Posts Tagged ‘warphotography’

War Journalist: A 1/6-Scale Action Figure of a Conflict Photographer

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Behold, the coolest photography-related toy we’ve seen so far this year: War Journalist: Battlefield Hero. It’s a 1/6-scale Toymaster-brand action figure that lets kids play make believe with their very own conflict photographer!
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Sunday Times Telling Freelance Photogs Not to Submit War Images From Syria

Free Syrian Army fighters run for cover as a tank shell explodes on a wall during heavy fighting in the Ain Tarma neighbourhood of Damascus

Deadly sniper shot through the lens.” That’s the title of a photoblog entry published over on Reuters last week by staff photographer Goran Tomasevic, who’s covering the deadly conflict in Syria. The photo above was accompanied by the text, “A tank fired a couple of shells onto the top of the building and rubble fell down around us.”

The images offer a grim first person view into what it’s like to find oneself in the midst of the fighting. They also sparked debate over the ethics of putting photographers directly in harms way for the purpose of journalism. At least one news outlet is now taking a strong stance: The Sunday Times is reportedly refusing to receive photos from freelancers due to the risks involved.
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McCullin: A Documentary Film About the Iconic War Photographer

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Don McCullin is known the world over for his incredible work as a photojournalist. His powerful and moving photography of devastation and suffering in Cyprus, The Congo, Vietnam and many others have won him worldwide acclaim as one of the greatest ever.

And now, for those who don’t know about his life’s work, or really anybody who wants to see what being one of the most prolific (and perhaps most haunted) photojournalists of our time means, the documentary ‘McCullin’ is here to fill you in. Read more…

The Life and Time of Tim Hetherington: Paying Tribute to a Great Photojournalist

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Less than two months after attending the 2011 Academy Awards with his friend and colleague Sebastian Junger, acclaimed photojournalist and filmmaker Tim Hetherington (seen above) died tragically in Misrata, Libya, only minutes away from the hospital.

Over the following year, Junger began a quest to put together Hetherington’s final hours by interviewing friends, family, and anybody who could shed light on his life and what had transpired. Being a filmmaker, it seemed only right that he record these interviews. Read more…

Japanese Truck Driver Photographs the Front Lines in Syria as a “War Tourist”

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When you mention the words “vacation photos,” most people might think of trips to the mountains or to the beach. Not Toshifumi Fujimoto. The 45-year-old Japanese trucker is passionate about “war tourism” — he actually takes on the role of a conflict photographer when on vacation. In recent days, he has been shooting on the front lines of the Syrian civil war, putting his life on the line for images that he keeps as a personal collection rather than sells for reportage purposes.
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War Photographer Don McCullin Reflects on a Career of Chasing Haunting Images

Here’s a powerful video shared by The Economist a couple of years ago that features acclaimed British photojournalist Don McCullin talking about his 50 years of photographing war, atrocities, and human suffering. (Warning: it contains disturbing images.)
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War Photographers Learning Life-Saving Techniques Through Simulations

There’s a new organization called Reporters Instructed in Saving Colleagues (RISC) that’s training photographers around the world in first aid, in order to prevent what happened to Tim Hetherington from happening again. Pete Brook of Wired writes,

When photojournalist Tim Hetherington suffered a mortar shell wound to the groin in Libya in April of last year, he ultimately died of massive blood loss. His death, according to friends, may have been prevented. “Tim was my closest friend,” says Michael Kamber […] “He bled to death because he was surrounded by photographers who didn’t know how to stop the bleeding.”

In response to this assessment, Hetherington’s other close friend and co-director of the Oscar winning documentary Restrepo, Sebastian Junger, founded [RISC] of which Kamber sits on the board. The organization simulates real war-injury scenarios […] complete with pools of blood, contorted limbs and frenetic movement amid smoke-clad air, in order to train photographers and journalists in potentially life-saving techniques. “We go to great lengths to achieve the feel of war,” says Kamber.

Check out this video on YouTube for a look at what the training is like.

War Reporters Train in the Bronx, Complete With Blood, Smoke and Gunfire [Wired]


Image credit: Photograph by Katie Khouri/Wired

Famous ‘Valley Of The Shadow Of Death’ Photo Was Almost Certainly Staged

You might recognize the photograph above. Titled Valley Of The Shadow Of Death and snapped by British photographer Roger Fenton in 1855, it’s considered to be one of the oldest known photographs of warfare. Problem is, it might also be one of the oldest known examples of a staged photograph.
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Civil War Reenactments Photographed with a Wet Plate Camera

At first glance, New York-based photographer Richard Barnes‘ Civil War photos might look like they were taken from some museum or historical photographic archive. Look a little closer, however, and you’ll begin to notice things that are quite peculiar. In one of them, there’s a pickup truck parked in the background. In another, a man wears a T-shirt and baseball cap — certainly not the fashion you’d expect to see in a mid-1800s photo.

The truth is, Barnes creates beautiful war photos that appear to be from over a century ago by using the Civil War-era process of wet plate photography to capture modern day Civil War battle reenactments.
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The Economics of War Photography

Editors have always been wary of sending photographers into war zones since the practice began in the early 20th century, but the speed at which the Internet distributes photography is increasing both the danger to photojournalists and the reluctance of the backers. The British Journal of Photography has an interesting look at the costs of conflict photography:

This situation, said [Jon] Jones, had led to a catch-22 in which young photographers are unable to get assignments because magazines and agencies refuse to take responsibility for the risks involved. “I think there’s a reluctance to send people into conflict zones. It doesn’t mean it’s right, but it’s the economic reality.” But that’s nothing new, he added. “When I went to Bosnia [in the 1990s], I didn’t have any support. I went with no money, then went back with £300, then again with £400, and built it up each time. It takes a while. But the initial step was just to go. Today, you get the same answer I was given 20 years ago: ‘Great. I’m not going to assign this to you, but I’d love to see you when you come back.'” And somewhere down the line, after a young photographer has proved his worth, it changes, he explained.

“You basically have to earn the right to get an assignment,” Knight added. “Nobody is going to assign you to a conflict zone right out of college. They want to see what you’ve done and what you are capable of. When I started it was the same. Once you’ve done that enough times, they might give you an assignment,” he told the audience. “When I started, I had to sell my own blood to eat.”

“I had to sell my own blood to eat”… Now that’s dedication to photography.

Photojournalism: The cost of covering conflicts [BJP via APhotoEditor]


Image credit: amc_in_bosnia_mid_1990s by U.S. Army Materiel Command