Renowned photographers Ron Haviv and Christopher Morris spoke in Zagreb about how they tried to be the ‘eyes of the world’ during the violent dissolution of Yugoslavia.
US photographers Ron Haviv and Christopher Morris presented some of the most important of their images from the break-up of Yugoslavia in Zagreb on Tuesday evening, with Haviv saying that he went to the Balkan war zone in the 1990s to “witness history” for himself.
Photojournalist Ron Haviv shares one photo from his time in Panama in 1989 and the impact it had on the future of the country.
Days prior, photojournalist Ron Haviv had been given a plane ticket by photographer Christopher Morris to cover the controversial election. At the time, he was freelancing and selling his photographs for $50 a piece. In Ron’s words, he barely knew what he was doing.
The treatment of a reporter by Greg Gianforte, the Republican candidate in a Montana special election, was either “outrageous” or “totally out of character,” depending on whom you ask.
“It is not cool,” Ms. Ryan, who encountered brusque treatment herself at a White House press briefing, said in an interview. “Who are we? Are we a third-world country? You cannot persecute the press for asking questions about the truth.”
Perpignan, Visa pour l’image festival, September 8, 2001. For a few years, a certain gloom reigns over the world of photojournalism, in seemingly continuous decline. Then, however, a group of seven photojournalists– Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, and John Stanmeyer– announced the formation of VII, a traditional photo agency based on the global Web.
I recently reread Phillip Knightley’s The First Casualty, a commanding account of the role of war correspondents from the 1854 Crimean War through until the 2003 Invasion of Iraq. The book brillian…
Another Crimea brings together six photographers from the prominent photographic agencies Noor, VII and Magnum. The photographers (Christopher Morris, Francesco Zizola, Gueorgui Pinkhassov, Olivia Arthur, Pep Bonet and Yuri Kozyrev) each produced a documentary photo series, or in one case a film, in the region over ten days in summer 2014
The candid conversation between Christopher Morris and MaryAnne Golon at the LOOK3 Festival of the Photograph in Charlottesville, Viriginia, highlighted the varied paths Morris’s career has taken, from documenting conflict and politics to shooting fashion
“I was always in pursuit of the ultimate conflict photography, basically pursuing the man with the gun,” said Morris of the years he spent covering conflict. “Eventually I started to realize I was pursuing a bunch of idiots with a gun.”
The takeaway from the beating yesterday? Many GOP candidates, their rallies and their photo ops are fostering an atmosphere of violence.
Simply, many of the GOP candidates, their rallies and their photo ops are fostering an atmosphere of violence. Combine the commotion of African-American protesters marching through a Trump rally with one of the most seasoned and esteemed campaign photographers standing eighteen inches outside the photographer’s “pen,” and the result is no surprise.
From person-to-person coaching and intensive hands-on seminars to interactive online courses and media reporting, Poynter helps journalists sharpen skills and elevate storytelling throughout their careers.
"Additionally, statements by Mr. Trump regarding his disdain for the press and for photographers in particular may have contributed to this incident and should be remedied immediately.”
Photojournalist Christopher Morris, on assignment for TIME magazine covering a Donald Trump rally today in Radford, VA, was involved in an incident with a Secret Service agent as he tried to photograph Black Lives Matter protesters who were being thrown o
Kennerly also wrote, "Chris can be faulted for using an expletive when the agent tried to block him from taking a photo, but their training definitely doesn't teach them to assault people for something they said - at least it didn't used to ...".
A photographer working a Donald Trump rally was thrown to the ground by security.
The incident, which was captured in numerous videos, begins when the photographer, Christopher Morris, attempts to shoot a crowd of Black Lives Matter protesters, who disrupted the Trump rally by marching out with their hands above their heads.
He is stopped by an agent and then tells him, "Fuck you." The agent asks, "What?"
The clip lasts 10 seconds, but Morris’ camera movement that day – his sweep across that front row in that Noah’s Event Venue in St. Clive, Iowa – took less than a second to film using Vision Research’s Phantom, a high-speed camera that shoots more than 720 frames per second.
As a part of the VII Mentor Program, emerging photographer Jošt Franko has been mentored by VII member Christopher Morris for the past two years. In this edition of Conversations, Morris talks about what sets Franko’s work apart, Franko shares his future goals, and together they discuss the dynamics of their working relationship
TIME assigned contract photographer Christopher Morris to document the Papal Conclave earlier this week. In addition to his work as a photojournalist, Morris also directed and produced a short film, ‘Conclave’, about the anticipation of the crowds congregating in St. Peter’s Square for the announcement of the new Pope.
I’ve taken real pains to make sure there’s no political photography. There aren’t any portraits of Barack Obama or Mitt Romney, and no pictures of rally signs. Instead, I sought to make an anthropological study of America—not for this week, or for this past election cycle—but a body of work that future generations could look back on to get a sense of the country’s mood.
Pivotal midterm elections in the United States are taking place on Tuesday November 2nd. President Barack Obama is under increasing pressure from the Republican Party and the Tea Party to maintain control of the U.S. Congress. We thought it would be interesting to look at an exclusive interview with Christopher Morris about the three videos he has done about the President and the difficulties he faces.
The VII photographer Christopher Morris has responded to my post ‘The War Photographers biggest story: themselves‘, which I published a few days ago, and which seems to have hit a nerve.
I’m posting his comment in full below as well as a response from Asim Rafiqui, who recieved The Aftermath grant in 2009.
TIME contract photographer Christopher Morris, on assignment in Libya for nearly a month, has been documenting what Libyan government minders have orchestrated, and beyond. Working quickly, often times shooting from inside the tour bus and under the radar of government minders, Morris’s photographs transcend the intent of his guides, capturing the subtleties of a closely watched society at war with itself.