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A Year of Photographers in the Picture

A little shy of a year agowith the world’s attention focused on a change of power in North Koreaa photo of Kim Jung Il’s funeral, released by KCNA (North Korean Central News Agency), sparked controversy. The image had been manipulatedless for overt political ends, more for visual harmony. Blog Submission . The photo’s offending elements, photoshopped from the image, were not political adversaries or top secret information, but a group of photographers who had disturbed the aesthetic order of the highly orchestrated and meticulously planned occasion.

KCNA/Reuters

Dec. 28, 2011. A limousine carrying a portrait of late North Korean leader Kim Jong-il leads his funeral procession in Pyongyang.

In an age where seemingly every occasion is documented through photography from every conceivable anglean estimated 380 billion photographs will be taken this year aloneit’s not only North Korean bureaucrats who are wrestling to keep hoards of other photographers out of their pictures.

Photographers frequently appear in news photographs made by others. Banks of cameras greet celebrities and public figures at every event; cell phones held high by admirers become a tribute in lights, but a distraction to the viewer. Amateurs and professionals, alike, appear in backgrounds and in foregrounds of images made at both orchestrated events and in more candid moments. squido lense . The once-invisible professional photographer’s process has been laid bare.

On occasion, photographers even purposefully make their fellow photographers the subject of their pictures. The most difficult picture to take, it seems, is one without the presence of another photographer either explicitly or implicitly in the frame.

Everyone wants to record their own version of realityironically, it turns out, because by distracting oneself with a camera, it’s easy to miss the true experience of a moment. At a recent Jack White concert, the guitarist requested that audience members stop trying to take their own photos. “The bigger idea,” his label noted in a statement, “is for people to experience the event with their own eyes and not watch an entire show through a tiny screen in their hand. We have every show photographed professionally and the pictures are available from Jack White’s website shortly after to download for free.”

The abundance of camera phones and inexpensive digital cameras has changed the photographic landscape in countless and still-incompletely understood ways, and it’s not just the North Korean government trying to find ways around the hoards of photographers making their way into everyone else’s shots. Here, TIME looks back on the past year to highlight an increasingly common phenomenon: the photographer in the picture.

Silhouettes in the News

Prior to the invention of photography in the mid-19th century, the silhouette was considered an effective and inexpensive way to record a persons likeness or capture a scene. Although the practice can be traced back to the early 17th century, the term silhouette derives from the harsh policies of the French finance minister tienne de Silhouette.

The silhouette reduces an object to its most basic form. SEO Experts search engine marketing . Its historical uses in art can be seen in the paper cuts of Hans Christian Andersen and the artwork of Kara Walker.In photographic terms, the silhouette is created in situations where the subject is backlit. It can be used to hide a persons identity or play up their distinctive features, and its graphic form is often used artistically to photograph sport and dance. It heightens drama, adds atmosphere and makes a banal scene into a graphic wonder.

More than 200 years ago, the silhouette was the foremost way to document ones appearance, but its still widely used in photographic frames today.From capturing the world’s protests and politicians to wildfires and war zones, LightBox looks at the use ofsilhouetteson the wires this month.

See the first Silhouettes in the News feature on LightBox here.

Pictures of the Week: April 13 – April 20

From centennial celebrations of the birth of Kim Il-Sung in North Korea and attacks in Afghanistan to the moving of the space shuttle Discovery and Nepalese New Year, TIME’s photo department presents the best images of the week.

Pictures of the Week: April 13 – April 20

From centennial celebrations of the birth of Kim Il-Sung in North Korea and attacks in Afghanistan to the moving of the space shuttle Discovery and Nepalese New Year, TIME’s photo department presents the best images of the week.

TIME’s Best of 2011: Animals in Peril

Animals have found themselves in the path of peril and at the heart the some of the biggest news stories over the past twelve months, from the Japanese tsunami and Bangkok floods to the war in Libya and the droughts in Africa. While some animals have been sent into the danger zone, the majority of these creatures have simply had the misfortune of being in the wrong place at the wrong time, victims of circumstance, and at the mercy of nature’s wrath or man’s violent feuds.

When U.S. special-forces stormed a compound and killed al-Qaeda leader Osama bin Laden, the story behind the story was that of the anonymous four-legged member of the eighty-strong team: a bulletproof vest-wearing K-9 military working dog that had taken part in the raid. Elsewhere, the mascot dogs of the Athens protests—Kanellos, Louk and Loukanikos, or”Sausage”—have been photographed countless times amid the protests. The subject of the online world’s attention, the canines have a dedicated Facebook and Wikipage, and are featured in numerous YouTube videos.

The average animal doesn’t make headlines, but countless creatures have been photographed amid the chaos and destruction so widely connected to some of the year’s biggest stories. Here, LightBox looks back on a few furry friends who’ve found themselves in harm’s way in 2011.

TIME’s Best Photojournalism of 2011

Sometimes words just aren’t enough. We realize that’s a bold statement for a news magazine to make. After all, words are our currency. Yet we know that there are times when, to fully tell the stories that need to be shared, we need more than words.

