For more than three years now, Syrians have endured the loss and hardship caused by a protracted civil war. Syrian government forces are fighting several rebel groups. Smaller rebel groups are fighting each other, and just about everyone in the region is
Battles and attacks continue across Syria among the many parties, with no clear end in sight—those caught in the crossfire suffering most. Gathered here are images of the ongoing Syrian conflict from just the past month
As American news organizations have slashed their budgets for foreign news, freelance photographers have picked up the slack, assuming the growing dangers on their own — often for little pay (from $50 to several hundred dollars for a day rate) and without insurance
LightBox asked 26 documentary photographers who have covered conflicts in Iraq and Afghanistan to describe which of their own photographs of veterans had a deep impact on their lives or moved them in a significant way.
Last week, TIME contract photographer James Nachtwey visited the Walter Reed National Military Medical Center in Washington D.C. to photograph combat veterans and wounded soldiers recovering at the facility.
A successful commercial photographer as well as conflict photographer, curator Sebastiano Tomada Piccolomini spoke with us about the timeliness of the exhibition and what drives him, as well as other war reporters, to risk it all.
My apartment is both full of books and people passing through it. Not one of them has flipped open Christoph Bangert’s War Porn without slamming it closed with a shudder. War Porn is not made to be flipped through absentmindedly. Its format and raw cardboard cover make it an unappealing coffee table book. This is an uncensored collection of horrific images of modern warfare.
A flurry of bombs rain from the sky onto the hill. The sound is deafening and the hill is obscured by clouds of black smoke. The jihadists respond by firing heavy weapons. We don’t know who they are targeting but it’s too risky to remain perched on the roof, so we leave our vantage point and go indoors.
The hill offered a grandstand, if sometimes surreal, view of the bitter fighting between the Islamic State group (IS) militants and Kurdish fighters for Syrian town Kobane which is just a handful of kilometres away from the border. Members of the press, joined by crowds of Kurdish spectators from all around Turkey, as well as Syrian Kurdish refugees, clustered on this hill to observe the clashes — at relative safety. Some clutched binoculars for a better view. The spectators stood by, watching the developments unfold from morning until nightfall.
For six months now, battles have taken place in eastern Ukraine’s Donetsk region, between the Ukrainian military and pro-Russian rebels, part of the self-declared Donetsk People’s Republic.
some of these refugees and fellow Kurds from southern Turkey have gathered on the border to watch the battles in Kobani through binoculars and cameras. Some Kurdish forces remain in the city, defending against invading militants, supported by Western aircraft and missiles, while ISIS continues to attack with artillery, mortars, suicide bombings, and small arms
Maybe our profession and our leaders have failed to protect and preserve the critical role independent war photography plays in our lives and history. And now we have allowed it to fall into the wrong hands.
The Last of Us Remastered is a post-apocalyptic video game released earlier this year on PlayStation 4 with an in-game Photo Mode, which freezes the game and lets players shoot, edit and share photographs of their achievements.
TIME assigned conflict photographer Ashley Gilbertson to use the Photo Mode to document the game’s protagonists as they fight to survive in a zombie-infested world. Gilbertson writes about his experience.
Photographers William Daniels, Pierre Terdjman and Michaël Zumstein share the same ambition: to go back to Central African Republic (CAR) to continue the work they started in late 2013 and early 2014 when the country’s ethnic, religious and political divisions led to the massacre of 2,600 people.
Earlier today, Ukrainian president Petro Poroshenko accused Russian troops of entering Ukraine, and NATO issued a statement saying that they were tracking well over 1,000 Russian combat soldiers operating heavy weaponry within Ukraine’s borders
When Kenneth Jarecke photographed an Iraqi man burned alive, he thought it would change the way Americans saw the Gulf War. But the media wouldn’t run the picture.
When Kenneth Jarecke photographed an Iraqi man burned alive, he thought it would change the way Americans saw the Gulf War. But the media wouldn’t run the picture.
With the increased presence of large-scale media conglomerates and online news forums, the newspaper industry has taken a disastrous hit, yet over half of American citizens remain unaware of the trials now facing our trusted journalists and photographers. For Deadline, photographer Will Steacy confronts the brutal truth of contemporary news by photographing the historic offices of The Philadelphia Inquirer, where his father worked for decades.
Sometimes people assume that you can have access to everything, that you can see everything. But the fighters are virtually invisible to us. What we do as photographers is document what we can to show that side of the war
In virtually every conflict, each side tries to manipulate foreign journalists into covering its grievances, to look at the violence and the destruction through its lens. But Israelis and Palestinians take this to a whole new level.
Looking for the Enduring Photo in Gaza