On May 13 you published an investigation by Michel Puech into the history of Gamma/Sygma. According to my European rights of reply, I ask that you publish this letter within 48 hours.
Grave mistakes were made by the people interviewed, and by Michel Puech. I cannot allow them to stand because some of them have caused me great offense.
Category: Photojournalism
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Gamma-Sygma: Hubert Henrotte répond
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Marcus Bleasdale’s Zero Hour: From photography to the world of video games
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
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The Optimist: A profile of Aidan Sullivan
As a director of photography, if you can convince the photographers you work with that you are 100 percent behind them in everything, they will give you 100 percent. I’ve always stuck up for my photographers – whether it was at the Sunday Times or Getty Images. You have to have that relationship with them because they are really vulnerable. They are only as good as their next picture. They are constantly soul-searching. They need support. They need someone to trust. That’s what I’ve always based my career on, and that’s why I have such a strong relationship with the photographers I’ve worked with. It’s my job to encourage, support and inspire them. I’ve been a photographer and I know how lonely a place that can be. I’ve been in difficult situations and know how scary that can be. For this profession to continue, we need to give as much support to the guys out there as we possibly can
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Photography as Advocacy: Origins of a Journey
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.”
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Eugene Richards’ Notes From the Road: The Bedroom
There was almost a pleading quality to Reverend Landers’s voice when he asked if I would take his picture. “It will go right there,” he said, pointing to a patch of wallboard hung with angel wings made of crepe paper and a cross fashioned from scraps of cardboard. “I’d be proud to be so remembered and immortalized.”