In the podcast Verwondering of Harald Dunnink (creative director of Momkai and co-founder of De Correspondent) I was invited to talk about the roll and philosophy of imagery on De and The Correspondent. We talked about our policy, my projects on image forming, our creative team ánd gardening.
[Listen here and check out the gallery with visuals of all topics we covered]
On De Correspondent I wrote the origin story of the key element in the house style of our journalistic platform: the hand drawn avatars. In the past seven years we have had several versions of the hand drawn portraits. In this piece I’m explaining why and how.
[Illustration by Cléa Dieudonné]
As part of the five years anniversary of De Correspondent we published a book with some of our best journalism, about the big structures and changes of our times. All our over 60.000 members get the e-book for free.
[Illustration by Momkai]
The photo book Obama: An Intimate Portrait by Pete Souza is published. For years I’ve been going through his archive of Obama, analysing the orchestrated image forming of him as president. Does this photo book bring something new in addition to what we’ve seen?
Read the article here [in Dutch]
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Years I spent shifting through White House photographer Pete Souza’s archives. I created collections for recurring topics, and began to see how public perception of Barack Obama is deliberately shaped. This is my analysis – and a trove of wonderful photos.
Eight years and 6,500 Obama photos later: How our view of the President has been meticulously crafted [in English here]
In my years of doing image direction
for different journalistic media I never understood why art is only present in
the ‘nice to know’ section of news,
while especially art is capable of communicating the huge and abstract world wide problems we’ll have to deal with these days like climate change, growing inequality and privacy.
So I wrote a warm plea for the unique qualities of arts and why it should be published on front pages more often.
Read the article here [in Dutch].
After publishing The Bonsai Project on De Correspondent with an article on the legal rights of trees, lots of upset comments by readers were given about that combination of text and imagery. Most heard critique was that the images were showing the opposite. But why should images in a journalistic context always literally show what is described in the text?
So I decided to write an article on why this is my approach in image editing. The images doesn’t necessary reflect the text, but bring in a different angle on the same subject. An article on my view of innovate image editing in journalism.
Read the English article here.
After visiting the opening week of Rencontres d’Arles 2015 I’ve made a selection of my top five favourite exhibitions at the photo festival.
Check the list here (and if you’re a member of De Correspondent, please leave your favourites in the comments).
I’ve been writing essays on horrific images in media, to get insight in how imagery can fulfil a (new) role in making journalistic productions. I’m investigation the issue from different perspectives.
The journalistic/editors perspective:
“War porn and why we must look at these pictures”
The historical perspective:
“Horrific imagery can: a) stop war, b) prevent war, c) cause war”
The makers intentions perspective:
“IS makes horrific images, but not only because they are gory”