The human toll of Mexico’s violent drug trade is portrayed in haunting, cinematic fashion by Eros Hoagland. His images — and how he works — reflect that struggle, as well as a more personal one.
“I wanted to develop my own desert look,” said Mr. Hoagland, 43. “I was unsure how the journalistic community would take it. It was a form of manipulation. They’d say, ‘That’s not how things look.’ But to me, the way things felt kind of trumped that concern.”
What does it mean to photograph conflict? Where is the photographers place in a landscape of violence? This week we talk with Eros Hoagland about his book Reckoning at the Frontier.
Conflict, available now on Netflix, comprises six episodes. Photographers Pete Muller, Joao Silva, Donna Ferrato, Nicole Tung, Robin Hammond, and Eros Hoagland are each given seven minutes or less to explain, justify, or simply to testify to the years they’ve spent on the frontline of some of the world’s deepest traumas. The entire series is barely 35 minutes, and those minutes go by in the blink of an eye, but—like the photographs made by its heroes and heroines—they stick around for a while.
“Conflicts and wars are fought for the old reasons: man’s desire for dominance over men,” Eros Hoagland says in this short film, We Fear Wolves Because We Never See Them. With a baby on the way and a lifetime of traumatic memories from war, however, Hoagland is ready to move on to the next thing: “Enough is enough. I did it. I did it well.
Photographer Zach D Roberts interviews photojournalist Eros Hoagland about his new book, “Reckoning the Frontier”, featuring shots from his years along the border of the US and Mexico.
I think violence attracts a lot of people, not just journalists. But journalists do seem to love it so. Not that violence is the only magnet for our profession, not at all. But it does seem to be a central attraction. Are we vultures, perhaps, but vultures play an important role in the ecosystem, so I don’t really see that as a bad thing. On second thought, we behave much worse than vultures in many cases
The most shocking and hardest to watch scene in the new HBO series Witness comes when photojournalist Eros Hoagland runs up to a car in Juarez where a young Mexican man sits dying after just being shot. It’s a scene that leads to the ongoing question of j
The most shocking and hardest-to-watch scene in the new HBO series Witness comes when photojournalist Eros Hoagland runs up to a car in Juarez where a young Mexican man sits dying after just being shot.
“Witness: Juarez,” the first in a series of four HBO documentaries about contemporary war photographers, is the visual equivalent of a fast-paced duet, like Mozart for still camera and video camera rather than violin and viola. The photographer Eros Hoagland and the cinematographer Jared Moossy travel the deadly streets of Ciudad Juárez, Mexico, in tandem, and our view jumps between their lenses; their photographs and moving images echo and amplify one another.
The Aftermath Project, a grant making organization focused on funding photojournalism covering post-conflict stories, recently awarded a special $20,000 grant to photographer Eros Hoagland, who will work on a personal project that explores how photographi
The Aftermath Project, a grant making organization focused on funding photojournalism covering post-conflict stories, recently awarded a special $20,000 grant to photographer Eros Hoagland, who will work on a personal project that explores how photographing conflicts has affected his own life.
