Reading Time: 5 minutes From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital ag
From cutting through the oversaturated image market to combating fake news, the renowned conflict photographer and Emmy-nominated filmmaker discusses how the role – and risks – of photojournalism continue to shift in the digital age
Reporters and photographers who are no strangers to conflict are among those assigned to what is usually a day of pageantry.
“I’m used to being a war reporter in countries where there were no institutions, or the institutions shattered very rapidly,” said Ms. di Giovanni, now a senior fellow at Yale University’s Jackson Institute for Global Affairs. “This is a country that had, until recently, extremely strong institutions that protected us descending into the abyss, and to see what’s happening now is disturbing beyond belief.”
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?
Renowned photographers Ron Haviv and Christopher Morris spoke in Zagreb about how they tried to be the ‘eyes of the world’ during the violent dissolution of Yugoslavia.
US photographers Ron Haviv and Christopher Morris presented some of the most important of their images from the break-up of Yugoslavia in Zagreb on Tuesday evening, with Haviv saying that he went to the Balkan war zone in the 1990s to “witness history” for himself.
Last week, I said I like to shake things up. And I meant it. So today, we’re going to pivot away from book reviews, and bring you a special feature about the Lost Rolls America Archive, a project led by NYU professor Lauren M. Walsh, and photojournalist
So today, we’re going to pivot away from book reviews, and bring you a special feature about the Lost Rolls America Archive, a project led by NYU professor Lauren M. Walsh, and photojournalist Ron Haviv.
Photojournalist Ron Haviv shares one photo from his time in Panama in 1989 and the impact it had on the future of the country.
Days prior, photojournalist Ron Haviv had been given a plane ticket by photographer Christopher Morris to cover the controversial election. At the time, he was freelancing and selling his photographs for $50 a piece. In Ron’s words, he barely knew what he was doing.
A high school class learns to 'Follow the light' in the north African country.
“Follow the light! Follow the light!” It sounded like a scene from the 1980s film “Poltergeist,” but it was, in fact, award-winning photojournalist Ron Haviv giving some high school students sound photographic advice. The light was falling on a corner in the Berber town of Tinjad at the base of the Atlas Mountains and was fading fast. Cameras at the ready, the students trained their lenses, composed and made photographs that captured the spirit of this astonishing country.
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.
We talked to legendary photojournalist Ron Haviv about his experience documenting the trauma and atrocities of the Bosnian War.
December 14 marked two decades since the official end of the Bosnian War and all the bloodshed that it encompassed. In light of the anniversary I wanted to revisit Ron Haviv's Blood and Honey and ask him a couple of questions about the role of photojournalism then versus its role now, and when aesthetics disrupt documentation
On this episode Robert sits down with acclaimed war photographer Ron Haviv of VII Photo Agency in New York. They talk about his background in photography that led to covering conflicts and natural disasters around the world, his new book "The Lost Rolls",
On this episode I sit down with acclaimed war photographer Ron Haviv of VII Photo Agency in New York. We talk about his background in photography that led to covering conflicts and natural disasters around the world, his new book “The Lost Rolls”, the business of photography, and how important it is to diversify their revenue streams in order to make a living as a photographer. We discuss social media, video work, safety, workshops, Ron’s infamous scarf, and much more
Expert photographers on the lenses, notebooks and tools they carry
We asked Facebook, Instagram and Twitter followers to submit questions about gear for the second installment of 7 with VII. Read on for the 7 answers from VII’s Ron Haviv, Sim Chi Yin, Ashley Gilbertson, Arthur Bondar, Ed Kashi, Poulomi Basu and Sarker Protick
“Testimony,” Ron Haviv’s first solo exhibition at Anastasia Photo in New York City, spans 23 years and 18 countries, from Bosnia to Haiti to Libya. He has documented three genocides and over thirty conflicts worldwide
Ron Haviv hoped images of ethnic cleansing in Bosnia in 1992 would stop the killings. They did not, but were recently used as evidence against commanders charged in the genocide.
On a cool spring day at the beginning of the Bosnian war in 1992, Ron Haviv watched Serbian paramilitary soldiers pull a middle-aged Muslim couple from their home in Bijeljina. Shots rang out, and although members of the Arkan Tigers militia had warned him not to take photographs, Mr. Haviv stepped behind a truck and squeezed off a few frames.
I agree that you don't work with arms contractors if you're a compassionate war photographer. But are there larger conclusions to be drawn here that allow us to build on duckrabbit's throw down in a more constructive way?
Frankly, it’s hard to see war photography these days as anything but a moral compromise across the board.
Dear All, I want to comment on a discussion started by a photography blog in regard to my images that feature on the commercial campaign section of my personal website. VII is not associated in any…
I draw a strict line between my photojournalism and commercial campaigns and feature examples of both on my website, where they are clearly labeled for what they are. I support humanitarian intervention, detente and defense as I’ve seen what can happen when those things don’t exist. I am comfortable with where I set the boundaries. I also appreciate and respect that there are many different views about where those boundaries lie.
I managed to snag a few moments (over email) with Jason Cone, executive producer of the Starved for Attention films and MSF’s Communications Director based out of New York, and Ron Haviv, one of VII’s founding members. I wanted to ask the two about how NGOs and photographers work together, how a campaign such as this is produced, and how NGOs and journalists work to get stories out to a wide audience within such a fractured media environment.