Phillip Jones Griffith – His work and life

Legendary anti-war photographer and author of Viet Nam Inc, Philip Jones Griffiths, gives the interview of a lifetime only 48 hours before he died in at his home in London on March 19, 2008. With a voice impassioned by courage and enriched by his legacy of love for people and for taking real pictures of real people, Philip imparts his final words of wisdom on the subject of photography and life.

Rare interviews with iconic photographers and people who knew and loved Phillip Jones Griffith bring the most eloquent and clear headed anti-war photographer back to life. This film is an homage to being real in a time when documentary photography has (arguably) fallen off the pedestal.

Phillip Jones Griffith 18/2/1936 – 19/3/2008

Check out his book Viet Nam Inc

Rodina by Irina Ruppert – Weekend Inspiration #19

The desire for security and belonging is one of the dominant feelings. Everyone is longing for home, but when childhood is gone, one finds it only and mostly unexpectedly in the memory, it does not matter if one stayed or left.

Irina Ruppert came from Kazakhstan to Germany with her family at the age of seven. Decades later, she is drawn towards the east. Instinctively, over and over again. Because of the memory – or the idea of it.

Rodina von Irina Ruppert from Sonya Schoenberger on Vimeo.

The images in RODINA are just like the concept of home – inconceivable, ephemeral and radically subjective. Two boys coasting down the village street in their soapbox, the hilly, softly illuminated landscape shines in lush green. In a soup plate lies a chicken foot, a man swings the scythe on a field, a little girl stays in front of a small house with a big cross on the front, grandma sits in the dark, simply decorated living room, a boy interrupts his ride on a far too large bicycle, in order to commune with a goat. Thus we learn little about the present life in Eastern Europe in that book, but a lot about the fundamental impressions, experiences and encounters, which affect a life. I believe it is due to the special quality of Irina Ruppert’s photographs that the images become transparent in the observer’s eye and the frame fills with personal memories.

But the images still tell something about a region which often is associated with poverty, alcoholism and illness: There is beauty, dignity, confidence and hope. And the wheels of progress turn more slowly. Otherwise Irina Ruppert would not have found her images. (copy via Peperoni Books)

7 Photojournalism Tips by Reuters Photographer Damir Sagolj

What are the key tips to shooting great news photography? This video by award-winning Reuters photographer Damir Sagolj, compiled by the Thomson Reuters Foundation, share his seven ideas on how to shoot news photos that engage audiences and tell a great story.

7 Photojournalism Tips by Reuters Photographer Damir Sagolj from Thomson Reuters Foundation on Vimeo.

Photojournalism and Advertisement

The VII agency and specifically one of their founding members Ron Haviv are weathering a debate on morals and ethics of using war imagery for advertisement. In this case an image taken by Haviv, was licensed through his commercial agency.

What’s interesting of course is that a photojournalist who is member of an agency which states that it selects photojournalist by the ‘highest standards of journalistic and documentary integrity’ and that the mission of VII is to ‘ to use photography for positive change.‘ allowed his image to be licenced by Lockheed Martin, one of the larges weapon manufacturer. Here’s an interesting opinion on it all.

So what’s really being asked here?

That photojournalism be banned from advertising? That it is unethical to use news-photography to promote products? Or, that photojournalism should only be used for products that assume the same or at least a similar context, mood and message as originally intended or witnessed by the photographer?

Should there be a clear guideline for which images can be used and which not, and for which clients and for which not? And who is to say what’s right or wrong?

And if you take this further, should there even be awards for photojournalism? Something to be proud of? Should they be regarded as art? Printed and hung on a wall? In Museums? Isn’t that commercialisation of poverty, war and suffering?

It is vital to note that photojournalism in advertising is not really new and that photojournalism has even sometimes been regarded as the ‘mother of advertising’. That is, the practice of taking photographs in a photojournalistic kind of way, as things happen, in contrast to staged studio production. Photojournalism has often been the preferred form for advertisement because of its ability to communicate powerfully, the passion and energy of real-life moments using ʻrealʼ images. Robert Doisneauʼs “Kiss by the Hotel de Ville” (1950) comes to mind as Benetton’s Life Today campaign.

benetton - life today

Each image, story, photographer and scenario is so different. Perhaps each case of photojournalism and advertising really needs to be looked at individually. Though, if I can say that much, I would probably not have let a massive war profiteering company use my images, especially after knowing so much about the suffering. Same reason I try to avoid filling up my car at Shell. I know it’s a bit futile and Shell don’t need my $50, but it’s one little thing I can do. What’s your thoughts on this?

The Heart of Bleakness

Sifting Through the Wreckage of Congo’s Conflict Economy

Just stumbled upon this vice reportage of a trip to the coltan mines of Congo, and a visit to the FDLR and Mai Mai rebel groups. It’s a bit of crazy journey, and it seems that these guys arrive as a bunch of Westerners not really knowing what they are getting into, but as the tension increases and things get a bit more dangerous and chaotic they learn quickly.

Yes, DRC is not an easy place, and it’s not a place you’d just want to walk into. Interesting to see how the languages changes as well, from English, French, to Kirwanda and Kiswahili with the Mai Mai. Congo is a diverse place and as these guys rightly say .. there are no easy answers. Period.

Check out theses videos …

… and read the full story with some historical details here.

via Vice
Photos by Tim Freccia

Meeting Diana

Portrait of Diana smiling

Image: 2012, Christoph Ziegenhardt for CBM Australia

I met Diana during the second half of my visit at CCBRT, CBM’s partner hospital in Tanzania. I was there to take photos and hear the stories of people with disabilities, and how their lives had been impacted by the work.

The first few days we had spent in the field meeting people in their homes in and around Dar Es Salaam. But now we were in hospital, in the fistula ward.

Inside the Fistula Ward

Image: 2012, Christoph Ziegenhardt for CBM Australia

As I prepared for this interview, I wanted to make sure

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The Future of Photojournalism

VII photographers in conversation at the Frontline Club

Rarely in one room, the founder members if VII came together for one night to ponder Questions Without Answers.

Founder members Gary Knight, Christopher Morris, John Stanmeyer and newish recruit Lynsey Addario feature in the video above, talking about the early days of VII and the evolving nature of photojournalism as they see it. It’s fascinating to hear their stories first hand.

Questions without Answers

Questions without Answers

VII photo’s CEO Stephen Mayes on the future of photo journalism

This interview with VII Photos boss in was really interesting to read as well. Stephen Mayes touches on a number of issues that I am going to research in more depth, in my Masters Research Project, where I’ll be looking at how NGO photograph has changed since 2000. And how the ubiquity of images, and access to images and multimedia through new technology (ie: smart phones) has changed the NGO section.

In the interview Stephen talks about being mission driven, how audio is changing everything and the need for a good smart-phone.

He’s basically saying that “people’s consumption of photography has changed enormously“, and “what’s happened in the last 10 years is that our audience has grown more online and particularly people who are actively interested in a subject are able to find what we’re doing more easily.

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