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'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-
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
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
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.
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
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?
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.
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.
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.
Since 2003 a war has been raging in Darfur under the watchful eye of the world’s political elite. Well-meaning politicians and celebrities have beaten a path to the refugee camps, been photographed with raped women and orphaned children, wrung their hands and called for something – anything – to be done. Little of any consequence has been. Here.