The Times photographer Tyler Hicks, who chronicled the 20-year war, captured American troops in battle, the deaths of civilians, schoolgirls in class and the struggles of ordinary Afghans to survive.
One of the first things the New York Times photographer Tyler Hicks witnessed after arriving in Afghanistan in late 2001, soon after U.S. airstrikes on Oct. 7 opened the invasion, was the execution of a wounded Taliban fighter. The scene shocked him, upending everything he thought he knew about war and about the Afghan Northern Alliance — the U.S.-aligned fighters who had been his guides and protectors, and the Talib’s killers.
The photographers who go out to photograph wars know that the actual experience of being in a war zone cannot be communicated with pictures. The people who look at photographs of war now know very well that war photography also doesn’t do much for or to them. It’s debatable to what extent war photographs have shaped the public discourse.
Reading Time: 4 minutes Dupont has spent decades reporting from Afghanistan. Here, he discusses his work, from photographing legendary commander Ahmad Shah Massoud, to reflecting on what the future might hold
Dupont has spent decades reporting from Afghanistan. Here, he discusses his work in the region, and what the future might hold
Felipe Dana, an award-winning photojournalist, recounts his experiences photographing the realities of the War on ISIS.
In a six-minute video with Vice, news photographer Felipe Dana recounts his experiences of documenting the War on ISIS and shows photos that illustrate the complex emotions felt by the affected communities.
For the past 10 years, Syed Shahriyar has photographed gun battles across the Indian subcontinent and the funerals of militants and policemen. Despite the danger, he’s determined to document life there for future generations.
Reading Time: 5 minutes From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital ag
From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital age
From his pictures of wars and famines from around the world to his social documentary work in Britain, this retrospective draws together work from all aspects of this British photographer’s remarkable career
Magnum Photos member Peter van Agtmael shares his journey as a conflict photographer, and the importance of adopting an open, questioning approach to photojournalism.
While at Yale, van Agtmael also developed a more critical approach to the mythos of America he had consumed as a youth. His friends, Chesa Boudin, now the District Attorney of San Francisco, and Sarah Sillman, currently a staff writer at The New Yorker, shared their perspectives on “how power is used to manipulate people across the political spectrum into a status quo narrative of the nature of American power and justice,” helping him to see beneath the surface of things and find a new way to engage.
Peter van Agtmael has been documenting the Twenty Year War since its very beginning. I first spoke with him in 2007 and then again ten years later. He has published a number of books, all of them essential records of a country too embroiled in its own senseless militarism to recognise the folly of it all. There’s Disco Night Sept. 11, there is Buzzing at the Sill, and now there is Sorry for the War.
I stumble a bit, me, the former Math major, when I try and do the 'math.' Last fall was fifty years: I arrived in Vietnam in October 1...
When I told John I was heading to Vietnam, he said to me… “do a story for me - call it Children of War…” I paused, then bagan to ask, “John, what do you want me to do… ?” and before I could finish the sentence, he said “No, no! You tell ME the Story. YOU’re the journalist, your pictures should show ME the story.” Over the decades since, I have been immensely glad for that teaching moment.
The VII Foundation presents a new book by photographer Gary Knight. Imagine: Reflections on Peace (also published in French as Imagine: Penser la paix), created in collaboration with several photo reporters and journalists, is a collection of 200 images accompanied by reflections on the imperfect construction of peace.
After six weeks of armed conflict between Azerbaijan and Armenia, a peace agreement, a handover of disputed territories, and mourning
One week ago, on November 10, a Russian-brokered ceasefire agreement was signed by the president of Azerbaijan and the prime minister of Armenia, ending six weeks of warfare over disputed territory in the Nagorno-Karabakh region. It is estimated that thousands of fighters and more than a hundred civilians were killed in the fierce conflict. Nagorno-Karabakh—officially part of Azerbaijan, but controlled by ethnic Armenians—broke away from Azerbaijan in a six-year-long war that ended in 1994, but was never completely resolved. In September of this year, simmering conflicts broke out into war once again, with each side blaming the other for escalations. The new ceasefire agreement cedes control of large areas of disputed territory back to Azerbaijan, and places 2,000 Russian soldiers in the area to act as peacekeepers. As the handover date approached last weekend, some villagers set their own homes on fire before fleeing to Armenia.