A true legend.
via PetaPixel: https://petapixel.com/2023/05/08/james-nachtwey-on-a-photos-social-value-and-forgoing-a-family-for-his-work/Legendary war photographer James Nachtwey has appeared on 60 Minutes with Anderson Cooper to reflect on his career — discussing the importance of photography and his own personal sacrifices.
Destruction, brutality, and terrible loss in Bucha, Kharkiv, Irpin, and elsewhere.
via The New Yorker: https://www.newyorker.com/magazine/portfolio/05/09/the-costs-of-warThe invasion of Ukraine has been described as the first social-media war, and a key aspect of President Volodymyr Zelensky’s leadership has been his ability to rally his country, and much of the world, via Facebook, Telegram, TikTok, and Twitter. At the same time, war photographers in Bucha, Irpin, and beyond are working—in the tradition of Mathew Brady at Antietam or Robert Capa on Omaha Beach—to capture the grisly realities of what Vladimir Putin insists that his people call a “special military operation.”
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.
Focusing on the theme of “Main Street: a Crossroad of Cultures,” the exhibition, curated by Jerome De Perlinghi and co-curated by Catherine Coulter Lloyd and Régina Monfort, features the work of 100 photographers from 31 countries with an equal number of men and women. Among the artists included in this years’ edition are: the late Marc Riboud, Olivia Arthur, Linda Bournane-Engelberth, Omar Havana, James Nachtwey, Martin Parr, Eugene Richards, Gaia Squarci and Jo Ann Walters.
Hundreds of thousands of negatives and prints will be preserved
Sebastian Junger explains why the work of David Douglas Duncan, Don McCullin, James Nachtwey, and Lynsey Addario is more essential than ever before.
They live in a legal limbo – thousands of men, women and children stuck in a squalid camp near the town of Idomeni along the border of Greece and Macedonia. Their fate contingent on a new European Union plan that would see most of them deported back to Turkey.
From the wine-dark waters of the Aegean Sea to the back roads of the Balkans, James Nachtwey documents the dangerous passage
I spent the entire day right in the middle of the chaos and barely managed to survive. That night I made my way to the TIME office, dropped off the film and after the initial edit for a special issue of the magazine, I never looked at it again. My heart had been broken. I had lived through numerous situations that had been equally, if not more dangerous. I had witnessed many tragic events, which had also broken my heart. But what happened in my own city, so suddenly, was a catastrophe of such aggressive force, monumental scale and devastating consequence it was difficult to comprehend what I had just seen with my own eyes, and I understood the world I had known was changed forever.
Watch the TIME photographer’s moving acceptance speech as he receives the Lifetime Achievement Award from the American Society of Magazine Editors
Last week, TIME contract photographer James Nachtwey visited the Walter Reed National Military Medical Center in Washington D.C. to photograph combat veterans and wounded soldiers recovering at the facility.
To celebrate James Nachtwey’s 30 years as a contract photographer for TIME, we have organized an exhibit of 54 layouts that have appeared in the magazine featuring his work from Chechnya to Somalia and from Afghanistan to Burma, along with a series of his powerful, previously unpublished photographs. Below, James Nachtwey, and TIME’s Managing Editor Nancy Gibbs, reflect on the relationship between photographer and publication.
The Rohingya, Burma’s Forgotten Muslims by James Nachtwey
as these stark photos by James Nachtwey show, conditions worsen in the Rohingya camps spread out across the salt flats of the Bay of Bengal
was not badly injured and was working again soon after being wounded
The first bit of advice I would give to someone who aspires to cover wars is not to do it. Are you really sure you know what you’re getting into? Have you thought deeply about the potential consequences for yourself and for your family? Why don’t you find something else to do that would make a difference but not subject yourself to danger and hardship.
In the five years Baghdad was my home, I got to work (or just hang out) with some of the finest news photographers in the world: Yuri Kozyrev, Franco Pagetti, Kate Brooks, James Nachtwey, Robert Nicklesberg, Lynsey Addario, the late Chris Hondros… the list is as long as it is distinguished. Their immense talent and incredible bravery combined to make the Iraq war arguably the most exhaustively photographed conflict in human history. This selection doesn’t begin to capture the immensity of their collective achievement, but it is evocative of the horrors — and just occasionally, hope — they were able to chronicle.
Maybe what we are seeing here is not just some digital post-processing completely out of control, but also the result of seeing almost each and every event on the big screen, re-imagined in some Hollywood form: Our thought of “It almost did not look real” is turned into a reality: It literally does not look real any longer.
Ten years after the event, maybe Stockhausen was right when he said: “Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been.”
