The business and practice of photojournalism.

How news photographers show us the world.

Photojournalism can be incredibly powerful. Time and again, photojournalists are the ones who define how people understand major events. Whether you know his name or not, when you think of the American Civil War, you think of Matthew Brady’s images of battlefields and Dorothea Lange’s photo Migrant Mother is the iconic image of the Great Depression. War photographers like Robert Capa witnessed some of the worst conflicts of the 20th century and when you imagine the end of World War II, the first image that comes to mind is often Alfred Eisenstaedt’s image V-J Day in Times Square.

Photojournalism is more diverse than that. It’s going to city council meetings week after week, snapping pictures of a community’s new construction project, photographing farmers markets and checking out a protest with a camera in hand. It’s a rewarding and challenging field. Use these tips to survive and thrive in photojournalism, whether you’re a freelancer submitting to Reuters or on staff for the Washington Post.

Thinking and acting like a photojournalist.

Professional photojournalists act differently than other people. When there’s an emergency, they run toward it, camera in hand. When everyone is talking at a public meeting, they’re silent. During a conflict, they’re off to one side documenting. “It helps to be the kind of person who doesn’t feel the need to take up a lot of space,” says photojournalist Beth Nakamura. “I like to observe and not make a fuss about myself.”

“Reporters are supposed to let everybody know that they’re in the room, be verbal and interview people,” says Kathleen Marie, who’s worked as a photojournalist and art director for the Willamette Week and Portland Mercury. “A photojournalist moves in the background. They don’t want people to know they’re in the room.”

Decentering yourself and becoming the quietest voice in the room is key to delivering good work. “Stories are about other people, about amplifying others' voices,” says Nakamura. “That’s a rewarding thing to do. That’s what drives you. Sit back and not be at the centre of it.”

Being silent, being an observer and letting others act while they document is what gives photojournalists their power. “Your introversion, willingness to listen and instinct to make space for subjects are actually key qualities,” says Nakamura. “So much of what I do is listen and witnessing is a form of listening. We love to observe. Use those features of your natural temperament to your advantage.”

Getting into photojournalism.

Photojournalism and documentary photography are ways of making a career out of observation. To do that, aspiring photojournalists need to know what drives and motivates them. “First and foremost, be yourself in the work,” says Nakamura. “Get to know yourself and what your values are, the things that concern you in the world and follow those impulses. Be your own, authentic voice and stay that course.”

The journalism industry is in flux. Publication models and revenue streams for news plug sockets of all sizes are constantly changing and it’s affecting everyone from the New York Times down to local newspapers. “We are at a time when things are happening at hyper speed,” says Nakamura. “So always be open to change.”

New photojournalists need to be aware of new ideas, new business models and new technology. Traditional publications like Harper’s Weekly have moved online and must consider how their content performs on social media on a daily — or even hourly — basis. Digital camera and photo technology is changing all the time. The way publications pay and employ staff changes. Editors and publishers are always figuring out how to stay ahead of the curve and photojournalists need to, as well. “When there’s a new idea or a new app coming at you,” says Nakamura, “figure it out.”