{"id":743,"date":"2026-06-25T11:36:29","date_gmt":"2026-06-25T11:36:29","guid":{"rendered":"https:\/\/movingandmortgagehub.com\/?p=743"},"modified":"2026-06-25T11:36:29","modified_gmt":"2026-06-25T11:36:29","slug":"the-stunning-photojournalism-that-made-mother-jones","status":"publish","type":"post","link":"https:\/\/movingandmortgagehub.com\/?p=743","title":{"rendered":"The Stunning Photojournalism That Made Mother Jones"},"content":{"rendered":"<article>\n<div><ul><li><span>Share on Facebook<\/span><\/li>\n<li><span>Share on Twitter<\/span><\/li><li><i><?xml version=\"1.0\" encoding=\"UTF-8\"?>\n<svg>\n<\/svg><\/i><span>Share on Bluesky<\/span><\/li><li><span>Email<\/span><\/li><li><span>Comments<\/span><\/li><\/ul><\/div>\n<div>\n<p><span>Since its founding<\/span> in 1976, <em>Mother Jones<\/em> has operated on a foundational premise: Visual storytelling goes hand-in-hand with investigative reporting to expose injustice, demand accountability, and build empathy needed to evoke change.<\/p><p>Read more <a href=\"https:\/\/movingandmortgagehub.com\/?p=741\">Can the Last Kennedy Running Please Turn Out the Lights?<\/a><\/p>\n<p>\u201cFor decades <em>Mother Jones<\/em> has seen photography as an essential component of its reporting,\u201d says long-time contributing photographer Ken Light. \u201cPhotographers and their work have had and been an important\u00a0voice within the magazine to reveal the truth.\u201d The magazine\u2019s photography has served as an uncompromising mirror to the world, evolving from the gritty black-and-white traditions of humanist documentary into an expansive, multiplatform chronicle of our time.<\/p>\n<p>Across five distinct eras, this retrospective highlights a small fraction of great work from that 50-year journey. While the magazine\u2019s editors could never have know at the time what a decade would bring, trends about each time period emerged when recently going through back issues.<\/p>\n<p>Beginning with the magazine\u2019s <strong>Origins (1976\u20131985)<\/strong>, <em>Mother Jones<\/em> photography brought readers face-to-face with foreign wars and raw realities of American life. During the second era, <strong>Social Documentary (1986\u20131995)<\/strong> took center stage. The photography became a bit quieter and more intimate, capturing personal, subjective experiences of people living within systemic problems at home and abroad.<\/p>\n<p>By the late 1990s, our photography followed the friction of <strong>Globalization and War (1996\u20132007)<\/strong>, emphasizing human aftermath of political and economic choices over spectacle on the battlefield. The devastating fallout of the 2008 financial crisis brought us a <strong>Crisis at Home (2008\u20132015)<\/strong>, with many projects tracking economic collapse, gun violence, and environmental degradation.<\/p>\n<p>Most recently, a decade of <strong>Protest, Immigration, COVID, and Climate (2016\u20132025) <\/strong>highlights a new generation of photographers working directly alongside communities, documenting our fractured, fast-moving world.<\/p>\n<p>Through every shift in art direction, technology, and geography, one constant remains: a commitment to immersive and engaged photography as a vehicle for storytelling. This work represents the visual arm of a <em>Mother Jones<\/em> core focus: powerful, longterm, independent journalism.<\/p>\n<section><section><br\/>\n<div><section><\/section><\/div><br\/>\n<div><section><div><span>1976-1985: Origins<\/span><span>Early <em>Mother Jones<\/em> drew heavily from the traditions of humanist documentary photography, which focused on the everyday experiences of ordinary people. The magazine championed visual storytelling that brought readers into Central American wars, political campaigns, and the struggles of American life. Much of the work took a direct and unsentimental approach, grounded in the idea that visceral photo\u00adgraphy could expose injustice and build empathy to spark change. The visual identity of <em>Mother Jones<\/em> under the leadership of founding art director Louise Kollenbaum took shape: serious, immersive, and engaged with the world.