A new photo exhibition documents how a brutal conflict on the eastern edge of the country continues to devastate the lives of civilians.
“The M23 rebel group is built around former Congolese army units who mutinied,” says photographer Hugh Kinsella Cunningham, who has been documenting the conflict since it exploded in 2022.
https://balkaninsight.com/2024/09/10/we-had-an-impact-kosovo-war-photographer-says-images-affected-wests-policies/
“I thought to myself, ‘I should be there, I should be taking these pictures.’ So, I quit my job and went to Sarajevo where the war had just ended,” Chin stated.
‘I take photos to convey my hatred of war’ Maxim Dondyuk has photographed Zelensky and embedded with Ukrainian troops.
There is a discomfort looking at the photographs knowing that Hetherington was to die in pursuit of his craft, and this knowledge is especially prescient today.
via Observer: https://observer.com/2024/06/arts-review-tim-hetherington-photography-at-londons-imperial-war-museum-exhibition/
Hetherington’s work was often about acknowledging the relationship between photographer and subject, rather than hiding it. In this way, Hetherington was far from the chaotic point-and-shoot chameleon we associate with war photography. His images slow down war and examine its quiet moments. They invite us to think about war rather than just look at it
We measured every town, street and building blown apart in Ukraine to show the first comprehensive picture of where people can’t return home.
Link: https://www.nytimes.com/interactive/2024/06/03/world/europe/ukraine-destruction.html
We analyzed every building across Ukraine that has been damaged or destroyed since Russia attacked two years ago.
Photographs from two trips along Ukraine’s northeastern border regions, in the months before Russia renewed an offensive there, reveal loss and transformation.
Link: https://www.nytimes.com/2024/06/07/world/europe/ukraine-border-russia-sumy-kharkiv-photos.html
Sirens cannot provide enough warning time for a bombardment from this close, and air defenses cannot repel it. Residents rely on deliveries of humanitarian aid, and the long, cold wait for supplies takes place under near daily shelling.
https://www.nytimes.com/2024/06/07/world/europe/ukraine-border-russia-sumy-kharkiv-photos.html
Bellingcat investigates the demotions carried out by the IDF in Gaza.
via bellingcat: https://www.bellingcat.com/news/2024/04/29/weve-become-addicted-to-explosions-the-idf-unit-responsible-for-demolishing-homes-across-gaza/
It’s estimated that more than 50% of Gaza’s buildings have been destroyed or damaged and approximately 1.7 million people have been displaced since the offensive began
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
The dean of conflict photography assesses the power of images—and his fellow image makers.
via Vanity Fair: https://www.vanityfair.com/news/don-mccullin-on-war
Recently, photojournalist Mark Edward Harris sat down with McCullin to discuss his oeuvre, their fellow photographers, and conflicts past and present. (On assignment for Vanity Fair, Harris has covered North Korea as well as the aftermath of both the 2011 Japanese tsunami and the 2015 earthquake in Nepal.)
From outside Gaza, the scale of death and destruction is impossible to grasp, shrouded by communications blackouts, restrictions barring international reporters and extreme challenges facing local journalists.
Link: https://www.nytimes.com/2024/01/30/world/middleeast/gaza-war-palestinian-journalists.html
There are pinholes in the murk, apertures such as the Instagram feeds of Gaza photographers and a small number of testimonies that slip through. With every passing week, however, the light dims as those documenting the war leave, quit or die. Reporting from Gaza has come to seem pointlessly risky to some local journalists, who despair of moving the rest of the world to act.
https://www.nytimes.com/2024/01/30/world/middleeast/gaza-war-palestinian-journalists.html
The president of the Committee to Protect Journalists explains why Israel’s military campaign has led to an unprecedented number of deaths among members of the press in just two months.
via The New Yorker: https://www.newyorker.com/news/q-and-a/the-war-in-gaza-has-been-deadly-for-journalists
The Israel-Gaza war has been the deadliest conflict for journalists that C.P.J. has ever recorded, in terms of documenting attacks on the press. That’s because it’s the highest number of journalists killed in a conflict in such a short period of time.
https://www.newyorker.com/news/q-and-a/the-war-in-gaza-has-been-deadly-for-journalists
Corinne Dufka wanted to prevent atrocities, not just document them.
via The Atlantic: https://www.theatlantic.com/international/archive/2023/12/war-photography-bosnia-rwanda-elsalvador/675929/
This Is War evolved out of my work as a photographer covering some of the bloodiest conflicts of the late 20th century. The imagery is not pretty, nor could it be. But seeing it—looking squarely at the misery delivered by leaders who promised to do good for their people—is important. More than that, refusing to see it, whether out of personal or political discomfort, is a form of misinformation.
