See the world in vertical: Top photos by AP photojournalists

Photographers across the globe are reframing how we visualize the human experience, one vertical shot at a time. As smartphone users increasingly consume visual content in portrait orientation, photojournalists have adapted their craft, creating compelling vertical imagery that captures both intimate moments and grand spectacles.

The Associated Press has curated an exceptional collection of vertical photographs that showcase this evolving visual language. These images, spanning continents and contexts, demonstrate how the narrower frame can actually amplify storytelling power rather than constrain it.

In one striking image, a migrant scales a border wall between Mexico and the United States near El Paso, Texas. The vertical composition accentuates both the imposing height of the barrier and the determination of the individual attempting to cross it. The photograph transforms a complex geopolitical issue into a singular human moment, the vertical frame emphasizing the physical and metaphorical climb.

Half a world away in Rafah, Gaza Strip, a photographer captured the moment a Palestinian man walked through the rubble of a building destroyed in an Israeli airstrike. The vertical perspective draws the viewer’s eye from the figure at the bottom through layers of devastation above, creating a powerful visual narrative about survival amid destruction.

The collection isn’t limited to conflict zones. At a ceremony in New Delhi, India, a vertical frame perfectly captured military cadets’ precision and discipline during a ceremonial parade. The format emphasizes their perfect alignment and the ceremonial swords that extend upward from their formations, creating visual harmony within the confined space.

“Vertical photography has evolved from a technical compromise to a deliberate artistic choice,” explains Marie Davidson, a photography historian at Columbia University. “What we’re seeing in photojournalism now is a conscious adaptation to how audiences actually consume images in the digital age.”

This shift reflects broader changes in media consumption. With approximately 85 percent of social media browsing occurring on mobile devices, according to recent industry data, vertical imagery allows for a more immersive experience without requiring users to rotate their phones. News organizations and photojournalists have responded accordingly.

The technical challenges of vertical composition have pushed photographers to rethink traditional approaches. Rather than simply cropping horizontal images, skilled photojournalists now actively compose for the vertical frame, considering how elements stack vertically rather than spread horizontally.

“It’s about understanding how the eye travels differently through a vertical space,” says photojournalist James Hernandez, whose work has appeared in multiple international publications. “You’re creating a visual journey from top to bottom rather than side to side.”

Sports photography, traditionally dominated by horizontal action shots, has particularly benefited from this perspective shift. In the AP collection, a vertical image captures a climber scaling an artificial wall during a competition in Jakarta, Indonesia. The format naturally complements the upward movement, creating a dynamic sense of ascension that a horizontal frame simply couldn’t convey.

Similarly, a photograph from a bullfighting event in Lima, Peru, uses vertical composition to dramatic effect. The matador appears at the bottom of the frame while the charging bull dominates the upper portion, creating a sense of imminent danger and power differential that resonates emotionally with viewers.

The rise of vertical photography has also democratized photojournalism to some extent. As smartphone users become more comfortable with vertical composition in their own photography, the visual language of professional and amateur photographers has found common ground.

“There’s a kind of visual fluency developing across platforms,” notes Davidson. “The distinction between professional and amateur aesthetic is blurring in interesting ways, particularly around composition choices.”

For news organizations, this evolution presents both opportunities and challenges. While vertical images perform better on social platforms, traditional news layouts must be rethought to accommodate both orientations effectively.

As photojournalism continues to evolve in response to changing technology and audience expectations, the AP’s collection demonstrates that the vertical frame is not merely a technical adjustment but a powerful storytelling tool in its own right—one that’s reshaping how we visualize and understand our world.