<\/span><\/div><\/section><\/div><br\/>\n<div><section><\/section><\/div><br\/>\n<\/section><\/section>\n<h3>Eugene Richards, \u201cThis Strange Knowledge,\u201d May 1981<\/h3>\n<p>Richards\u2019 photo essay centered on his first wife, writer Dorothea Lynch, and her battle with breast cancer, which ultimately led to her death in 1983. Some of the images became part of the book <em>Exploding Into Life<\/em>, which combined Lynch\u2019s journals and Richards\u2019 photos in a meditation on mortality.<\/p>\n<div>\n<div>\n<\/div>\n<\/div>\n<h3>Susan Meiselas, \u201cWhite Hand of Terror: How the Peace Was Lost in El Salvador,\u201d June 1981<\/h3>\n<p>The <em>mano blanca,<\/em> or \u201cwhite hand,\u201d was a sign left by Salvadoran paramilitary death squads on the homes of rebels they killed during the country\u2019s civil war. (Magnum Photos)<\/p>\n<h3>Jim Goldberg, \u201cLiving at the Hotel California,\u201d August 1978<\/h3>\n<p>This photo, the first Goldberg published in a magazine, became the basis of his first book, <em>Rich and Poor<\/em> (1985). It established his signature style of displaying handwritten messages by the photos\u2019 subjects on the images. (Magnum Photos)<\/p>\n<section><section><br\/>\n<div><section><\/section><\/div><br\/>\n<div><section><div><span>1986-1995: Social Documentary<\/span><span>In 1988, Kerry Tremain took the reins as art director and, with photographers Michelle Vignes and Ken Light, launched the Mother Jones International Fund for Documentary Photography, which supported, and often published, long-term photojournalism projects from the likes of Joseph Rodriguez and Nan Goldin. The magazine considered photography \u201can essential component of its reporting,\u201d Light says. The stories of this decade were closer, quieter, and more intimate, reflecting a broader shift in documentary photography toward extended relationships and subjective experience. Often unsettling, many of the images explored the emotional terrain of people confronting the country\u2019s biggest problems.<\/span><\/div><\/section><\/div><br\/>\n<div><section><\/section><\/div><br\/>\n<\/section><\/section>\n<h3>Ken Light, \u201cI Will Send for You or I Will Come Home Rich,\u201d November 1988<\/h3>\n<p>This piece, which shows three migrants being apprehended while hiding in the trunk of a car 50 yards from the Mexican border in Southern California, was taken from the 1988 book <em>To the Promised Land<\/em>. (Contact Press)<\/p>\n<h3>Joseph Rodriguez, \u201cGangstas,\u201d January 1994<\/h3>\n<p>\u201cComing out of the streets of New York myself, I felt connected in some sense,\u201d Rodriguez says of his subject. \u201cI was tired of seeing the news covering gangs as animals.\u201d (Gallery Stock)<\/p>\n<h3>Nan Goldin, \u201cAmong Friends,\u201d January 1992<\/h3>\n<p>Goldin\u2019s work here feels ahead of its time in its focus on people who \u201care going in and out of drag,\u201d as Carole Naggar wrote in an essay accompanying the photos: \u201cThey embody the fantasy that gender is malleable.\u201d (\u00a9 Nan Goldin, courtesy the artist and Gagosian)<\/p>\n<section><section><br\/>\n<div><section><\/section><\/div><br\/>\n<div><section><div><span>1996-2007: Globalization and War<\/span><span>With troops on the ground in the former Yugoslavia, Liberia, and of course Iraq and Afghanistan, the magazine\u2019s reporting increasingly focused on global dynamics such as war, migration, and the environment. Our photography followed suit, documenting the human consequences of political and economic decisions. Images of this period often emphasized aftermath and impact over spectacle: wounded soldiers, displaced families, polluted landscapes, and communities caught in cycles of conflict.