Northwestern University in Evanston, IL is to host the conference ‘Blogging Images: Photojournalism and Public Commentary’ on Saturday, April 30th. Robert Hariman explains why here: …
Readers and picture editors view the pictures of conflict in safety and comfort. But for the soldiers fighting the wars, and the civilians caught up in them, conflict is anything but safe and comfortable. We are witness to their stories and tragedies th
Readers and picture editors view the pictures of conflict in safety and comfort. But for the soldiers fighting the wars, and the civilians caught up in them, conflict is anything but safe and comfortable. We are witness to their stories and tragedies thanks to people who willingly put themselves into the same lines of fire as the protagonists – photographers.
In Part Two of VII The Magazine’s series on Libya Franco Pagetti looks at the rebel movement in the Benghazi area of Libya. Even with the support of NATO and the United States they have achieved little towards any kind of victory. The only certainty in this conflict is that the death toll will continue to rise.
Street art depends on disrupting the order and values of everyday life. Except, that is, when it’s riffing off of “Fight Club” and posted on a NATO military base in Afghanistan.
Here we’re introduced to the artist ZEROSIX, whose imagery is characterized by quirky and deadpan quotation, in both image and text. Who, by the judgement of his colleagues, is truly badass.
It’s been a week since the American journalists Clare Morgana Gillis, James Wright Foley, freelancers reporting for TheAtlantic.com and GlobalPost, respectively, and their Spanish and South African colleagues Manuel Varela de Seijas Brabo and Anton Hammerl, both photographers, were captured by Qaddafi’s forces near the eastern Libyan oil town of Brega.
Photojournalist Ben Lowy was in Libya on assignment for 3 weeks in March, traveling between the Rebel stronghold of Bengazi to various front line towns like Ajdabiya, Brega, Ras Lanuf, and Bin Jawad. In between photographing with DSLR’s he made images on his iPhone and brought the news directly to an audience by immediately posting them to his blog
Photographs by Louie Palu, Asim Rafiqui, Rodrigo Abd, Andrea Bruce, Davide Monteleone, Saiful Huq Omi, Ami Vitale and Donald Weber.
The Aftermath Project, 2011. Softcover. 132 pp., black & white and color illustrations throughout, 11×11
Photojournalists are under more pressure than ever to get the shots and to transmit them as quickly as possible, here Goran provides some of the back story behind a number of the pictures he took on the frontline
It required pictures, first published by Der Spiegel and then Rolling Stone, to really focus the world’s attention on the case. The photo of one smiling soldier holding the head of a recently killed Afghan up for the camera is so inflammatory—with a grinning American appearing to enjoy the death of another human being—that comparisons to some of the more shocking photos from the Abu Ghraib scandal (such as Army Spc. Sabrina Harman and Army Spc. Charles Graner Jr. giving a thumbs up next to refrigerated corpses) were immediate and obvious.
Goran Tomasevic of Reuters arrived in Libya on Feb. 23, having covered the upheaval in Egypt. (“Even the Middle Ground Is Perilous in Cairo,” Feb. 4.) These images, presented in chronological order, convey some sense of what a tumultuous month it has been. Kerri MacDonald interviewed Mr. Tomasevic by e-mail last week.
Despite a long history of photographing conflict across the world, Kozyrev said the danger working in eastern Libya surpassed anything he’s seen. “It’s the most intense fighting I’ve seen,” he said. “Bombs, helicopters shooting at us, rockets – it was heavy. There was no place to hide, you’re in a open space, it’s flat.”
Believe me, when I looked at the pictures on the screen, my hands were shaking. My heart was beating. I realized that this is a picture you take once in a blue moon. It’s being there at the right time, at the right moment, at the right place, with the right lens. If you want to shoot artsy stuff, you never have the lens for this. If you’re covering the war with a 35-millimeter and a 50-millimeter lens, you’ll never have this.
The Libyan government freed four New York Times journalists on Monday, six days after they were captured while covering the conflict between government and rebel forces in the eastern city of Ajdabiya. They were released into the custody of Turkish diplomats and crossed safely into Tunisia in the late afternoon, from where they provided a harrowing account of their captivity.
Tyler Hicks has covered Kosovo, Chechnya, Congo, Ethiopia, Sudan, Iraq and Afghanistan. He said the battling Wednesday in Libya ranked among the worst he has seen.
When Tyler Hicks says that he has just witnessed what may have been the “thickest fighting in a single day” that he has ever experienced, with the “most firepower — coming and going,” he is describing extraordinary hostilities.
It was pretty scary. The journalist’s instinct is to want to go as far forward as possible. But our drivers refused. Two drivers today refused to go forward. They’re drivers; they’re not journalists. So a lot of them just said, “We’re not going to take you forward.”
During the Vietnam War, there were no “embeds,” journalists implanted with well-armed troops, like those who cover wars today from Iraq to Afghanistan. But neither were there snipers, police or troops targeting journalists — who are being killed today at a far greater rate
In early December, Alissa J. Rubin, The Times’s bureau chief in Kabul, takes me along on a visit to meet with the public affairs team at the International Security Assistance Force. I’m skeptical at first, but they turn out to be a smart, slightly ironic bunch who are tremendously helpful in getting us to where we want to go and furnishing us with updates. There is little of the mutual distrust I felt between the press and the military in Iraq. Weeks later, though, a high-ranking officer will call to complain about my written coverage: a quote from a Taliban spokesman has particularly incensed him.
Basetrack is a Web-based reporting initiative with the photographers Teru Kuwayama, Balazs Gardi and Tivadar Domaniczky. Its “forward crew” is embedded with the First Battalion, Eighth Marines in Afghanistan. The rest of the team tracks regional news and relevant information, adding it to material transmitted from Afghanistan.
The distribution and publication of photos of dead servicemen and women can be controversial because some people feel it disrespectful. Others feel such images reflect the realities of combat.
