CNN’s Christiane Amanpour talks to photojournalists featured in “Conflict,” an online series that looks at the role of photographers in conflict zones.
via CNN: https://www.cnn.com/2015/11/25/world/amanpour-photographs-conflict/index.html
New online miniseries “Conflict” explores role of photojournalists in conflict zones
Dickey Chapelle, one of the first female war photographers, risked her life to capture history on world stages from Iwo Jima to the Vietnam War.
via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2015/12/03/the-brilliant-photos-of-the-first-american-female-war-photographer-killed-in-action/
The woman was Dickey Chapelle, a female photojournalist on assignment for Life magazine. Moments later the man in front of her muttered, “I’m lost,” and an enemy flare blew out the Big Dipper above. A machine gun and three rifles surrounded them, capturing her and one of her companions.
We talked to legendary photojournalist Ron Haviv about his experience documenting the trauma and atrocities of the Bosnian War.
Link: https://www.vice.com/en/article/nn953m/photos-of-the-bosnia-war
December 14 marked two decades since the official end of the Bosnian War and all the bloodshed that it encompassed. In light of the anniversary I wanted to revisit Ron Haviv’s Blood and Honey and ask him a couple of questions about the role of photojournalism then versus its role now, and when aesthetics disrupt documentation
Pete Muller shares their passions, motives and images in new CNN documentary series about conflict photographers
via Medium: https://medium.com/vantage/pete-muller-let-me-represent-you-a6855026aa8a
Pete Muller shares his passions, motives and images in new CNN documentary series about conflict photographers
Looking beyond the act of war to its many aftermaths
mall-scale, barely-promoted and relatively obscure as photo shows go, I can admit that Conflict and Consequences: Photographing War and Its Aftermath isn’t an obvious pick for this “Best Of 2015” accolade. But size isn’t everything and Conflict and Consequences reminds us that blockbuster shows at the major institutions in the major cities don’t have a monopoly on thoughtful photographic discourse. Great images, laudable methods and bristling curatorial nous are nurtured far-and-wide.
In the category stories of “War & Conflict” of the 12th edition of CHIPP (China International Press Photo Contest), five photographers were awarded. In the single image category, the first three prizes “Gold”, “Silver” and “Bronze” were awarded respectively to Jerome Delay (Burundi Unrest), Kemal Jufri (Children of The Crisis) and Andrew Burton (Baltimore Uprising). Two awards of excellence were given to Jacob Ehrbahn (Aftermath of the Paris Attacks November 2015) and Bassam Khabieh (Field hospital – Damascus).
More than 350,000 people have been displaced
via Time: https://time.com/4369374/turkey-hidden-war/
For the Turkish-born photographer Emin Ozmen, there’s little hope of a peaceful resolution to the conflict. “[It] brings a lot of anger to the young Kurds who are living in this region,” he says. “I feel that the long-term costs of these operations will be high, even if the fighting stop. Children and teenagers feel more and more disconnected from their country.”
A new exhibit of photos made by young soldiers in war zones features poignant images of daily life in a distant, and dangerous, land.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2016/06/28/how-young-soldiers-saw-life-in-wartime-vietnam/
Yet these photographs were taken not by professionals but by young grunts barely out of high school. Grinning wide-eyed at this strange land where they had been sent, often against their will, in circumstances they did not fully understand, with little foreboding of what might be in store, their photographs of ordinary wartime days have a special poignancy.
Worker on AKHZ (Avdiivka Coke & Chemical Plant) seen on the roof of the coke battery, Avdiivka, Ukraine, 22nd of October, 2015 The railway bridge on Ukrainian held territory, blown…
via Feature Shoot: https://www.featureshoot.com/2016/08/firsthand-account-ongoing-conflict-ukraine/
The conflict in Ukraine comes on and off the international media spotlight, but whether there’s news about it or not, the tensions and armed fighting in the Donbas region never really cool off. Russian photographer Dmitri Beliakov’s Ukrainian Chronicles is an extensive documentation of this conflict and of the ongoing struggle that continues even after the cameras are turned off. Beliakov’s images might make you want to avert your eyes, but they are such a necessary account of how a conflict zone is more than just a news narrative, and of how terribly painful and rough war really is.
Ukrainian photographer Dmitry Muravsky has been dismissed by his country’s Ministry of Defense after his viral combat photos became the center of
via PetaPixel: https://petapixel.com/2016/08/30/controversial-combat-photo-leads-ukrainian-photographers-dismissal/
Ukrainian photographer Dmitry Muravsky has been dismissed by his country’s Ministry of Defense after his viral combat photos became the center of controversy regarding whether or not they were staged.
