Anyone with a passion for photography would find the life of a newspaper photo editor endlessly fascinating. On a daily basis they have to pour over hundreds if not even thousands of possible photos, and cull them down to what the public will see in the masthead. They have to identify the few frames that carry the necessary emotional weight and factual clarity to lead a story.
Acting as the paper's primary visual gatekeeper, photo editors bridge the gap between raw photojournalism and the final layout. The role is a high-pressure mix of curation, ethics, and narrative strategy. While they might not be the literal 'voice' of the newspaper, they are effectively its 'eyes' – a role reflected in exactly what they choose to show their viewership.
Photo editors can help push or elevate images to an iconic status, transforming a single frame into a lasting symbol of human history.
On the flip-side, editorial bias can dictate a visual narrative and help sway public opinion: a right-leaning paper might highlight a rare EV fire to suit its ICE car advertisers (even though a petrol car is far more likely to catch fire), whereas a left-leaning masthead might opt for images of 'big oil' bowsers, or spiralling fuel costs or even a petrol station fire to help drive home a different agenda.
Beyond mere selection, photo editors are often responsible for commissioning assignments, at times managing a team of staff and freelance photographers, and ensuring that every image adheres to strict editorial standards.
In the digital age, this also involves sub-editing visuals for different platforms – ensuring a photograph has the same impact on a mobile screen as it does on a broadsheet front page.
So when it comes to identifying the month’s standout shots, a newspaper photo editor is the ultimate arbiter.
The current Photo / Picture Editor of The Guardian is Carly Earl who is also a regular finalist in major Australian photography prizes, including the Head On Photo Festival; and the Walkley Awards for Journalism – in which she won the Nikon Portrait Prize in 2025.
Her work serves as a vital record of modern Australia, capturing both the friction and the beauty of the nation’s evolving identity.
The Guardian's best monthly photos
In a new monthly series for The Guardian, Carly hand-picks three standout photographs to deconstruct, offering an expert breakdown of the craft and composition that elevates these frames to greatness.
February's edition includes a moment from the protests against Israeli president Isaac Herzog's visit to Australia, a portrait of prime minster Anthony Albanese, and the swimming pool of the tiny town of Underbool.
You can watch February 2026 edition here. Or you can see more photography on The Guardian Photography webpage.