Tag Archives: Tim Hetherington

Awards, Grants, and Competitions | Deadlines and Recipients | October 2012

Deadlines

International Prize of Humanitarian Photography Luis Valtueña : October 31

Conscientious Portfolio Competition 2012 : October 31

PhotoPhilanthropy Activist Awards : November 1

Pikto Top Pick Photo Contest : November 1

Aftermath Project grant : November 5

Prix Lucas Dolega : November 15

Tim Hetherington Grant invites submissions…

Photo © Stephen Ferry

Tim Hetherington Grant : November 15 | Tim Hetherington Grant invites photojournalist submissions (BJP)

Terry O’Neill/Tag Award 2012 : November 22

Agence Française de Développement Photo Contest : November 23

Nieman Fellowships : International entries December 1 | US entries January 31

John S. Knight Journalism Fellowships at Stanford : International entries December 1 | US entries January 15

FotoVisura Photography Grant : December 15

Flash Forward 2013 Call for Submissions : December 31

Environmental Photographer of the Year : December 31

Magnum Foundation Human Rights Fellowship for the 2013 NYU-MF Photography and Human Rights Program : December 17

World Press Photo Multimedia Contest : January 10

Noorderlicht Photofestival 2013 : January 11

World Press Photo 2013 : Deadline January 17 | deadline for requesting user name and password January 11| press release on the jury and categories

Photo seen © Ami Vitale. Alexia Foundation professional grant winner in 2000.

Alexia Foundation Grant : January 18 2013

The Magnum Expression Award : February 23  2013

Nikon Photo Contest : February 28 2013

The Inquisitive Photography Prize

Recipients

Big congratulations to Peter van Agtmael, winner of this year’s W. Eugene Smith Memorial Fund Grant for Humanistic Photography

Photo © Peter van Agtmael

The W. Eugene Smith Awards: Winners and Finalists (New Yorker) | Peter van Agtmael Wins $30,000 W. Eugene Smith Fund Grant (PDN) | Peter van Agtmael Receives the 2012 W. Eugene Smith Grant in Humanistic Photography (Lightbox) | ‘Seeing Iraq and Afghanistan, Unembedded’ (NYT Lens)

Frontline Club Award 2012 Photojournalism category winner:  18 days with Syrian Rebels by Goran Tomasevic for Reuters.

“Unparalleled combat photography.” -Jon Lee Anderson

Photo © Goran Tomasevic/Reuters

The winners of the Frontline Club Awards 2012

Aris Messinis wins Bayeux-Calvados Photography Prize (BJP) | Les lauréats du Prix Bayeux des correspondants de guerre 2012 sont… (in French) (Prix Bayeux) | AFP journalist Aris Messinis wins the Photography Prize at the Bayeux-Calvados Awards for War Correspondents (AFP)

The Rory Peck Awards Finalists

Liz Hingley wins first Prix Virginia (BJP)

Ambush; Ramadi, Iraq, 22 July 2006 © Luc Delahaye

2012 Prix Pictet winner Luc Delahaye – in pictures (Guardian) | Luc Delahaye wins Prix Pictet photography prize (BJP)

Prix Pictet prize, Saatchi Gallery, SW3 : review (London Evening Standard)

Two Photographers Selected for $500,000 MacArthur “Genius” Grants (PetaPixel)

British Journal of Photography wins Lucie Award for Photography Magazine of the Year (BJP)

Alvaro Deprit and Nikolai Ishchuk win BJP’s IPA

Guardian Student Media awards 2012 Finalists

2012 CGAP Photo Contest Winners

IdeasTap Photographic Award 2012: the finalists

Violentology: Stephen Ferry Documents the Colombian Conflict

Photographer Stephen Ferry has spent ten years documenting the ongoing internal armed conflict in Colombia — a situation that, he says, is often overlooked or miscast as a ‘drug war’ outside of the country. In his recently-published book, Violentology: A Manual of the Colombian Conflict, Ferry presents a comprehensive look at this incredibly complicated and brutal conflict with the use of his own photographs, historical imagery and text.