<\/span><\/div><\/section><\/div><br\/>\n<div><section><\/section><\/div><br\/>\n<\/section><\/section>\n<h3>Lana \u0160lezi\u0107, \u201cHidden Half: Women in Afghanistan,\u201d July 2007<\/h3>\n<p>\u0160lezi\u0107 spent two years traveling Afghanistan, documenting the impact of the war on women\u2019s lives. This photo features Malalai Kakar, who worked as a police officer before the rise of the Taliban and who later went unveiled to educate women about their rights.<\/p>\n<h3>Tim Hetherington, \u201cSoldiers in a Forgotten War,\u201d January 2004<\/h3>\n<p>In <em>Which Way Is the Front Line From Here?<\/em>, the posthumous documentary about Hetherington, he talks about working in Liberia, looking for photos that tell a side of war less seen. This quiet shot of a young Liberian man saying goodbye to his sweetheart before heading to battle exemplifies Hetherington\u2019s work: unexpectedly tender, reflective images of young men caught up in tumultuous times. (Imperial War Museums)<\/p>\n<h3>Donna DeCesare, \u201cDeporting America\u2019s Gang Culture,\u201d July 1999<\/h3>\n<p>DeCesare returned to a country featured prominently in <em>Mother Jones<\/em>\u2019 early years: El Salvador. This time, though, the focus turned to the United States sending Salvadoran immigrant gang members back to their home country\u2014returning the children of those who fled the violence of the 1980s and in turn creating new problems for the beleaguered Central American country.<\/p>\n<h3>Nina Berman, \u201cReturning From Iraq, the Damage Done,\u201d March 2004<\/h3>\n<p>As the first waves of soldiers returned from Afghanistan and Iraq, frequent contributor Berman turned her camera on the complicated ways in which these veterans processed being back home. One of her subjects, 22-year-old Luis Calderon, was a former Army tank operator who was destroying a mural of Saddam Hussein when part of the wall crashed down, breaking his neck and paralyzing him. (Redux)<\/p><p>Read more <a href=\"https:\/\/movingandmortgagehub.com\/?p=738\">Prosecutors Can\u2019t Demand New York Trans Kids\u2019 Medical Records, Judge Says<\/a><\/p>\n<div>\n<section><section>\n<div><section><\/section><\/div>\n<div><section><div><span>2008-2015: Crisis at Home<\/span><span>The financial collapse of 2008 and its long tail turned the magazine\u2019s gaze toward more domestic stories. When I came on as photo director in late 2007, I added more visual work to the rapidly growing website. Throughout the late 2000s and early 2010s, photo essays explored economic collapse, environmental damage, gun violence, and the erosion of working-class life in America. There was room for fun, too\u2014photographers like Bryce Duffy, Gregg Segal, and Chris Buck contributed oddball and often humorous portraiture.<\/span><\/div><\/section><\/div>\n<div><section><\/section><\/div>\n<\/section><\/section>\n<\/div>\n<h3>Bryce Duffy, \u201cOf Mormons and (Gay) Marriage,\u201d March 2010<\/h3>\n<p>Longtime Republican operative Fred Karger dressed as the Lone Ranger for his portrait in a story about his fight against Proposition 8, the California initiative aimed at preventing same-sex marriage.<\/p>\n<h3>Danny Wilcox Frazier, \u201cWhat Killed Aiyana Stanley-Jones?\u201d November 2010<\/h3>\n<p>Pairing Wilcox Frazier with reporter Charlie LeDuff gave readers an unparalleled insight into the decimation of Detroit. A lot of photographers documented the blight, but this piece told a unique story of how cops shot and killed a 7-year-old girl when they burst into her home with a television crew in tow. And it led to an all-too-rare outcome: accountability for the police. (VII\/Redux)<\/p>\n<h3>Stacy Kranitz, \u201cMerchants of Meth: How Big Pharma Keeps the Cooks in Business,\u201d July 2013<\/h3>\n<p>Kranitz remembers this story\u2014which looked at how police in rural Kentucky were playing whack-a-mole as they tried to stop the theft of Sudafed for use in meth\u2014as one of the craziest projects she\u2019s ever been part of.