampo, once the courtyard of a nunnery, now fitted with bleachers for hundreds of lucky spectators. Those who don’t get in are welcome to watch on another screen, at Place Gambetta. Surrounding all this (and much more, including a fort, a palace, a cathedral, a town hall, and too few hotels) sits the city of Perpignan.

The printed program for Visa is a big booklet of 57 pages, which is condensed into a little leaflet of 28 pages with map – indispensable in this city where streets wander like goats. Alphabetically, the 24 one-person picture shows this year ran from Eddie Adams to MichaelYamashita. Eddie’s was a posthumous tribute to a man known affectionately in the profession both for solid photojournalism and for showmanship. Michael’s show was on the Korean DMZ, the demilitarized zone and “last remnant of the Cold War.” He photographed it forNational Geographic in the winter of 2002-03 but unfortunately little has changed.

There were also retrospectives by Claude Dityvon, once considered the enfant terrible of French photography, and by David Burnett, the Washington-based photographer from Contact Press Images. Burnett, one of the few American photojournalists who actually speaks their language, astonished the French press by the number of world events he has managed to cover in the past 35 years, from the coup d’etat ofChilean General Pinochet to the campaign of John Kerry. Adriano Bartolini, a respectful paparazzo to the Pope, showed John Paul II in blue jeans.

The kind of show that sends Visa director Leroy to the wall (to hang it) is a photographer’s passionate statement of a cause. As usual at Perpignan, there were plenty:

* Contact’s Kristen Ashburn won last year’s Canon Female Photojournalism award, and was thus guaranteed a show this year. Her photographs of AIDS victims in Zimbabwe were a powerful indictment of the Mugabe regime, which welcomes journalists with prison sentences, eviction, or extinction. This year the award went to Claudia Guadarrama, for a show at Perpignan next year.

* Heidi Bradner of Panos Pictures began photographing the first Russian assault on Chechnya 10 years ago. She then lived in Moscow and speaks Russian. Her pictures pull no punches: “I have tried to give a human face to the many victims of this war,” on both sides. She now lives in London.

* Asim Rafiqui of Sipa, a young photographer who is a Pakistani born American of Kashmiri descent, now living and working from Sweden, has launched an all-out photographic attack on the “interim” government in Haiti which replaced that of the democratically elected President Aristide. His images show the brutality of the present regime.

* Marcus Bleasdale is an English writer who was first inspired by the Congo of Joseph Conrad’s Heart of Darkness. He left a banking job to see for himself. He found little had changed and published a book, One Hundred Years of Darkness. He hopes that his reportage, which he calls “The rape of a nation,” will shock the world into action.

* Kadir van Lohuizen of Vu, supported by a Dutch NGO, documented the world diamond industry, starting with the dismal conditions of African miners. Thanks to groups such as Fatal Transactions, there has been modest reform, embodied in the Kimberley Agreement of 2002.

* Gerard Ranciman’s color portraits of the survivors of Hiroshima, shown at Perpignan as a mural 40 feet long by 10 feet high, are one of the few Visa projects to be widely published – on the 60th anniversary of the dropping of the atomic bomb. His story made Paris Match, Time, London’s Sunday Times, Stern, Oggi, and Hola. Will it now be forgotten?

* Alexandra Boulat, one of the founders of the agency VII, returned to Perpignan with a story on “Women of the Axis,” meaning Mr. Bush’s axis. Her story was recently published in Paris Match, with text by Caroline Mangez. It was obvious that the women of Afghanistan do not see the wearing of the burqa and the black abaya (which the two women were forced to wear) in the same way as do western women.

* Paul Lowe, who may also be remembered for his coverage of the first war in Chechnya, reminded us of still another war, with a show called “Scars,” from the war in Bosnia. It’s also a book.

* The plight of Palestinians, generally favored in Europe over their Israeli occupiers, was the subject of two exhibitions. Vu’s Jerome Equercalled his “Gaza, Life in a Cage.” Reuters presented the work of its three Palestinian photographers, who happen to be brothers: AhmedJadallah, Suhaib Salem, and Mohammed Salem. The title of their exhibition: “Gaza – Funeral Days.” The preface explained: “For years in Gaza, every day has been a funeral day … This exhibition is a simple sample of their daily work.” Next year should be different, at least in Gaza.

* Unsurprisingly, the occupation of Iraq was either the main subject or was touched on in five exhibitions. Two were by AFP photographers,Patrick Baz and Mauricio Lima. One was by Time’s Russian contract photographer Yuri Kozyrev, who covered both sides. One was by freelance Jerome Sessini, who was in Iraq from March 2003 to January 2005. He says, “I shall be returning.”

* Lynsey Addario, who won the Fujifilm Young Photographer award, to me did the most remarkable job in Iraq, although she worked there only five days. Assigned by the weekly newspaper supplement Life, she arrived during the fierce fighting at Fallujah, and managed to photograph wounded Marines in the Air Force Hospital at Balad. Getting signed releases, she photographed faces, eloquent witness to the sacrifices made by American fighting men (she says that no women were on the front lines). After holding her pictures for four months Lifereturned them. Fortunately, they were almost immediately published by The New York Times Magazine.

* Magnum’s Paul Fusco also defied Pentagon attempts to sweeten the sour news of Iraq by photographing American funerals for servicemen and women killed in Iraq. His story, much like that published in News Photographer in March, 2004 (“When War Comes Home”), was published in Mother Jones.

