Unlike his previous work, which was shot in a traditional reportage manner, these were close-up portraits of Afghan child refugees photographed against simple backdrops. In January this year, he filed a series of images to the news wires that were widely published to much acclaim. This year there was a plethora of portrait series taken by photojournalists, who consciously chose to isolate their subjects from their context and deliver typological studies of them in multiple.įor the past four years, Associated Press photographer Muhammad Muheisen ( TIME’s Best Wire Photographer of the Year 2013) has consistently produced strong documentary work of daily life from the slums of Islamabad, Pakistan. In this seven-part series, TIME looks back over the past 12 months to identify some of the ways of seeing-whether conceptually, aesthetically or through dissemination-that have grabbed our attention and been influential in maintaining photography’s relevance in an ever shifting environment, media landscape, and culture now ruled by images. But with so many images fighting for our attention, how do photographers make work that most effectively stands out and connects with an audience.

Whether through digital channels, print or on exhibit, the impact, influence and reach of the still image has never been greater.

Ways of seeing tv series