Judah Passow has been working on assignments for American and European magazines and newspapers since 1978. He is one of the co-founders of Network Photographers.
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 magazine 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 widely throughout Europe and the United States.
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.
His book Shattered Dreams, looking back at twenty five years of his coverage of the Israeli - Palestinian conflict, was published in 2008 and accompanied by major exhibitions in London, Hamburg and Jerusalem. It was nominated for that year's Deutsche Borse Photography Prize.
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.”