This week on Photojournalism Now: Friday Round Up – the 10th annual Women’s show at Magnet Galleries, Melbourne, plus a review of Dr. Lauren Walsh’s exceptional book, Conversation…
For those of us who work in journalism the myth of the cavalier photojournalist who rushes toward conflict with zeal is well established. Robert Capa’s famous comment about photographers needing to get close to the action in order to capture the best picture is part of industry folklore. Don McCullin has spoken about the adrenalin rush of going to war, likening it to drug addiction. Tim Page’s antics during the Vietnam War have been immortalised in pop culture, Dennis Hopper’s character in the movie Apocalypse Now modelled on the British photographer. Yet while there are those who are lauded as celebrities, the vast majority of conflict photojournalists work in the background, committing themselves to covering some of the world’s darkest moments, to bearing witness to history, largely invisible to the outside world. Glory and money do not motivate them. In fact, these days it is more difficult to make ends meet than ever before. So what drives an individual to the frontline or to document the depths of human misery?
The 22 award-winning entries for the annual Overseas Press Club Awards depict a world in which entire nations and millions of people have been torn apart by newly intensified forces of nationalism, extremism, disease and environmental degradation. Al Jazeera America, Los Angeles Times and The New York Times won multiple awards. The Robert Capa Gold Medal Award, which honors the best photographic reporting from abroad requiring exceptional courage and enterprise, was presented to Marcus Bleasdale, a global documentary photographer, for his work “Central African Republic Inferno” done on assignment for Human Rights Watch, Foreign Policy and National Geographic Magazine.
Marcus Bleasdale, winner of the Robert Capa Gold Medal from the Overseas Press Club, has worked with nongovernmental organizations that have used his images to get the attention of policy-makers and power brokers.
I think we have to be targeted. Sometimes the most effective thing is to be on the front page of The New York Times, and sometimes the most effective thing is to put several photographs in front of three people in the world. You just have to choose those three people and put your case to those three people, and that can be a lot more effective than putting it on the front cover of The New York Times.
An unflinching, outraged report about the ongoing human tragedy occurring in the Congo—along with a video interview with the photographer behind these powerful images
The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy. It is fourteen hundred and fifty tragedies every day. It is countless more than that if you include the orphaned, the bereaved, the widowed, and all the ripples of truncated lives that spread from a single death. It is you and me and our children and our parent, if we had the bad luck to be born into the world this book portrays.
The Society of Environmental Journalists announced their 2014 awards for reporting on the environment yesterday. Seattle Times staffer Steve Ringman and VII’s Marcus Bleasdale were among the honorees. Ringman was recognized for his work with writer Craig
The gist of the argument is that Hicks and the other Western photographers could easily seek out and photograph Hamas fighters, and thus balance out the coverage, but they have been too bullied and intimidated to do so.
Photographer Morten Frool attended a multimedia/photography workshop with National Geographic photographer Marcus Bleasdale in Oslo, Norway, in December 2013. For his workshop project, he chose to work with a philosophical, anarchist painter named Art Ranger.
“It’s not the individual photograph, it’s what you do with it, and who you engage with it, that makes it powerful.”—Marcus Bleasdale Marcus Bleasdale has been a witness to war, a witness to heartbreak, and a herald for change. For more than ten years, he
“It’s not the individual photograph, it’s what you do with it, and who you engage with it, that makes it powerful.”—Marcus Bleasdale
Sometimes you can pinpoint the exact moment when you decide to change the rest of your life. For photographer Marcus Bleasdale, it happened one London morning in 1998 when he walked into the office where he was working as an investment banker. “Even at that point, I had long known I wouldn’t stay in banking, but that day there was just this trigger,” he recalled. “I didn’t even sit down, and I walked into my boss’s office and resigned.”
Marcus Bleasdale is always thinking about new ways to highlight the grim living conditions in the Democratic Republic of the Congo and our own complicity in its people's troubles. In 2009, he co-produced a comic book based on his images, and now he's working with a team of games developers to create an immersive experience that will convey the complex reality. He speaks with Olivier Laurent
The rebel Lord's Resistance Army and Joseph Kony, its messianic leader, have waged a campaign of massacres, torture, and abduction on civilians across Central Africa since the mid-1980s. Their 20-year bush war against the Ugandan government, which aimed to establish a theocracy based on the Ten Commandments, killed thousands and forced the displacement of around 2 million people.
VII is a collective of 28 visual storytellers dedicated reporting on issues around the world.
Stephen Crowley has spent most of his career masquerading as a newspaper photographer while producing idiosyncratic projects that push the boundaries of photojournalism and reveal unvarnished truths behind his most frequent subject: Washington politics.
Mr. Crowley, 57, a staff photographer for The New York Times, consistently takes risks in his photography. He was employing complex compositions in newspaper photography long before the style became trendy.
Photographer Tomas van Houtryve has won POYi's Photographer of the Year award in the freelance/agency category. His portfolio included several critical essays about the social and political effects of entrenched communist regimes in Moldova, Cuba and China. The second place award went to Getty staff photographer Paula Bronstein, while Marcus Bleasdale, a member of VII, won third place.
[slidepress gallery=’marcusbleasdale_therapeofanation’] Hover over the image for navigation and full screen controls Marcus Bleasdale The Rape of a Nation play this essay The Dem…
After successive waves of fighting and ten years of war, there are no hospitals, few roads and limited NGO and UN presence because it is too dangerous to work in many of these regions. The West’s desire for minerals and gems has contributed to a fundamental breakdown in the social structure.
Career change: Banker-turned-photojournalist
Marcus Bleasdale swapped derivatives for a camera to document the horrors of war
The post election violence in Kenya has killed nearly 1,000 and displaced 270,000. It is the most devastating violence to hit Kenya since its independence. Whilst politicians try to find solutions in Nairobi, the ethnic tensions in the Rift Valley reach new highs. Ethnic cleansing has led to killings and houses being burnt in a movement to shift different tribes out of their non-ancestral homes.
Huge parts of different cities across the valleys have been razed to the ground and the inhabitants forced to flee. In the villages, warriors from opposing tribes battle with bows and arrows, rocks and occasionally guns to gain or regain control of their land.
While the politician’s talk, the future of Kenya will depend, not on the final results of the discussions in Nairobi, but on the ability of Kenyans to forgive and live together again. That will take much longer.