It’s time for Americans to rethink their squeamishness about releasing the photos of the youngest victims of mass violence.
via The New Yorker: https://www.newyorker.com/news/our-columnists/the-dead-children-we-must-see
In a series of three essays published in 1991, the philosopher Jean Baudrillard argued that the Gulf War, which ended up with more than a hundred thousand dead Iraqis, had not really taken place. In his inimitable fashion, his argument was filled with internal contradictions, annoying trolling (Baudrillard had initially written that the Gulf War would never actually happen, which, of course, it did), and some pockets of real clarity. His ultimate argument was that what had taken place wasn’t so much a war but a one-sided aerial slaughter that was scrubbed clean through intensive media control. What people in the West saw were so-called live feeds of missiles and aerial assaults fuelled by new forms of technology, whether the Patriot missile or the stealth bomber. The war was communicated to us almost like an advertisement for a new car—here are all the new features, and here are the salesmen in the form of generals or foreign-policy experts paraded on cable news. We did not see slain enemy combatants, destroyed civilian homes.
In the 1980s and 1990s, I chronicled conflicts from El Salvador to Africa to the former Yugoslavia. Those images should remind us to work harder for peace and honour those who did not live to see it
via The Globe and Mail: https://www.theglobeandmail.com/opinion/article-im-a-former-war-photographer-the-world-looks-more-familiar-than-it/
I spent a decade as a war photographer, capturing conflicts from El Salvador to Africa to the former Yugoslavia. Far too many of those images could have been taken today
Eman Mohammed, Palestinian-American award-winning photojournalist, Senior Ted fellow based in DC her journey began at 19, capturing the reality of war in Gaza.
via A Photojournalism Podcast for Everyone – A Photojournalism Podcast by Photojournalists for Everyone: https://10fps.net/2023/11/14/episode-81-eman-mohammed-conflict-photography/
This week, Eman Mohammed, an award-winning photojournalist and Saudi-born, Palestinian-American, joins the podcast
The proliferation of images via cell phones may have taken away the war photographer’s ability to create a single, arresting, and iconic image, but their accumulation will haunt us.
via The New Yorker: https://www.newyorker.com/news/our-columnists/the-numbing-sameness-of-war-footage
neither the cell phone video nor the drone will explain what has really happened. They are better processed as phenomena of social media, which never really tells us anything new but, rather, provides an endless stream of confirmations of what we think we already know
Posts pertaining to atrocities have gone viral before fact-checkers could identify them as old footage and even video game clips.
via Hyperallergic: http://hyperallergic.com/850059/disinformation-runs-rampant-in-images-related-to-israel-hamas-war/
A barrage of social media disinformation related to the escalating Israel-Palestine war has made it far more difficult to discern the credibility of visual evidence
Nine Palestinians, one Lebanese and one Israeli have been confirmed dead this week, according to the Committee to Protect Journalists.
Link: https://www.nytimes.com/2023/10/13/business/media/journalists-killed-gaza-israel-war.html
Nine Palestinians, one Lebanese and one Israeli have been confirmed dead this week, according to the Committee to Protect Journalists.
Bellingcat presents a guide to separating fact from fiction with real, recent examples of misinformation.
via bellingcat: https://www.bellingcat.com/resources/how-tos/2023/10/26/separating-fact-from-fiction-on-social-media-in-times-of-conflict/
Here’s how to separate fact from fiction with real, recent examples of misinformation.
Link: https://bensmithphoto.com/asmallvoice/corinne-dufka
Over the course of her subsequent twelve year career as a photojournalist she covered more than a dozen of the world’s bloodiest armed conflicts across three continents and was honored with the Robert Capa gold medal; a World Press Club Award; a Pulitzer nomination; and the Courage in Journalism Award.