“Humankind repeats the same mistakes over and over again,” Dmitri Beliakov, a photojournalist who covered the war in Ukraine from when it began in 2014 until 2019, tells me. “People never learn, so I did not go on assignment ‘to stop war’ or teach someone a lesson. My agenda was far more realistic if not primitive.
‘No Home from War: Tales of Survival and Loss’ is the first Italian exhibition by Irish photojournalist Ivor Prickett. Supported and staged by fashion house Max Mara founder Achille Maramotti’s Collezione Maramotti, he describes trying to capture the fall
‘No Home from War: Tales of Survival and Loss’ is the first Italian exhibition by Irish photojournalist Ivor Prickett. Supported and staged by fashion house Max Mara founder Achille Maramotti’s Collezione Maramotti, he describes trying to capture the fallout of conflict and displacement
According to an investigation by Reporters Without Borders, the men were “undoubtedly executed in cold blood, possibly after being tortured.” At the site of the killing, the Russians shared a meal, leaving behind packaging from their food rations, plastic spoons, cigarette packs, and instructions for firing rockets. Levin’s cell phone, helmet, flak jacket, and shoes were never found.
In a year of war, New York Times photographers have reported from the front line, from cities and villages and in the footsteps of refugees. These pictures stayed with them.
Here, instead, 14 photographers who have worked in Ukraine for The Times each answer the same two questions: What image has stayed with you from your coverage of the first year of the war, and why?
Thirty years after a death squad massacred civilians in Bosnia, none of the infamous Arkan’s Tigers have stood trial for their alleged part in those crimes.
A young American photographer watched much of it happen. Ron Haviv met the Tigers in Croatia, where he had photographed them. Arkan liked one picture, in particular: the paramilitary commander standing in front of his uniformed men, posing with a baby tiger in one hand and a gun in the other. So Haviv embedded with the Tigers for one day, on April 2, 1992.
Many Americans no longer regard war as a righteous undertaking — and war photography has played a part in changing our perspective. Pictures in Korea (notably those of David Douglas Duncan) and, even more, those in Vietnam (by Larry Burrows and Don McCullin in particular) stripped warfare of its glamour and romance, zeroing in instead on blood, mud, fatigue, injury and viciousness. Television footage amplified the horror.
For thirty-four years, the international festival of photojournalism “Visa pour l’Image,” in Perpignan, has reflected the world’s upheavals. Ukraine is necessarily at the forefront of this 2022 reiteration, which is also attentive to other crises and whic
For thirty-four years, the international festival of photojournalism “Visa pour l’Image,” in Perpignan, has reflected the world’s upheavals. Ukraine is necessarily at the forefront of this 2022 reiteration, which is also attentive to other crises and which even manages from time to time to come up for air.
“Beware the Ides of March” Julius Caesar Photographs and text y Jérôme Sessini In 2014 until 2017, I worked in the Russian-speaking regions of Donbass, in Donetsk, Luhansk, Mariupol… Russia was cle…
In 2014 until 2017, I worked in the Russian-speaking regions of Donbass, in Donetsk, Luhansk, Mariupol… Russia was clearly supporting the pro-Russian separatists, and the Russian media was showering Russian-speaking civilians with propaganda against the Ukrainian government and against the Western media, but still, the russian-speaking civilians were paying with their lives. I photographed civilians victims of Ukrainian army artillery. I was guided by this feeling of revolt and injustice that I know too well, each time common people are killed, injured, torn apart, by wars that are beyond them…
Vanity Fair caught up with Addario ahead of her career-spanning SVA exhibition, which features work documenting “very intense and historical moments” in countries such as Iraq, Afghanistan, Sierra Leone, and Ukraine.
Vanity Fair caught up with Addario ahead of her career-spanning SVA exhibition, which features work documenting “very intense and historical moments” in countries such as Iraq, Afghanistan, Sierra Leone, and Ukraine.
“I’d seen so many in Ukraine, in Kyiv without helmet and vest,” Fadek tells PetaPixel. “I saw journalists running around [without personal protective equipment, or PPE] in Irpin, which is a suburb of Kyiv, and Babyn (Babi) Yar, a former holocaust site that was attacked in the initial days of the war.
A member of the VU’ Agency since 2021, Guillaume Herbaut has been observing history and current events with a keen eye for over thirty years. Ranging from photojournalism to visual art, his work brings a breath of fresh air to documentary photography. Bli
A member of the VU’ Agency since 2021, Guillaume Herbaut has been observing history and current events with a keen eye for over thirty years. Ranging from photojournalism to visual art, his work brings a breath of fresh air to documentary photography. Blind sat down to an open conversation about professional photojournalism in the present context of the post-presidential elections in France and the war in Ukraine.
Amid the roar of artillery and bone-rattling explosions, New York Times photographers have borne graphic witness to the fight to survive. These are their stories and images.
Amid the roar of artillery and bone-rattling explosions, New York Times photographers have borne graphic witness to the fight to survive. These are their stories and images.
The Musée de l’Armée offers a first glimpse into its photographic archives in an exhibition that traces the representation of war and the evolution of images of combat from 1849 to the present. This essential event shares some important lessons.
The Musée de l’Armée in Paris offers a first glimpse into its photographic archives in an exhibition that traces the representation of war and the evolution of images of combat from 1849 to the present. This essential event shares some important lessons.
“I believe I’m now the longest-running Iraq/Afghanistan NYT-rotation photographer,” Christoph Bangert wrote in his journal on June 24th, 2013, on a plane to Istanbul. “Everybody else stopped covering wars or…
“I believe I’m now the longest-running Iraq/Afghanistan NYT-rotation photographer,” Christoph Bangert wrote in his journal on June 24th, 2013, on a plane to Istanbul. “Everybody else stopped covering wars or is no longer working for the paper. Others got injured or quit photography. Anyway, it makes me feel kind of old. And slightly suspicious. Why I am the last one standing?”
One of the photojournalists working out of wartorn country was 51-year-old American journalist Brent Renaud. On the 13th of March, Renaud was killed in Irpin, a suburb north-west of Kyiv and one of the main battlefronts in the battle for Kyiv. Thanks to his and other journalists’ work, Irpin made headlines with images of civilians fleeing across the city’s main bridge.
The invasion of Ukraine has been described as the first social-media war, and a key aspect of President Volodymyr Zelensky’s leadership has been his ability to rally his country, and much of the world, via Facebook, Telegram, TikTok, and Twitter. At the same time, war photographers in Bucha, Irpin, and beyond are working—in the tradition of Mathew Brady at Antietam or Robert Capa on Omaha Beach—to capture the grisly realities of what Vladimir Putin insists that his people call a “special military operation.”
This image of a man with both eyes open is one of the most compelling and disquieting photos to come out of Bucha. It’s an intimate and puzzling image of death, and I’ve never seen anything like it. What did this man see at the moment of his death? Whatever it was, his resolve remained.
Even the most horrifying war photographs may leave you with the odd sense of being an unwanted tourist. It is a dreadful tourism, at a terrible cost, but almost as soon as the eye notices the carnage and destruction, it starts registering small and perhaps irrelevant details. The dirt is a darker red, the trees a deeper shade of green, the architecture and dress are different, as are the street signs, the pavement and the cars.
