Christopher Morris, USA, Black Star
For 70 years, World Press Photo has stood as one of photojournalism’s most prestigious platforms, celebrating the power of visual storytelling while documenting our world’s most crucial moments. As the organization marks this milestone, I sat down with Executive Director Joumana El Zein Khoury to explore how they’re using this anniversary not just to celebrate, but to critically examine their role in shaping visual narratives and safeguarding the future of photojournalism.
World Press Photo Exhibition
Joumana El Zein Khoury
At the heart of the anniversary is a carefully curated exhibition that delves into World Press Photo’s deep archives. It features over 100 photographs from photographers such as Steve McCurry, Johanna Maria Fritz, and Don McCullin. Opening at the Niemeyerfabriek in Groningen, Holland on September 19th, it will later tour Johannesburg, South Africa, and Dhaka, Bangladesh.
The exhibition looks at six core subject matters, piecing together different patterns and potential stereotypes which have arisen through the decades. They are:
- Weeping Women and Men Rescuing
- Emotional Soldiers and Debris
- Being a Man and Being a Woman
- Black Skin and The Dark Continent
- Silhouettes and Shadows – The ‘Wow’ Moment
- Fire and Smoke
Editors note: All images in this article will be part of the World Press Photo 70th year exhibition.
Steve McCurry, USA, Magnum Photos for National Geographic
But rather than being a simple celebration of the organization’s rich history, they’ve created something far more introspective and necessary.
To bring the exhibition to life, El Zein Khoury invited former photojournalist and Magnum photographer Cristina de Middel to examine the archives with fresh eyes and a critical perspective.
“We asked ourselves what is it that we want to do [to mark the anniversary?]. Do we want a big celebration…show how we’ve been here for 70 years and still alive and kicking?” El Zein Khoury told me.
The answer, as it turns out, was no.
Eddie Adams, USA, Associated Press
Taking Accountability
Instead, the organization decided to leverage their archives to understand how their 70 years of curation and awards have contributed to the ways society produces and digests visual media.
She noted that in today’s polarized, misinformation-saturated world, the organization must take accountability for how stories are told and whose perspectives are represented. “We really wanted to check in with ourselves and to see what kind of legacy we have participated in and what we can learn from it.”
With De Middel moving toward contemporary, artistic documentary photography in her career, I was curious why she was chosen to curate the work. El Zein Khoury’s response indicated a clear shift in how photojournalism can remain digestible while retaining power in the public sphere.
“What I like about Cristina is she represents what the younger generation is going towards. They’re breaking down the lines and frontiers between press photography, documentary photography and storytelling.”
De Middel’s personality was also a draw. El Zein Khoury described her as “quirky and fun,” praising her ability to tackle heavy subjects without making them overwhelming or disengaging.
Cristina de Middel
The Challenge of Visual Literacy
Eric Bouvet, France, Gamma
One of the most striking parts of our conversation was El Zein Khoury’s focus on visual literacy. In an era flooded with images, she believes audiences often lack the tools to critically interpret what they see. In its 70th year, World Press Photo wants to help audiences better understand and read images.
I questioned if it was utopian to think the organization could influence how the general audience interprets images. Firmly and fairly, she responded:
“I don’t think it’s utopian…we learn from the very first ages of our life how to read the alphabet. How to read a book. How to read a sentence. We spend a lot of years in school deciphering novels in order to understand how to read a novel… and we keep what we learn when we continue reading when we grow up. We have zero of that in terms of photography. There’s no visual literacy at all…”.
We both agreed that improving visual literacy is especially urgent now, as the public struggles to discern what’s real.
Which brought us onto our next topic: Artificial intelligence (AI).
AI and the Future of Photojournalism
Adam Pretty, Australia, Getty Images
The rise of AI-generated content presents unprecedented challenges. Photojournalists now compete with artificial images crafted entirely by people behind computers.
I asked how photographers can navigate this new reality and continue telling authentic stories. El Zein Khoury emphasized that responsibility should not fall solely on them:
“I think this is really something that is not on the shoulders of photojournalists. I think this is really something that must be on the shoulders of media organizations, of organizations such as ours, of organizations building cameras in the industry.”
She highlighted practical solutions in development: “Our main sponsor is Fujifilm, for example, and they’re working hard on helping photographers show their work isn’t AI by integrating watermarks into their cameras…”.
This will no doubt help authenticate work, but only time will tell how much impact these steps will have on audiences.
Safety and Support in the Field
Mustafa Hassouna, Palestine, Anadolu Images
AI isn’t the only challenge. Photojournalists face increasing threats of violence, from authorities, governments and hostile crowds.