<\/p>\n<section><section><br\/>\n<div><section><\/section><\/div><br\/>\n<div><section><div><span>2016-2025: Protest and Pandemic<\/span><span>Over the past decade, Mother Jones\u2019 photography has often trained its sights on resistance movements and unfolding political crises: Black Lives Matter protests, climate organizing, immigration and the US\u2013Mexico border, labor struggles, and the Covid pandemic. Many of the photographers represent a new generation working within or alongside the communities they photograph.<\/span><\/div><\/section><\/div><br\/>\n<div><section><\/section><\/div><br\/>\n<\/section><\/section>\n<h3>Ada Trillo,\u201c\u2018Our Country Is Full,\u2019\u201d November 2020<\/h3>\n<p>Raised on the southern border, Trillo gave readers an inside perspective on a migrant caravan headed to the United States\u2014and the ginned-up panic about it. In this photo, a young Honduran boy scrambles under a heavy gate at the Mexico\u2013Guatemala border, where the caravan was stopped.<\/p>\n<h3>Zen Lefort, \u201c\u2018I Didn\u2019t Come Here to Lose\u2019: How a Movement Was Born at Standing Rock,\u201d January 2017<\/h3>\n<p>Lefort embedded with groups protesting the Dakota Access Pipeline at the Standing Rock Sioux reservation in the Dakotas in 2016. \u201cI shared their daily lives\u2014the freezing nights, the meals, the silences, the stories,\u201d Lefort remembers. \u201cI was 23; we were almost all the same age, and that shared youth bound us together with a kind of quiet certainty.\u201d<\/p>\n<h3>Julie Dermansky, \u201cA Portrait of a \u2018Last Responder\u2019: The Funeral Director Serving Louisiana\u2019s Virus-Stricken Communities,\u201d August 2020<\/h3>\n<p>Published in a special issue focused entirely on the Covid pandemic, Dermansky\u2019s photo essay looked at the work of funeral home operator Courtney Baloney. His business, located in Louisiana\u2019s \u201cCancer Alley,\u201d catered largely to the African American community, which was hit particularly hard by the pandemic.<\/p>\n<h3>Rian Dundon, \u201cBlood on the Sidewalk: A Look at the Political Clashes of the Trump Era,\u201d October 2019<\/h3>\n<p>Beginning in 2017, Dundon has been photographing the political confrontations that have rocked the country, including this faceoff at a Milo Yiannopoulos rally at the University of California, Berkeley.<\/p>\n<p><em>For more on our 50th anniversary, check out\u00a0Exploding Cars, Office Monkeys, Watergate: The Origins of Mother Jones;\u00a0The Cover Stories That Put Mother Jones on the Map; and\u00a0Women\u2019s Work: My Barrier-Breaking Early Years at Mother Jones.<\/em> <em><em>And don\u2019t miss the\u00a0<\/em><\/em>More to the Story<em><em>\u00a0episode \u201cExploding Pintos, Imploding Politics: Celebrating 50 Years of Fearless Journalism<\/em>\u201d\u00a0<em>and\u00a0<\/em><\/em>MoJo<em><em>\u00a0Editor-in-Chief Clara Jeffery<\/em>\u00a0<em>and co-founder Adam Hochschild\u2019s conversation\u00a0on KQED\u2019s\u00a0<\/em><\/em>Forum<em><em>.<\/em><\/em><\/p>\n<\/div>\n<footer>\n<section><h3>Just one more moment of your time&#8230;<\/h3>\n<p>Before you click away: Will you stand up for fearless journalism? Right now, we\u2019re in the homestretch of our Summer Membership Drive. <strong>The drive ends next week, but we\u2019re only $80,000 of the way toward our $200,000 goal<\/strong>. The dollars that we raise this month will fund our investigations for the rest of the year\u2014so we need to reach this goal.<\/p>\n<p><strong>We\u2019re an independent newsroom<\/strong>, not beholden to the whims of billionaires (or trillionaires) and their agendas. We\u2019re not here to make money; we\u2019re here to expose corruption and be a megaphone for the truth. That\u2019s our mission, because you deserve to know what\u2019s happening behind the closed doors of those in power.<\/p>\n<p><strong>But we can only do this work because readers like you pitch in<\/strong>. We\u2019ve always been a reader-supported newsroom\u2014for all 50 years since we started\u2014and we always will be. Your donation, of any amount, makes a crucial difference in our reporting.