Printed on heavy newsprint and produced on the rotary press of the Bogota daily newspaper El Espectador, Violentology’s physicality references the tradition of print journalism  an industry which has played a central role in shedding light on many of the atrocities committed in Colombia.

“The point here is not just to present photographs but also that they be accompanied by an investigation that is very serious,” said Ferry. “And all of that really detailed and important and dramatic information is information that came from the Colombian press. So, I wanted the design to reflect my respect for their practice.”

The book’s outsize pages are the width of magazine spreads, another nod to print journalism, but also, Ferry said, a way to get readers to spend time with the tome.

“The topic is a very serious one and its not necessarily a topic that is in the headlines, so I wanted to use whatever visual and design strategies I could in order to slow the readers’ down and keep people’s attention on the subject,” he explains.

Ferry’s Violentology project was awarded the inaugural Tim Hetherington Grant in 2011 by World Press Photo and Human Rights Watch. Additional support from the Open Society Institute has helped to make the book available in both Spanish and English versions. Selected chapters are also available as downloadable PDFs.

Stephen Ferry is a photojournalist whose work has received numerous honors from World Press and Magnum Foundation among others. See more of his work here.

Violentology was recently published by Umbrage Editions. See more about the book here

Sunday 22 April 2012

So far in April…

Beginning with 85+ features…

Features and Essays

Alex Majoli from Egypt for the National Geographic Magazine’s May issue…

Alex Majoli: Nile Journey (NGM)

From Lightbox….It’s been great seeing James Nachtwey’s work posted frequently on there recently…

James Nachtwey: Japan Tsunami Anniversary at Minor Kai (Lightbox)

James Nachtwey: Aung San Suu Kyi’s Path to Victory (Lightbox)

Friday saw the sad one year anniversary since the deaths of Tim Hetherington and Chris Hondros (PJ Links’ ‘In Memoriam ‘post from last year with extensive links, here) . Yuri Kozyrev recently visited Misrata, the city where the two men were killed.

Yuri Kozyrev: Revisiting Misrata, After Tim and Chris (Lightbox)

photo: Lynsey Addario

Time (various photographers): Almost Dawn in Libya (Lightbox)

photo: Paul Lowe

Time (various photographers): 20 Years Later: The Bosnian Conflict in Photographs (Lightbox)

Time (various photographers): Portraits of Influence: Faces of TIME 2011 (Lightbox)

Peter Hapak: The Victims of Assad (Lightbox)

Yuri Kozyrev: The New Islamists (Lightbox) Morocco

Diana Markosian: The Girls of Chechnya (Lightbox)

Oded Balilty: Ultra-Orthodox Jews in Israel (Lightbox)

Ambroise Tézenas: Dark Tourism (Lightbox)

Andrew Kaufman: Faces of Protest for Trayvon Martin (Lightbox)

Narciso Contreras: Kachin Independence Army (Lightbox)

Marco Grob: International Mine Action Day  Portraits (Lightbox)

Pablo Conejo: Little Europe on the Outskirts of Shanghai (Lightbox)

New on Reportage by Getty Images…Both Stirton’s and Cahana’s series shot originally for Nat Geo…

Brent Stirton: The Tuareg Nation (Reportage)

Kitra Cahana: American Teenage Brain (Reportage)

Zalmai: Peace at War: Afghanistan’s Circus Children (Reportage)

From New Yorker..