In the West, we’re witnessing journalists beaten and arrested simply for documenting public events. In Gaza, photographers are heartbreakingly losing their lives just for doing their work.
El Zein Khoury explained that fewer photojournalists are staffers, and many freelancers operate without guidance or security support. To help, World Press Photo provides training on safety, contract negotiation, and sourcing reliable local contacts through partnerships with organizations like Free Press Unlimited.
Even with support, I worry photojournalism could be under real threat, with more photographers staying away from the craft because of growing dangers.
She disagrees, confident that human curiosity and commitment will continue to drive powerful storytelling. She cited Motaz Azaiza as an example, who transformed from wedding photographer to frontline journalist in Gaza: “He felt a real need to drive change and to take his camera and become a photojournalist, reporting on what is happening from the front lines.”
Azaiza was later named one of Time Magazine’s most influential people in 2024 for his work.
For El Zein Khoury, photographers like Motaz represent democracy’s front line. With passion in her voice, she said, “They’re really incredible people, they’re heroes and for me they’re as important as doctors today in the field. They’re the safeguards of democracy at this point in time.”
Beyond the Awards
Francesco Zizola, Italy Contrasto for Max
Reflecting on her comments about support, it struck me that for most people, World Press Photo is seen purely as a prestigious award and exhibition ceremony.
With that, I asked if it’s important to her that people recognize the organization goes beyond awards and recognition.
“Yes, absolutely!” she said, adding that she wants people to understand its broader mission and how it helps preserve, uplift, and support photojournalism in the present and into the future.
Some initiatives include creating a code of ethics for photojournalists, fact-checking and manipulation detection, as well as security training in dangerous zones.
She also acknowledged the influence of the awards in enabling this work:
“The fact we’re recognized as a prestigious awards organization, giving us a strong brand identity, makes it easier for us to get into spaces that are historically difficult to get into. Places like China and Iran, as examples, we can access and tell really powerful stories.”
Navigating Difficult Decisions
World Press Photo has faced difficult and polarizing choices this year. A high-profile example involved Nick Ut, in which his credit for the famous image The Terror of War was brought into question after a documentary alleged another photographer took it.
After an internal investigation, the organization suspended Ut’s credit. Over 400 photojournalists signed an open letter urging a reversal.
I asked what making challenging choices like this, where one camp will always be unhappy, was like from her perspective.
“Well, let me start by saying it’s very complicated. We [World Press Photo] are in a privileged position where people are looking at what we’re doing and are waiting for our responses. They’re then reacting to that. So I think that is really a privileged position to be in and it’s a position that also gives you even more responsibility and more stress and pressure in terms of how you react.”
Her approach centers on transparency, accuracy, and awareness of global impact:
“However, for me the essence is always to rely on your values and the position you’re coming from. I think for me the value of transparency is very important. So we’re always aiming to be as transparent in every single decision that we make as possible.”
Looking Forward
John Stanmeyer, USA, VII for National Geographic
As the September 19th exhibition launch approaches, El Zein Khoury expressed both excitement and nervousness about the public response. The exhibition represents two years of work, but also vulnerability. “I’m excited but I’m also a bit nervous, I have to say.”
This exhibition invites audiences to question photojournalism itself, including patterns of stereotyping and how narratives are shaped. World Press Photo is opening itself up to scrutiny without guarantees on reception: “We’re really putting ourselves out there,” she said.
For future milestones, El Zein Khoury wants more local stories and perspectives in the archive. She also notes a shift toward personal storytelling:
“The stories are becoming more and more personal, really showing the personal impact that a universal subject has on this one person. I think in that sense it will be much more intimate stories than the ones that we have the archive today.”
To those considering visiting the exhibition, her message is clear:
“If you’re looking for an exhibition that piques your interest, encourages you to question what you see – and what you’ve been shown in the past 70 years – then you should certainly come see the exhibition. There are so many iconic images on display, and all of them push you to think deeply about society in the past and in the present.”
Tom Stoddart, United Kingdom, Independent Photographers Group
The Vital Role Ahead
After spending time with El Zein Khoury, what came through most was her focus on both legacy and future. She doesn’t shy away from difficult conversations – AI, safety, accountability – and that openness feels essential in an era where visual imagery is easier to create than it is to trust.
What resonated most is her belief that photojournalism isn’t just about recording events, but about shaping how we see and respond to them. The responsibility is immense, but so too is the potential for impact.
As World Press Photo steps into its eighth decade it’s challenging itself, and all of us, to do better, while also reshaping the future of photojournalism. That might just be its boldest move yet.
For full details of the exhibition and everything World Press Photo is doing in its 70th year, be sure to check out its website.
More reading: 17 Powerful Images from the World Press Photo 2025 Awards
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