“11 Intense Syria Photos From The 18-Year-Old Photojournalist Who Died In Action”
Eighteen-year-old photojournalist Molhem Barakat was killed in a battle for control of Aleppo’s al-Kindi Hospital on December 20th, 2013.
The Syrian teenager had been photographing the war with equipment provided by Reuters since May 2013 — and his death has generated uncomfortable questions for the news agency, as covered by David Kenner at Foreign Policy.
read more ->
Interesting > http://www.colorsmagazine.com/stories/magazine/86/story/this-picture-of-photographers-fleeing-a-shelling-was-taken-in-march-2011-in
This picture of photographers fleeing a shelling was taken in March 2011 in Ras Lanuf, Libya.
In the same second, the second picture was taken. It won first prize in the 2012 World Press Photo awards for “Spot News Singles.”
First photo: One month into Libya’s 2011 revolution against then-dictator Muammar el-Qaddafi, five foreign journalists were photographed running for cover as government planes bombarded a checkpoint near the coastal town of Ras Lanuf. Only the blue jeans of Russian photographer Yuri Kozyrev are visible here because he lingered to take a last shot of the chaos. Two of the fleeing photographers, Americans Lynsey Addario (fist photo: far left) and Tyler Hicks (first photo: right, wearing glasses) would be kidnapped by Qaddafi loyalists four days later and held for a week; Kozyrev’s photo, the second above, would win first prize in the 2012 World Press Awards for Spot News Singles.
Interesting debate or rant around the issue of the 2011 world press photo of the year (a Yemeni mother embracing her son as he suffers with the burning pain of tear gas) taken by Samuel Arunda’s being used for an album cover and tshirt…the photographer response to the article below:
First of all, I don´t understand that you publish an article about me, without contacting me in advance to ask for my answer. Is not really ethical in journalism, in case that you are a journalist. The language that you used is pure sensationalism. The answer to this “polemic” that you are trying to create is easy, I still in contact with the woman and her son, and they were agree on this. Also it was a personal interest from the music group to put the focus on this persons that during the last two years are fighting for their rights. So, I don´t see the problem anywhere, everybody was agree, and this photo published in the front of the album will arrive to many youth that will know about Yemen and the suffering of the civilians in this country.
Reminds me of one of my first interactions with ‘photojournalism’ – “Hands” by photographer Michael Wells which was the cover photo of the Dead Kennedy’s album Plastic Surgery Disasters.
Paolo Pellegrin Responds To Claim Of Misrepresented Winning World Press, POYi Photos
…a second version of the reply http://pdnpulse.com/2013/02/paolo-pellegrin-and-his-subject-at-odds-over-photograph.html
When Reality Isn’t Dramatic Enough: Misrepresentation in a World Press and Picture of the Year Winning Photo
By Michael Shaw
‘This post was written by BagNews Publisher Michael Shaw with RIT Photojournalism professor Loret Steinberg and RIT photojournalism alumnus Shane Keller. (Full disclosure: Steinberg is a consultant to this site.) Keller was the subject of a photo which was part of a series entitled “The Crescent” by Magnum photographer Paolo Pellegrin. The series was recently awarded second prize in the Stories category of the 2013 World Press Photo contest and a second place award in the Issue Reporting Picture Story category of the 2013 Picture of the Year International competition, with the individual photo earning Photographer of the Year — First Place in the Freelance/Agency category of the Picture of the Year awards – one of 50 images submitted for that category’
In an article by the guardians Sean O’Hagan reviewing Magums new offering in book form – Magum Revolution: 65 Years of Fighting for Freedom, the most interesting line goes a little something like this…
“Ironically, we are now in the midst of a revolution in the way that revolutions are being reported. As Anderson points out “no Magnum photographer was present on the grubby outskirts of Sirte to witness and record Gaddafi’s final moments of life, but we all saw what happened anyway”. The profusion of cameras, alongside the rise of Twitter, Facebook and YouTube, means images of struggle are disseminated globally in seconds by those on the ground. Magnum Revolution is a testament to the age of great photojournalism but it may also become a kind of requiem for that same age”.