Blind – When War Reporters Document Peace

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.

Honoring the creation of VII Photo Agency – The Eye of Photography

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.

'These awards show the consequences of a lack of resources in the industry,' says World Press Photo's chair Gary Knight

'I've done this four times with World Press Photo, and multiple times elsewhere in the world, and, I have to say – no disrespect to any other jury I've served on – this one was by far the most exceptional. It was a really thoughtful and intelligent, open-

“These awards show the consequences of a lack of resources in the industry,” says World Press Photo’s chair Gary Knight

World Press Photo to change contest rules following post-processing controversy

Earlier this year, World Press Photo was forced to re-evaluate the integrity of its winning image following false allegations of forgery leveraged against photographer Paul Hansen. While a panel of forensic analysts found that the image had not been digit

World Press Photo, who has selected VII Photo co-founder Gary Knight as chair of its 2014 contest, has announced a change of rules regarding "the permissible levels in post-processing of image files" submitted following this year's intense debate about manipulation in photojournalism

Toppling Saddam and a War's Coverage

The gripping footage of a Baghdad throng toppling Saddam Hussein’s statue was hardly the turning point of the war. If anything, it symbolized the problems covering the conflict.

“I saw this for what it was — this wasn’t Iwo Jima,” Gary Knight said. “It was probably the most trivial thing I had seen in five weeks. And I recognized what the press, the live TV cameras who had been starved of a story, were making of it. But I thought to myself, I’m not going to flatter this by making it into something that I know it isn’t.”

At Bosnia Reunion, Journalists See Unfinished Work | PDNPulse

Over 400 Bosnian and foreign journalists who covered the Bosnian war gathered in Sarajevo last week for the 20th anniversary of the outbreak of the conflict. But the reunion, organized by former Le Monde correspondent and editor Remy Ourdan and TV reporte

“It wasn’t very celebratory,” says Gary Knight, VII. “For so many of us, there was an affirmation that we need to get back to work in that country.”

Showcase: A Magazine Worth Its Price ($25) – Lens Blog – NYTimes.com

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Showcase: A Magazine Worth Its Price ($25) – Lens Blog – NYTimes.com:

Gary Knight can’t help himself. He has to go against common wisdom.

When photo agencies were converging and getting bigger, he helped found VII, a collectively owned boutique agency that produces the finest photojournalism. When experts on popular opinion said that content wanted to be free and that audience attention spans were shrinking, he helped start Dispatches, an intellectual journal, in words and photographs, that costs $25 for each quarterly edition.

dispatches / War and Photography – Part 1

dispatches says:

Is the current style of photojournalism stale? Does the current trend for commenting on the aesthetics of photojournalism detract from the stories that photographers want to communicate? What can photojournalists learn from the art world?

Comments from Gary Knight, Tim Hetherington, MaryAnne Golon, and Ashley Gilbertson.
Filmed on 22 May 2009 at VII Gallery, Brooklyn

dispatches / War and Photography

dispatches says:

Stephen Mayes introduces the discussion topics, including the motive and the intent of photographers who cover war, and the responsibility of the audience viewing the resulting images to learn, react, and engage. Tim Hetherington and Gary Knight continue by debating the crisis in photojournalism — is there one, and if so, what is it?

dispatches / American Postcards

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dispatches says:

These photographs were taken in October 2008 and were printed in Gary Knight’s hire car on a Canon Selphy printer on blank postcards and mailed from Youngstown

FT.com / Reportage – A photographer aims his lens at a Rio prison

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From FT.com / Weekend / Reportage – A photographer aims his lens at a Rio prison:

When photographer Gary Knight turned his lens on Brazil’s penal system, he found brutality, overcrowding and a controversial evangelist pastor with a strange power over inmates.

Check it out here.

via Travel Photographer.

Designing Dispatches

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Gary Knight says he wanted dispatches to be “highly portable,” so each issue is a blocky little book 5 ¾ X 7 ¾ inches, small enough to fit in a camera bag, briefcase, or jacket pocket. The magazine, which has published lengthy photo essays by Yuri Kozyrev, Antonin Kratochvil and others,  is distinguished by its modest, plain brown paper cover.

Check it out here.

dispatches

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Mort Rosenblum and Gary Knight shaped a rough concept after covering badly understood conflicts together in Asia, the Middle East, and Africa. At a photo workshop, Simba Gill told Knight of his own idea for a magazine. After an hour-long conversation in Paris, the three partners established dispatches with no more than a handshake.

Check it out here.

Photo Essay: Congo Portraits

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by Gary Knight, VII

The Congolese are generally not the most willing of subjects particularly when they think that the photographer will somehow profit from the exchange at their expense.

After a week or two struggling to work on stories on the Congo River I decided to engage in a collaboration with some of the villagers and city dwellers in and around Kisingani. I set up a portable studio (my hotel bed sheet, some gaffer tape and anything in the vicinity I could use to hang it on) and invited passers by or merchants in the area to be photographed with anything or anyone they desired. Most of them were photographed with the tools of their trade or with friends. It’s probably the most fun I have ever had with a camera.

Check it out here.