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?
Every once in awhile, a book lands on my desk unexpectedly, so I approach it with no preconceived notions. When I opened Nina Berman's An Autobiography of Miss Wish, published by Kehrer, it was like a burst of energy, a fireball of amazing story telling,
NOOR photographer Nina Berman edits the work of her colleague Tanya Habjouqa.
This post is part of the In Sight series, “PHOTOGRAPHERS edit PHOTOGRAPHERS.” In this installment, NOOR photographer Nina Berman edits the work of her colleague, Jordanian photographer Tanya Habjouqa. Habjouqa is a founding member of Rawiya, the first all-female photo collective of the Middle East, and she is currently based in East Jerusalem. Habjouqa’s project, Occupied Pleasures, received support from the Magnum Foundation and achieved a World Press Photo award in 2014. Culminating in a namesake book by FotoEvidence, it was heralded by Time magazine and the Smithsonian Institution as one of the best photo books of 2015.
On December 10th, 2015, Feature Shoot hosted the third edition of The BlowUp, a quarterly event in which we ask a selected group of photographers to each tell the stories behind one of their favorite images. This time, the theme was Viral Images, and phot
When Nina Berman attending the wedding of US Marine Sergeant Ty Ziegel and his high school sweetheart Renée Kline, she had no idea that the picture she took of a private moment in the lives of two traumatized young people would be co-opted and corrupted by the back alleys of the internet
Nina Berman has won the 2016 Aftermath Project Grant for “Acknowledgment of Danger,” a look at the “toxic legacy of war on the American landscape.” Berman, a documentary photographer, has published two books: Purple Hearts—Back from Iraq (2004), on wounde
Nina Berman has won the 2016 Aftermath Project Grant for “Acknowledgment of Danger,” a look at the “toxic legacy of war on the American landscape
Jonathan Blaustein interviews Nina Berman for us: JB: I was in New York in June, and I had a meeting at the Whitney with a curator and I had about 15 minutes to kill, so they let me go upstairs to the exhibitions. There was one section of the Biennial tha
Has it made the world my oyster, in the sense that I have no financial difficulties, or I can do any project I want, or I have all of these amazing offers just dropping in my lap every day? No. It has not done that for me. Has it opened some doors? I think. I think, also, that the effect of the Biennial will be something maybe felt for quite a while, for me. It has given me a bit more confidence in the choices I’ve made and what I do. And so for all of those reasons, it was a beautiful experience.
My work is still very difficult to look at. It’s very political work. If you look at what’s in museums these days, in the art world these days, it is not of such a direct political nature. At least, I haven’t found it.
Showcase: The War’s Long Shadows
JAMES ESTRIN – Lens Blog – NYTimes.com:
Nina Berman is not an objective photojournalist. And she doesn’t want to be.
“I don’t believe in the notion of the objective photographer, that somehow a photo is balanced and you’re dispassionate,” she said. “I don’t think that would have value. That’s like a security camera.”