Peter van Agtmael’s and Ashley Gilberton’s Iraq War related photos in New Yorker’s Photo Booth…Look at this beautiful image by Ashley Gilbertson and then go and read the caption (it’s slide 19/25)…harrowing…

photo: Ashley Gilbertson

New Yorker (photos by Peter van Agtmael and Ashley Gilbertson): Generation Iraq: The Journalists Who Covered America’s War 

This Winogrand photo is so surreal…

photo: Garry Winogrand

New Yorker Photo Booth blog (various photographers): Beautiful Tourists 

Gilles Peress: Siege of Sarajevo (New Yorker)

Kate Simon: Bob Marley (New Yorker)

Gitta Seiler: About Girls (New Yorker)

From Newsweek…

Alejandro Cartagena: Mexican Workers Commute (Newsweek)

Trevor Snapp: The Hunt for Joseph Kony (Newsweek)

Jared Moossy: Beirut: A Vibrant City of Contradictions (Newsweek)

Recent features on the New York Times Lens blog…

Mary Ellen Mark: The Prom (NYT Lens) Related

Annabel Clark: A Most Intimate Bond (NYT Lens)

Eric Thayer: GOP Campaign Trail (NYT Lens)

Lijie Zhang: Rare Illnesses (NYT Lens)

Sven Torfinn: Mogadishu (NYT Lens)

Sean Kernan: Breaking Into Prison (NYT Lens)

Max Whittaker: Unincorporated Towns (NYT Lens)

Abir Abdullah: ‘Death Traps’ in Dhaka (NYT Lens)

Ilona Szwarc: Girls and Their Dolls (NYT Lens)

Ozier Muhammad: Portraits of Harlem’s Clergy (NYT Lens)

Richard Perry: The New York Commute (NYT Lens)

Michael Keating: A Friend’s Life (NYT Lens)

Angelos Tzortzinis: Street Clashes in Greece (NYT Lens)

Garry Winogrand: 1960 DNC (NYT Lens)

Jared Soares: Hip-Hop Culture in Small-Town America (NYT Lens)

Jim Cummins: Picturing Jimi, Janis, Miles and Duke (NYT Lens)

From New York Times itself…

Meridith Kohut: In Venezuela, A Shortage of Staples (NYT)

Adam Ferguson: Myanmar Elections (NYT)

Sven Torfinn: In Somalia’s Capital, Hope and Reconstruction (NYT)

Benedicte Kurzen: Nigeria Population Rise (NYT)

Jehad Nga: In Libya, Militias Become a Political Force (NYT)

From Magnum..

Surprising topic,but always eager to see Pellegrin’s work..

Paolo Pellegrin:Turkish Oil Wrestlers (Magnum)

Martin Parr: No Worries (Magnum)

From VII…

Gary Knight: Rat Hole Mining in Meghalaya (VII)

Ed Kashi: Photojournalisms (VII Magazine)

Seamus Murphy: Inside Syria (VII)

Erin Trieb: Battle Company (VII Mentor)

Giovanni Cocco: Islam Denied (VII Mentor)

Sim Chi Yin: Burmese Spring (VII Mentor)

From Panos Pictures…

Warrick Page: Pakistan’s Hungry Children (Panos)

Fernando Moleres: A Life of Devotion (Panos)

Christian Als: Exposed (Panos) multimedia

Stephan Vanfleteren: Sao Paulo – The World in a City (Panos)

Oleg Klimov: Along Russia’s Shores (Panos)

Dan White: Sak Yant – Sacred Tattoos (Panos)

From NOOR..

Alixandra Fazzina: The Flowers of Afghanistan (NOOR)

Jon Lowenstein: Female Chain Gang (NOOR)

From Reuters…

Andrew Biraj: Brothel Bonds That Bind (Reuters)

Damir Sagolj: Surviving Japan’s Tsunami Disaster (Reuters)

Marcos Brindicci: Falklands at Last (Reuters)

From zReportage..

