HBO Doc Films: Witness – documentary series on conflict photographers


If you get a chance check out the new series by HBO on conflict photographers. Includes Michael Christopher Brown, Eros Hoagland, and Veronique de Viguerie shooting in Libya, South Sudan, Juarez, and



Must See – Jason Howe

Hello everyone, I hope this message finds you well. Not sure how many of you saw my recent posting but I finally managed to get the pictures of the IED blast in which the soldier next to me lost both legs last November published after 5 months of discussions and fighting hard against the MOD who did not want them out there.
I am assured that they are the first photographs of a British soldier wounded and still on the battlefield to be published for nearly 30 years, since the Falklands War. The MOD never did fully approve or fully release the images but I published them with the wounded soldiers full consent and approval.
Would like as many folks as possible to see this reality and little bit of history since it is after all why we as photographers continue to go out there, pls share if you feel appropriate.
Many thanks, Jason.



Duckrabbit: 3D photography and film exhibition at Spitalfields Market

A free six day exhibition in Spitalfields Market in London from 22nd to 27th September that lets you step into the life of a British midwife saving the lives of pregnant women and babies in an area of the Democratic Republic of Congo (DRC) mired in war.

Groundbreaking 3D

The groundbreaking exhibition uses a 3D photofilm of images taken in the North Kivu area of DRC earlier this year, produced by award-winning digital and broadcast production company duckrabbit.

The stunning 3D photographs and documentary audio will be shown on specially set up Panasonic screens with NVIDIA 3D Vision technology, dedicated 3D glasses and Sennheiser headphones.

Midwife Sam

The story centres around British midwife Samantha Perkins, 29, who returned this year from nine months delivering babies and saving lives in the MSF-supported Masisi hospital in the DRC.

Sam and her team delivered 3,451 babies there last year, a greater number than even the Royal Free Hospital in London.

Because most Congolese

women give birth at home, they only come to the hospital if there are complications.

High risk pregnancies

As a result, almost all of those pregnancies were classified as high risk. Were it not for the work of Sam and her team, many of these women and their babies would have died.

MSF has a long and illustrious history of strong photography but we've never seen or done anything as awesome as these 3D images,” said Polly Markandya, Head of Communciations at MSF.

“They bring to life a world most British people only ever see on the news or in television appealsAnd they show the positive side – the lives that are saved, the realities of a functioning maternity unit in a remote area where new lives begin every day.”

Peter Rudge, head of 3D at duckrabbit, said: “The 3D imagery in the film is rich, layered and incredibly engaging. The audiences that we’ve shown the material to have been very struck by the immersive and moving nature of the 3D experience.

“They say they’ve never seen anything quite like this before. “

The exhibition will last for six days and is free of charge at Brushfield Street, Spitalfields, London E1 6AA.


NY MAG: "You Never Forget That First Taste of War"

The photographers that Tim Hetherington and Chris Hondros left behind

Photograph by Christopher Anderson/Magnum Photos

That Tim Hetherington and Chris Hondros were working side by side when they were killed three weeks ago in the besieged Libyan city of Misurata was no surprise to their friends and fellow photographers, many of whom split their time between the most dangerous parts of the world and living, or crashing on couches, in a Williamsburg apartment building they call “the Kibbutz.” In an age of hypercompetitive journalism, the small number of photographers who travel from front line to front line, following death, poverty, and the atrocities of war, are chummy, even tribal. And with good reason.If you’re going to jump into battle armed only with a camera, the smartest thing you can do is go in there with someone who can help you get out alive.

Danger has always shadowed the job, but since journalists themselves became targets in the wars after 9/11, the stakes have been higher than ever. And for photographers, there is the added risk of being closest to the action. “In a conflict, you will always see video guys and writers kind of at one stage, and the still photographers much further up,” says Benjamin Lowy, who traveled with Hetherington in Libya and was supposed to be with him on the trip where he was killed. That practice has something to do with the demands of the camera lens, he says, and the need to be in people’s faces to capture true emotion at the snap of a shutter. But, Lowy adds, “I also just think it’s in our blood.”