This year it was as evident as ever. From the tsunami in Japan, to the war in Afghanistan, to the Arab Spring, our reporters, columnists and correspondents worked tirelessly to bring you the stories that matter. But beyond the words and interviews that filled our pages, our photojournalists sought out the pictures that told a deeper story. Whether they were behind the political scene like Diana Walker as she photographed Hillary Clinton aboard a military plane or risking life and limb like Yuri Kozyrev as he captured the conflict of Libya’s revolution, TIME’s dedicated photographers brought the stories to life.

In March, acclaimed TIME contract photographer James Nachtwey traveled to Japan to capture images in the wake of the earthquake and tsunami. A veteran photojournalist, even he found himself at a loss for words when trying to describe the country’s devastation. Yet in his hauntingly bleak images of ravaged towns and wounded families, we glimpsed what language failed to convey — and it was heart breaking.

TIME‘s words offer the important facts, clear-eyed insights and sharp analysis needed to understand the story. Our photojournalism offers the chance to not only see, but also feel the story. —Megan Gibson

Pictures of the Week, December 9 – December 16

From a shooting in Belgium and Congo protests to the lunar eclipse, TIME’s photo department presents the best images of the week.

Yuri Kozyrev: My Year On Revolution Road

In 2011, Yuri Kozyrev traveled to seven countries covering protests and uprisings for TIME, including Egypt, Bahrain, Libya, Yemen, Russia, Greece and Tunisia. Here, he writes about the remarkable experience and what all the revolutions had in common.

It’s unique that I’ve been able to cover all these uprisings and revolutions during the year. I’m lucky—it’s incredibly complicated to understand where you need to go when you’re on the ground, and I was lucky to have a lot of help. The protests were well under way when I got to Tahrir Square in late January, and their size and scope took my breath away: in two decades of covering the Middle East, I had never encountered anything like this. There was huge fighting between the pro-government supports and revolutionaries. Some of the journalists were beaten. Some of them lost their cameras. They kicked me out, but I managed to get back in the next morning. I saw a lot of families—not just young men or revolutionaries—and everyone was helping each other, praying together. It was a great time. Everybody was waiting for Mubarak to make the right decision, and suddenly it happened. And it was so emotional: people crying, shouting, screaming…it was incredible. The next morning, it was over. The army was kicking everyone out. They weren’t friendly—there was a feeling of ‘You got what you wanted. Now, get out.’ Of all the revolutions I covered, Egypt was the most special.

The mood at the Pearl Roundabout in Bahrain was very different from Tahrir Square. In the first days, I saw men in white robes approach police with flowers, offerings of peace: the response was tear-gas and live rounds. There was a huge difference between this army and the Egyptian army. People from Bahrain—there was no way they could even talk to the army who had arrived from Saudi Arabia. There was no way for me to get to Pearl Square, so a few journalists and I watched what was happening from the hotel. There was one hospital where all the protesters were gathered together. And then the doctors did something incredible. Not all of them supported the protesters, but they gave them shelter at the hospital and saved a lot of lives. I had a chance to go back to Bahrain after they demolished Pearl Square, and again a few weeks ago, and I saw young people who’d lost one eye to rubber bullets. It was just so sad, and I just saw some of them. I know there were many more.

In Yemen, it was very different. There was no Facebook. Change Square was still packed, but the feeling of revolution was more religious, more conservative. There was an invisible border for protesters to stay behind, and the army would shoot anyone who tried to cross this line. I saw so many young people were ready to cross the line, marching to die. And around Change Square, there were hundreds of pictures of people who’d died. In Egypt, I saw protest signs and other things, but in Yemen, it was just pictures of young faces. Whether or not President Saleh will relinquish power, the political crisis in Yemen will likely remain acute, not only because of its tribal culture and topography, but also because of its deep poverty, high illiteracy and birth rates, and deeply entrenched government corruption.

Libya was different because it was more of a civil war than a revolution. It was here that I took one of my favorite pictures of the year. It was taken on the front lines near Ras Lanuf, Libya. It was near an oil refinery factory that was important for both sides—both the rebels and government. I took this picture on March 11, when Gaddafi’s military could still fly, and they were flying around, dropping bombs on the rebels. It was really scary for everybody on the front lines—suddenly, you could hear the plane coming and the bombs hitting their targets. These men were the shabab, young people who weren’t professional fighters and didn’t have weapons or training. They’re not rebels, but eager to be on the front lines. They’re jumping because they heard the planes coming, so they’re running around trying to find any place to hide, which is hard because everything is flat and exposed. You can see from the picture that none of them have any weapons—they were scared—and it was just an incredible experience to be there.

Beyond these main four revolutions, I also traveled to cover the protests in Moscow, Greece and Tunis. I came to the conclusion that each revolution must be assessed in its own context, because each had a distinctive impact. The drama of each revolution unfolded separately. Each had its own heroes, its own crises. Each, therefore, demands its own narrative. In the end, the differences between them may turn out to be more important than their similarities, however. And the common thing about all these protests is the number of young people who really want to bring changes to their country. That’s what’s most incredible. We have a new generation of people who are sick and tired of what’s going on. Call it the Jasmine Revolution, the Arab Spring or the Facebook Revolution, there’s a powerful Sirocco blowing across the world, and young people realize there’s another life and they want to live differently.

Yuri Kozyrev is a contract photographer for TIME who has covered the Arab Spring since January. 

MORE: See the entire 2011 Person of the Year package here