* Finally we come to CARE, the international NGO, which conducted a competition of its own, judged by Jean-Francois Leroy. It was won byJuan Medina of Reuters, for his shocking coverage of lives lost as men and women attempt to flee Africa for the Canary Islands – Juan’s country. CARE also showed the four runners-up, in mini-shows of 10 pictures each. They were by: 1) Thierry Falise, on the Karen rebels of Burma; 2) Jan Grarup of Politiken on the Romas of Slovakia; 3) Lizzie Sadin, on the curse of being born female in India; and 4) FrancescoZizola on the victims of the Lord’s Resistance Army in Uganda. Lest Visa be accused of showing only things that most people are against, it’s worth reprinting the CARE exhibit’s explanation of what the organization stands for:

CARE seeks a world of hope, tolerance, and social justice 
where poverty has been overcome and where people live
in dignity and security.

I am not going to attempt to review the evening projections, for the simple reason that I found it impossible to take notes in the dark. However, thanks to the use for the first time of digital projection instead of slides, the evening screenings were the best ever. Created by a small company called Abax in the small town of Chagny in Burgundy, near Le Creusot, they may well revolutionize this fast-growing medium.

Perpignan’s Palais de Congres is beginning to resemble a Las Vegas trade show, with ever more elaborate displays by sponsors Fujifilm, Canon, and Apple. A constant spectacle at Apple was a line of people checking their email on a dozen computers. One floor of the Palais this year was devoted to space for 18 of the relatively new photographer cooperatives that have sprung up all over the world, with Aina, created by the Paris-based Iranian photographer Reza, heading the list.

On the floor above, the International Press Center housed 38 agencies this year, five fewer than last, but including seven new names: Editing, Images de, IPJ, Photoshot-UPPA, Pixpalace, Studio B, and Top. Seven of the 43 listed last year did not show up, at least under the same names. There were some new hats on old heads: Vin Alabiso, former photo director for AP, came as a consultant to New York Times Syndication. Mark Grosset, son of the founder of Rapho, came as editor and agent for Russian photographers, going back to Soviet times.

Brian Storm, who made his name at MSNBC and then Corbis, launched his new company MediaStorm with a presentation of five films that combine stills and video, from the work of freelancers. To me the most moving was “Never Coming Home,” a series of glimpses of and comments from families who have lost loved ones in Iraq, with photos by Andrew Lichtenstein of Corbis and audio by Zac Barr of StoryCorps.

National Geographic was at Perpignan in full force, making it clear that the switch from Kent Kobersteen to David Griffin would not alter their commitment to Visa. In return, the Geographic seems to get at least two exhibitions a year. In addition to Yamashita’s DMZ there was a fascinating color story by Stephen Alvarez called “Maya Underworld,” on the curious mixture of Mayan and Catholic ritual in Central America that is now threatened by evangelical Christianity.

Only four U.S. newspapers bothered to enter the competition for Visa’s Daily Press award (which was won by Ian Grarup for his Darfur coverage that appeared in Politiken in Denmark). The four were the Dallas Morning News, Newsday, The New York Times, and theWashington Post. The Times, which now owns The International Herald Tribune, sent its new assistant managing editor for photography,Michele McNally, as well as the IHT’s picture editor, Cecilia Bohan, and the Times’s Paris bureau picture editor, Daphne Inglese.

Magnum, which last year gave a big party, decided this year to hold a serious symposium, presided over by David Alan Harvey, on the outlook for sales of photojournalistic work through galleries and auctions. The discussion, like most panel discussions at Perpignan, seemed interminable and inconclusive. Meanwhile, Magnum photographer Thomas Dworzak was making a photograph of an unidentified man floating in a New Orleans street that made a double truck color spread in both Time and Paris Match.

By now, the sale of photo reproduction rights through the web has become so commonplace that it almost goes unnoticed. The big agencies – Corbis, Getty, Magnum – offer hundreds of thousands of images to their clients. At a Perpignan press conference, Evan Nisselson, founder of Digital Railroad, made an effective pitch to “the little guys,” freelance photographers and small agencies, announcing three new clients: 4See, a Portuguese agency; Veras Images, a collective based in New York; and Stephen Alvarez, the freelance photographer whoseNational Geographic story on Mayan religion was exhibited. The Geographic also sells pictures.

Ryuichi Hirokawa, editor-in-chief of Days Japan, a monthly Japanese picture magazine created on the first anniversary of the Iraq war, March 20, 2004, brought copies of his first quarterly edition in English. It leads with a challenge to “media around the world (who) gave unquestioning and uncritical support to the U.S. war on terror, thus limiting itself to covering the perspective of the only one side. Photos of victims of the war were quietly removed, for fear that they would threaten the ‘legitimacy’ of the war. Victims were neatly hidden from our eyes.”

Determined to show “the hard reality of the world,” Mr. Hirokawa held the first Days Japan International Photojournalism Awards contest. The first prize went to Prakash Singh for a tsunami photo, the second to Q. Sakamaki for a Liberian war photo; third prizes went to Nina Bermanfor her Purple Hearts photos and to Evelyn Hockstein for photos of Sudanese refugees and raped women.

Greg Kelly of the Canadian Broadcasting Corporation came to preview his film on war photography called “Words Are Not Enough.” The film consists of interviews with 24 leaders in the field, including David Douglas Duncan, James Nachtwey, Don McCullin, Maggie Steber,Gary Knight, Peter Howe, Hal Buell, Patrick Chauvel, Alexandra Boulat, Larry Towell, Horst Faas, Philip Jones-Griffith, JeromeDelay, David Leeson, and your correspondent. The film, which will air in Canada in November, attracted a small audience because of a scheduling problem.

John G. Morris, formerly of The New York Times and Magnum and now living in Paris, is the author of Get The Picture: A Personal History Of Photojournalism (University of Chicago Press, 2002).