To survive, “you stick with colleagues you trust,” says Yuri Kozyrev, who was with New York Times photographers (and high-school friends) Tyler Hicks and Lynsey Addario in Libya just before they were taken captive in March and who had planned to be on the trip with Hetherington and Hondros, too. “If you are by yourself,” says Kozyrev, “you can just disappear.” Gary Knight, a founding member of the agency VII, puts it more bluntly: “I go in with other people because I don’t want to die alone.”

Being among other conflict photographers also means never having to explain why one does what one does. “You never forget that first taste of war,” says Hicks, who in 1998 financed his own way to Kosovo, where Hondros joined him. “We don’t have a lot of money,” explains Knight. “We don’t have a lot of resources. I wouldn’t say there’s a type, but we’re all pretty similar characters. And we’re out there. We’re at the far end. It’s an old cliché, but you can’t photograph from a hotel room.” As Samantha Appleton puts it, “Once you’ve trusted your life in a car with someone while there’s shelling around you, you’re bonded in a way that’s straight to the bone.”

Hetherington and Hondr

os had each been through plenty of dangerous conflicts, and both knew their way around a war zone. “When I found out Tim was going with Chris, I felt much better,” says Michael Kamber, one of Hetherington’s closest friends. But as often happens, Knight explains, “everything seems fine until it’s not. Tim and Chris had all the experience in the world, and shit happens. You can’t control the environment you’re in.” To make matters more excruciating for their friends, Hetherington bled to death after being struck by shrapnel. Had he been with one of them, and had they been unharmed and able to fashion a camera-strap tourniquet, could this all have turned out differently?

Recently, Hondros and Hetherington’s fellow photojournalists have again been finding comfort in numbers. As they heard, Tim’s friends automatically headed to the Kibbutz, and then everybody met at the Half King bar for a spontaneous wake. For Hondros’s memorial on April 27 (Hetherington’s are planned for May 13 in London and May 24 in New York), photojournalists flew in from Italy, France, Moscow. Some knew Hondros better, some were closer to Hetherington, but everybody knew somebody.

“Chris’s funeral was the place where for the first time I saw everyone together, all at one time, all in the United States. I’d never seen that before,” says Hicks. “I remember thinking as I was looking around at everyone just how special of a group that we have,” says Mario Tama, one of Getty’s New York staff photographers. “No one wanted to leave; no one wanted it to end. And once we cried on the shoulder of the person next to us, there were 100 or 200 other people in concentric circles all around us, and we could hug each one of them with the same depth of meaning and feeling.”

The week after the deaths, twenty friends agreed to be photographed for the spread that appears in the preceding pages. “This community is like a family,” says Christopher Anderson, who shot the photographs and appears in one of them. “There is a brotherhood-slash-sisterhood, and to me, I wanted to create a family album to pay tribute to our two missing friends by kind of recognizing their absence within these pictures.”

The Chris Hondros Fund will encourage and assist aspiring photojournalists, aid photojournalists and other journalists in conflict zones and raise awareness of issues surrounding their work. Contributions could be made by check to The Chris Hondros Fund, c/o Getty Images, 75 Varick St., 5th Floor, New York, NY 10013.

The João Silva Fund will assist Silva (Slides 67, and 28), who lost both his legs in Afghanistan in October 2010, and his family as he goes through rehabilitation, adjusts to a new life without legs, and starts a new career line. He will likely not be back to work for two years, and will likely never be able to work in conflict zones again. You can donate here: joaosilva.photoshelter.com.

original article here


War is Boring


In this very personal story Adam Ferguson gives us an unedited account of what it is like to be a combat photographer. He openly discusses what his feelings are about the troops, war photography, Afghanistan, and combat in general.