Bahram Mark Sobhani: Going the Distance (zReportage)

David Ryder: The Tallest Hurdle (zReportage)

From Institute…

Simon Norfolk: Erbil, Iraq (Institute)

From Foto8…

Marcus Bleasdale: The Voices of the Children of the LRA (Foto8)

Alessandro Vincenzi: The School Hidden in  a House (Foto8)

Claudia Leisinger: The Last Days of the Billingsgate Porters (Foto8)

Mark Esplin: Tropical Storm Sendong (Foto8)

From Global Post…

Will Baxter: Kachin Conflict (Global Post)

Will Baxter: Myanmar: Suu Kyi fever (Global Post)

From various sources…

The below Martin Parr photo made me think of others he has taken in similar vein, and I did a quick little experiment by digging into the Magnum Photos archives…in the end I found less very similar ones I had thought, but he sure loves fast food and ice cream..Take a look here.

Martin Parr: American South (CNN photo blog)

Glenna Gordon: Reality Kony2012 Missed (Wired Raw File blog)

From April NGM that I didn’t share the last time…

Phyllis Galembo: African Masks (NGM)

Alejandro Chaskielberg: Turkana (Dazed and Confused)

Polly Braden: Decade in China (Telegraph)

Barat Ali Batoor: The Exploitation of Afghanistan’s ‘Dancing Boys’ (Washington Post)

Thorne Anderson: Afghanistan the Beautiful (Foreign Policy)

Kayte Brimacombe: Autism (Guardian)

John Vink: Cambodia: Year of the Dragon on Bokor Mountain  (Photographer’s website)

Mae Ryan: Transactivations (KPCC, Los Angeles Public Radio, Vimeo)

Interviews and Talks

Sebastian Junger (Outside)

Lauren Greenfield (Filmfestivaltraveller.com)

Mary Ellen Mark : Simple Portraits, Complex Camera (NYT Lens)

Mary Ellen  Mark (Profoto Vimeo)

Weegee (Soundportraits)

Rene Burri (Phaidon)

Bruce Davidson (New Yorker)

Kathy Ryan (Overdose.am)

Kathy Ryan (FOAM)

Kadir Van Lohuizen (Nikon blog)

Kristen Ashburn (aday.org)

Gary Knight (PDN)

Joel Meyerowitz (Leica Vimeo)

Ed Kashi : misuse of photographs (Soros.org)

photo: Lynsey Addario, 2008 Getty Grants winner

Jamie Penney : Senior Photo Editor Getty Images, on applying for Getty Grants (Getty blog)

Eamonn McCabe (BBC)

David Bailey, Don McCullin, Terry O’Neill and Harry Benson (BBC Radio Front Row)

Patrick Brown (VICE)

Mark Power (IdeasTap)

Don McCullin (BBC)

Richard Mosse (PDN)

Tom Stoddart (Leica blog)

Lynsey Addario (Charlie Rose)

Mark Seliger (GQ)

W.H. Hunt (burn)

News, Articles, and Reports

Washington Post: Tim Hetherington’s legacy: A mother’s perspective on her son’s war photography

James Brabazon: Remembering Tim Hetherington and Chris Hondros (Newsweek)

PDN: Tim Hetherington, Chris Hondros: Remembering Them As They Lived

Tim Hetherington : Photographs Not Taken (Lightbox)

BJP: Photographers honoured with Pulitzer Prizes | Full list of Pulitzer winners and finalists at Pulitzer.org

NYT Lens: Pulitzer Prizes: The Effects of War at Home

BBC: Photo of Afghan girl after bomb attack wins Pulitzer

PDN: Anton Hammerl’s Remains May Have Been Unearthed in Libya

CNN: Almost Dawn in Libya (Youtube video)

CNN: Paul Conroy footage of escaping Homs

Poynter: MaryAnne Golon named Washington Post’s new director of photography

Photoshelter: The 7 Common Tax Mistakes Made By Photographers

PhotoShelter: How We Hire Photographers: New York Magazine

Independent: Bruce Davidson’s photographs captured Harlem street life in the 1960s

