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Entries in photojournalism (10)


Photojournalist on the Edge of War

Photo: John Moore / Getty Images
Many photojournalists cover a city beat that includes everything from local politics and business to heartwarming human interest stories - but many photojournalists risk falling through the thin veneer of civilization as they cover stories of civil war, violent protests, and civilian clashes with government. In our Video Pick, Pulitzer Prize winning photographer John Moore narrates his story of a recent assignment in the Middle East, and he talks about the story behind his images. You can also read an earlier interview with Moore as he discusses what it's like to be a photographer in harm's way. 
In many instances the best protection in dangerous situations is simply to rely on one’s instincts. My instincts have been honed by a lot of experience, so I ignore them at my peril. Of course there are risks in this business, but I try to measure them as best as I can. While embedded with military forces, I wear a flack jacket and helmet, as well as ballistic eye protection. One of the worst fears is kidnapping, both in Iraq and Afghanistan and I almost always travel with the military in areas where that is an issue. 



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Famous Alum: W. Eugene Smith

The New York Institute of Photography is proud of our 100+ year record of training great photographers, both hobbyists who have the equipment and want to learn to take better pictures and aspiring professionals. Many of our alums have reached celebrity status, and one of them is certainly W. Eugene Smith.

We salute his creative vision. He pioneered "humanizing" photojournalism, providing amazing and unflinching images from World War II and environmental disasters, and powerful stories for News Week (later Newsweek) and Life magazines - including his still-talked-about profile of Dr. Albert Schweitzer. Smith left his first family behind and moved into a New York City loft to devote his full attention to photography. He left jobs when he wasn't able to call the creative and artistic shots or when editorial policies tried to dictate his photography subjects and slant. He marched to the beat of his own drummer and was a fearless advocate for photography's ability to communicate the soul behind the image. His work and vision continue to inspire photographers through the W. Eugene Smith Memorial Fund.

Photo Credits: © The Heirs of W. Eugene Smith, W. Eugene Smith/LIFE ©Time Inc., Magnum Agency


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Photojournalist Photo Assignment from Wired Magazine: Family

If you're a follower of RAW FILE, the online blog from Wired magazine, you know that they've got a new outreach program to photographers who fancy themselves as photojournalists. The assignments are highly targeted, but they leave it so that anyone can submit materials following their strict guidelines. 

The Corner Store was their first assignment, and they had photographers document the place where you buy your cigs and Slurpies and candy bars and show us the people who work and frequent your local hangout. While the critiques of submissions are pretty shallow, this is an interesting way for any photographer to hone her or his photojournalism skills.

The next assignment deadline is September 16, and focuses on a photo that profiles a Family Member, giving us an intimate look at someone close to the photographer. Click the link to read the full assignment and submission guidelines for your photo and story (yes, it's journalism combined with photography!). Good luck.

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Two Iconic Photo Ops 

Walter Karling

Walter Karling, NYIP Instructor - Photographers are fortunate to observe life closely and interpret what they see through their work. I like the fact that no day is the same as any other. I have different jobs at different times, all over the place. I may be shooting a board meeting, street fairs, the unveiling of portraiture in a chapel in a cemetery, or a salsa festival. The top photo is a digitally stitched-together panorama I recently shot of the Rio Grande River at the Big Bend National Park in Texas. Years ago, I made a panoramic view of the river with 4 x 6 prints made from negatives, scotch-taped together. 

My interest in photography started when I was young. In 1957, I went to the Astoria Boys Club on 21st Avenue in Queens after grammar school, and we'd develop photographs in a darkroom class. My first camera was a box camera, a Hawkeye. I remember taking pictures in Central Park in 1961, and I paid about $10 to have a roll of 220 film developed. My parents looked at the pictures and sternly asked me, "What are we spending money on this for?"

I was a New York Institute of Photography student in late 1969 to early 1970 when we were a residential school on East 33rd Street between 5th and Broadway; I took a course in "Commercial Photography," complete with studio lights and view cameras! I came on board as an NYIP instructor in 1978 (33 years ago) after seeing an ad in the New York Times, and I've been an instructor with the School ever since. 

I've been fortunate to photograph some wonderful events, but two come to mind that I'd describe as being iconic. They just had that "moment in history" feeling, but for an unusual reason: a serious event was undercut by something comedic. 

