Judah Passow has been working on assignments for American and European
magazines and newspapers since 1978.
Based in London, his work has been published extensively by all of the
leading British newspapers and their associated magazines, including the
Guardian, the Observer, the Times and Sunday Times, the Daily and Sunday
Telegraph and the Independent. Abroad, he has contributed regularly to Time,
Newsweek and the New York Times in America, Der Spiegel and Die Zeit in
Germany, Elsevier magazine and De Volkskraant in Holland, Das Magazin in
Switzerland and L'Express in France.
A winner of four World Press Photo awards for his coverage of conflict in
the Middle East, his photographs have been exhibited in London, York, Leeds,
Glasgow, Amsterdam, Paris, Arles, Perpignan, Tel Aviv, New York, and
In 1995 Passow formed Further Vision, a new media production company, to
explore the possibilities for combining traditional photojournalism with
digital technology. His CD-ROM, Days Of Rage, based on his work in Beirut
from 1982 to 1985, received critical acclaim in the British press for its
journalistic integrity and technological innovation.
He was an Artist In Residence at the Institute of Contemporary Arts in
London in 1998, where he directed the New Media Centre's Digital
Photojournalism Laboratory, and has served as a consultant to the Soros
Foundation's Open Society Institute, training photojournalists on newspapers
in the former Eastern Europe. He is a frequent lecturer on photojournalism
at British universities.
Passow graduated from Boston University in the United States in 1971.
Photography critic Steve Mayes noted in Reuel Golden's book "Witness: The
World's Greatest News Photographers", that "Judah Passow has an
extraordinary ability to distil complex situations into powerfully loaded
images that are deceptively simple to look at. He starts with a conceptual
overview of a political or social situation and looks for circumstances that
demonstrate the human reality, producing clean, graphic frames that combine
metaphor and actuality. His signature black-and-white technique has
cut-glass clarity and beauty with a sensual quality that seduces the viewer
to engage with even the grimmest reality. He is driven to extremes of
professional endeavour by his idealistic belief in the power of photography
and technical perfectionism."