Who is Morris?
May 02, 2005
John Morris, who is in Uganda to give a digital videoconference on photojournalism: Photojournalism as a tool for democracy and development, this afternoon at the American Embassy, has an impressive CV.
John Morris, who is in Uganda to give a digital videoconference on photojournalism: Photojournalism as a tool for democracy and development, this afternoon at the American Embassy, has an impressive CV. He served as a Hollywood correspondent for Life, picture editor for Life’s London Bureau during World War II, the first executive editor of Magnum Photos press agency, picture editor for both the Washington Post and the New York Times, and a correspondent and editor for National Geographic
Morris has been referred to as ‘The World’s most influential photo editor.’
During his remarkable lifetime, he has photographed and met world leaders, celebrities, soldiers, politicians and war victims. He brought to the public many of the images that defined the last millennium, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy as well as a cover photograph of Lyndon Baines Johnson (LBJ) dancing with his wife.
A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photo journalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.
Ends
Morris has been referred to as ‘The World’s most influential photo editor.’
During his remarkable lifetime, he has photographed and met world leaders, celebrities, soldiers, politicians and war victims. He brought to the public many of the images that defined the last millennium, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy as well as a cover photograph of Lyndon Baines Johnson (LBJ) dancing with his wife.
A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photo journalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.
Ends