The Pope in Texas

In 1984, I was on a cross-country camping trip. I was down in Louisiana and listened to the news and heard that Pope John Paul II was in Florida and was going to be in San Antonio in a day or two, so I decided to head down to see him. I stood in front of the Alamo, and the Pope's motorcade passed by. The pope was in his popemobile along with a local cardinal, and the state troopers with the cowboy hats on lent a Texas twang to the scene. The cardinal pointed out the Alamo to the pope, then the pope quickly turned back and gave his blessing to the crowd. I got a nice shot of the pope and people's arms waving and praying in the foreground.

Walter Karling

When the motorcade passed and the crowd was ready to disperse, there, in full clerical dress and a huge hat was comedian Don Novello in his role as Saturday Night Live's Father Guido Sarducci. Everyone was ready to go home after their Pope sighting, but suddenly they realized Father Guido was standing there, and they started to take his picture. A very serious and inspiring event, and then someone made light of it and it captured its own attention.

Walter Karling

The Congressman Resigns

On Sunday, June 12, the week before Anthony Weiner resigned his office due to the mounting embarassment over his online extramarital exploits, I witnessed several protests in front of his office. I also saw a notice his office posted that he would be making a statement at a Brooklyn senior citizens center on June 16th. With the protests and increasing attention, his resignation was in the air, so I decided to attend. I specialize, among other things, in taking photos for community newspapers, so this was an ideal event to photograph.

Chang W. Lee / The New York Times

The 2pm-scheduled event didn't happen until twenty minutes later. I couldn't believe how packed the room was. There must have been 50 cameras, still and video, in the room. None of us spoke with one another, but we just stood around. Everyone knew he was going to resign, and then there was tension in the room as all waited. Everyone had their mics set up on the podium, we were poised to take pictures (I'm standing in the photo just above - the guy at the end of the red arrow), and suddenly Weiner walked in.

Blitz, blitz, blitz – strobes all went off at once!

Walter Karling

Walter KarlingWalter KarlingWalter Karling

Weiner was speaking at the same senior citizen’s center where he announced his New York City Council bid many years earlier, so he was coming full circle. His office brought seniors in to sit down in front of the representative, to be his official audience, but they were outnumbered by the press. His statement lasted only 4 minutes. Weiner said, "I hereby resign my position." The seniors said "NO, NO, NO!" But there was a heckler in the room, and his voice was so loud (calling him a pervert and other raunchy remarks) that everybody started to turn towards him. It turned out to be Benjy Bronk, a regular on the Howard Stern Show. So I snap away, first at Anthony Weiner - he's my bread-and-butter shot (close ups with a telephoto lens) - and then at Bronk and the crowd in the room (see Bronk in the black T-shirt gesturing with a legal pad in the first photo below, top left; and Bronk being interviewed outside in the second photo).

Walter Karling

Walter Karling

Anthony Weiner kept reading his statement, ignoring the heckling. People were apologizing to Weiner, some press tried to grab Bronk to get him to sit down . . . and then the comedic heckler winds up being his own news story down on the street in front of the center, with people interviewing him and me snapping his picture, reminding me of what happened in 1984 when a TV comic tried to upstage the pope.



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Honoring Our Pulitzer Prize Winning Graduate


New York Institute of Photography graduate, Matthew Lewis Jr., was awarded the Pulitzer Prize in 1975 “for his photographs in color and black and white.” Lewis had begun working for the The Washington Post ten years earlier. And this Pulitzer was historical for two reasons: (1) It was the first Pulitzer Prize ever given to a portfolio of color pictures, and (2) Lewis was the first photographer at The Post to have ever been awarded a Pulitzer Prize.

Lewis, who also attended Howard University and the University of Pittsburgh, embodies the photographic principle of making the image express something within the photographer; Lewis covered—to a great extent—the Civil Rights movement and the work Dr. Martin Luther King Jr. While on assignment to photograph one of Dr. King’s appearances in a church, Lewis remembers getting “palpitations of the heart . . . and when he [Dr. King] raised his arm, and the light cascaded up his arm, right up to his fingertips, I went ‘click’ and I captured—on film—my personal feelings of Martin Luther King.”

These days, long after his retirement from The Washington Post, the Baltimore Afro-American Newspaper, the Thomasville Times, and Potomac, Lewis has started a non-profit venture to produce an educational documentary “that will trace 100 years of historical photographs.” His love affair with the camera is far from over.

To get in touch with the Matthew Lewis Legacy project - and the master photographer himself - write to PO Box 2158, Thomasville, NC 27361-2158; phone: 336.472.6100; email:



HOMEWORK: Leave a comment and tell us which photographer has most inspired your work.


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