<\/p>\n<p><span>Would you help us reach our goal and fuel the future of independent, investigative journalism? Thanks for reading\u2014and for standing with us in these turbulent times<\/span>.<\/p>\n<div>\n<div>\n<div>\n<\/div>\n<\/div>\n<\/div>\n<section>\n<div>\n<div>\n<div>\n<button>One-Time<\/button>\n<button>Monthly<\/button>\n<\/div><!--.row-->\n<div>\n<button>$<\/button>\n<button>$<\/button>\n<button>$<\/button>\n<\/div><!--.row-->\n<div>\n<button>Other Amount<\/button>\n<\/div><!--.row-->\n<div>\n<button>Continue<\/button>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" alt=\"Available payment methods include Visa, Master Card, Discover, and Paypal.\" class=\"wp-image-90\" height=\"60\" src=\"https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918.png\" width=\"471\" srcset=\"https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918.png 471w, https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918-300x38.png 300w\" sizes=\"auto, (max-width: 471px) 100vw, 471px\" \/><\/figure>\n\n<\/div><!--.row-->\n<\/div>\n<\/div>\n<\/section>\n<\/section><section><h3>Just one more moment of your time&#8230;<\/h3>\n<p>Before you click away: Will you stand up for fearless journalism? Right now, we\u2019re in the homestretch of our Summer Membership Drive. <strong>The drive ends next week, but we\u2019re only $80,000 of the way toward our $200,000 goal<\/strong>. The dollars that we raise this month will fund our investigations for the rest of the year\u2014so we need to reach this goal.<\/p>\n<p><strong>We\u2019re an independent newsroom<\/strong>, not beholden to the whims of billionaires (or trillionaires) and their agendas. We\u2019re not here to make money; we\u2019re here to expose corruption and be a megaphone for the truth. That\u2019s our mission, because you deserve to know what\u2019s happening behind the closed doors of those in power.<\/p>\n<p><strong>But we can only do this work because readers like you pitch in<\/strong>. We\u2019ve always been a reader-supported newsroom\u2014for all 50 years since we started\u2014and we always will be. Your donation, of any amount, makes a crucial difference in our reporting.<\/p>\n<p><span>Would you help us reach our goal and fuel the future of independent, investigative journalism? Thanks for reading\u2014and for standing with us in these turbulent times<\/span>.<\/p><p>Read more <a href=\"https:\/\/movingandmortgagehub.com\/?p=735\">The Defense Department Is Posting QAnon Memes<\/a><\/p>\n<div>\n<div>\n<div>\n<\/div>\n<\/div>\n<\/div>\n<section>\n<div>\n<div>\n<div>\n<button>One-Time<\/button>\n<button>Monthly<\/button>\n<\/div><!--.row-->\n<div>\n<button>$35<\/button>\n<button>$50<\/button>\n<button>$100<\/button>\n<\/div><!--.row-->\n<div>\n<button>Other Amount<\/button>\n<\/div><!--.row-->\n<div>\n<button>Continue<\/button>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" alt=\"Available payment methods include Visa, Master Card, Discover, and Paypal.\" class=\"wp-image-90\" height=\"60\" src=\"https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918.png\" width=\"471\" srcset=\"https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918.png 471w, https:\/\/movingandmortgagehub.com\/wp-content\/uploads\/2026\/05\/b47c6c719a6fe58d605cda1de8991918-300x38.png 300w\" sizes=\"auto, (max-width: 471px) 100vw, 471px\" \/><\/figure>\n\n<\/div><!--.row-->\n<\/div>\n<\/div>\n<\/section>\n<\/section>\n<\/footer><!-- .entry-footer -->\n<\/article>","protected":false},"excerpt":{"rendered":"<p>Sharp, immersive images have been crucial to the magazine from the start.<\/p>\n","protected":false},"author":1,"featured_media":742,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-743","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-politics"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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