Earlier today, Libertarian presidential nominee Gary Johnson was asked by a journalist “What would you do, if you were elected, about Aleppo?” Johnson replied with his own question: “What is Aleppo?”
via The Atlantic: http://www.theatlantic.com/photo/2016/09/what-is-aleppo-this-is-aleppo/499163/
Aleppo is Syria’s largest city, an urban battlefield in the brutal Syrian Civil War since 2012. Reporters and photojournalists have been covering the conflict for years, documenting the belligerents as well as the tragic circumstances of those civilians caught up in the multifaceted war
Sebastian Meyer’s images of Iraqi Kurdistan, taken between 2008 and 2016, capture the region’s contrasts, which often exist side by side.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/iraqi-kurdistan-caught-between-worlds
The pictures by the American photographer Sebastian Meyer, who documented Iraqi Kurdistan between 2008 and 2016, capture the region’s contrasts, which often exist side by side. Drive around Iraqi Kurdistan today and you might find, on this side of the road, workers manning a high-tech oil pipeline, which pumps crude north into Turkey and on to the Mediterranean; on the other side, a group of farmers taking a break, setting down their scythes in a scene that looks as old as a century
Former Reuters photographer Finbarr O’Reilly talks about a book he co-authored with former Marine Thomas James Brennan
via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2017/08/22/my-appetite-for-covering-conflict-faded-gradually-a-light-waning-until-there-was-nothing-left-to-see/
I wish I could pinpoint a defining moment, or a shutter click that marked the instant when I’d had enough of covering war. But I can’t. Maybe there was one hidden amid the dust and rubble and broken bodies I’d left behind when I walked out of Gaza after the 2014 war there. But rather than a sudden change of heart, my appetite for covering conflict faded gradually, a light waning until there was nothing left to see.
The story and work of Hosam Katan, a Syrian photographer, reveals much about how coverage of the Syrian conflict has changed.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2017/08/30/i-am-not-useful-for-my-camera-if-i-die-a-syrian-photographers-view/
When a Syrian Army sniper shot Hosam Katan in Aleppo in May 2015, Mr. Katan couldn’t feel where the bullet had hit. He hoped it wasn’t his eye or his thigh. In five years photographing the Syrian conflict, he had seen enough colleagues shot to know which wounds were fatal, and which were not. As he lay bleeding, he realized he might soon join Marie Colvin and James Foley on the list of journalists killed covering Syria’s civil war.
While covering the Vietnam War, Catherine Leroy wrote over 100 letters home, detailing her professional and personal experiences as the only female photojournalist in Vietnam at the time.
Catherine Leroy was 21 when she arrived in Vietnam in 1966 with only a hundred dollars, a Leica M2 and a limited professional portfolio. Over the next three years covering the war, she built an exceptional body of work: surviving and documenting a capture by the North Vietnamese Army, parachuting in combat operations with the 173rd Airborne, and being published on the covers of major magazines, including Life and Paris Match.
An American war photographer selects the work of a Russian war photographer.
via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2017/12/28/photographers-edit-photographers-the-late-stanley-greene-called-yuri-kozyrevs-war-photography-lyricism-in-darkness/
In the final installment of our series featuring the Noor agency photographers editing one another, we show 10 images by the renowned Russian war photographer Yuri Kozyrev chosen by the late Stanley Greene.
Photographer Hosam Katan documents the war in his home country.
via Washington Post: https://www.washingtonpost.com/news/in-sight/wp/2018/06/29/looking-at-the-war-in-syria-through-a-syrian-photographers-eyes/
For most of the war, journalists have had trouble getting into the country because of the dangers. Many have been kidnapped and killed. And, of course, Syrian journalists have been working under extraordinarily dangerous conditions. Photojournalist Hosam Katan is one of those Syrian journalists, and his new book, “Yalla Habibi: Living with War in Aleppo’” (Kehrer Verlag, 2018), takes us into the conflict that has been ravaging his country for nearly a decade.
Lorenzo Meloni’s photographs from Iraq and Syria show no traditional markers of a war’s end
via Time: https://time.com/longform/fragments-of-war/
As the fight against ISIS winds down, photographer Lorenzo Meloni’s work in Iraq and Syria shows no traditional markers of a war’s end