Local Boys in Bradford 1972 Don McCullin – Near Checkpoint Charlie, Berlin 1961 Londonderry 1971 At the age of 83, British photojournalist Sir Don McCullin decidedly declared, “I’m not an artist” — while standing inside a major retrospective of his work now on view at the Tate in London through May 6, 2019. “I’ve been…
Combat Obscura: Why the Marine Corps doesn’t want you to see this new documentary – The Washington Post
Lagoze found himself in a murky gray area of free speech and fair-use government products. U.S. citizens can already go on Pentagon-operated sites and download free military photos and video. Their tax dollars fund it, and federal government creations are not protected by copyright.
These are Goya’s Disasters of War, a series of 82 prints made between 1810 and 1820 that show the horrors of war and its aftermath during the Spanish Napoleonic Wars. They are etchings, not photographs, but they are complete in their depiction of atrocity; there is death, mutilation, torture, execution, rape, pillage, starvation, sorrow, disgust and despair in unflinching detail. They show the effect of war on the civilian population and, in his etchings of the aftermath of the war and the restoration of a flawed monarchy and church, the ways in which suffering, corruption and war are linked to wider structures of power.
‘Everyone was leaving, and we were trying to get back in’: A photographer remembers the end of the Soviet Afghan War – The Washington Post
Viktor Khabarov, 67, was a major in the Soviet military, working among the troops as a photographer. While the Kremlin made lofty decisions about the conflict from Moscow, he saw it close up, on the ground. From 1986 to 1989, he hopped in and out of Afghanistan on assignment for Red Star, the Soviet (and now Russian) military newspaper.
The documentary “Under the Wire,” featuring photojournalist Paul Conroy, painstakingly details his colleague Marie Colvin's final days before her death while reporting from Homs, Syria, in February 2012.
In this previous story on her commission for the eyeWitness to Atrocities app, Anastasia Taylor-Lind talked about truth in photography, the problem of creating stories that go beyond cliché and stereotype, and the dilemmas of being commissioned for an open brief to test out the eyeWitness App, an app intended to create time and place verifiable images of atrocity that will be admissible in a law of court.