BBC: Pricing nature and protecting journalists : Toby Smith and Sophie Gerrard

PDN: Collector Sues Eggleston Over New Prints of Limited Edition Works

PDN: Q&A: Art Collector Jonathan Sobel Explains His Beef with William Eggleston

Knight Digital Media Center: 8 Tips for Telling Beautiful Multimedia Stories

Poynter: What journalists should know about Instagram, bought by Facebook

BJP: The Photographers’ Gallery to celebrates London 2012 Olympics

PDN: Quincy Jones Denies Copyright Infringement Claim

Lucy Davies in Telegraph: Arnold Newman: the art of sitting still | Even the most camera-shy creative powerhouses would stop everything for Arnold Newman

Sean O’Hagan in Guardian: Roger Ballen, photographer: are you ready to enter his world? | The American photographer has been taking photographs in South Africa for much of the past 40 years – but the brutal conceptualism of his work leaves me cold

Lightbox: Danny Lyon: The World Is Not My Home

Lightbox: The Search for the Best New Black-and-White Photographers

Kathy Ryan with the back story behind Steve Schapiro’s photograph of Muhammad Ali..

Kathy Ryan: Muhammad Ali Meets His Wife (New York Times Magazine 6th floor blog)

NYT Mag 6th Floor blog: On Simon Roberts’ ‘Let This Be a Sign’

Guardian: The Month in Review

Guardian: Featured photojournalist: Pedro Ugarte

Guardian: Featured photojournalist: How Hwee Young

Guardian: Photographer John Myers’ best shot

Verve: James McKay

Verve: Lara Ciarabellini

BJP: French organisation of professional photographers has launched a controversial campaign for photographers’ rights

Fstoppers: On the Set with Annie Leibovitz

The Literate Lens: Magnum and the Dying Art of Darkroom Printing

NPR: Paintball Journalism? Former Ranger, Journalists Trade Shots With Hezbollah

If this really works, this is very cool! Stolen Camera Finder

Events and Workshops

This Wednesday…23 April…See you there?

SlideLuck PotShow London, 81 Leonard Street

This should be very cool…

Frontline Club Photo Week 2012

Photo week 2012: VII Photo Seminar

This weekend in London…

World Photo London : April 27-29 : All events : free events  : The Business of Photography Seminar

London Festival of Photography Programme

Foto8 events (PDF)

Donald Weber is organising another grant writing workshop

Grant Writing Workshop with Donald Weber  in Los Angeles, June 16 & 17

Magnum Professional Practice London

Agencies and Collectives

Was looking at some advertising photography the other day… Check out Art Department…It represents Steve McCurry, Mary Ellen Mark, and Platon for commercial work…

Art Department

VII: April newsletter

VII: iSee prints for sale

Reportage by Getty Images: Giulio di Sturco joins roster as a Featured Contributor

Magnum Photos: April Newsletter

Magnum Foundation:   Foundation Launches Partnership with Mother Jones

Prime Collective : April newsletter

Aletheia Photos

Press & Editorial Photography course at University College Falmouth have an agency, Cartel Photos, for their current undergraduates and alumni. Mentored by Panos Pictures. Check out this YouTube clip for more info.

Cartel Photos introduction (Youtube)

Blogs

Magnum crew on the road again…

Postcards From America (Tumblr blog)

Polish Documentary Photography Links

Awards, Grants and Competitions

Congratulations to all the people selected to this year’s Joop Swart Masterclass

photo: Ilvy Njiokiktjien

Joop Swart Masterclass 2012 Participants announced (World Press Photo)

Rory Peck Awards 2012

Canon Female Photojournalist Award 2012

Enter Foto8 Summershow, get a chance to exhibit work in London, attend a great party, and most importantly, support the work Foto8 do…

Foto8 Summershow 2012 

Marie Claire International Photography Award

2012 Guggenheim Fellowships Awarded to Ten Photographers (PDN)

Getty Grants

Arles Photography Open Salon

Robert F. Kennedy Journalism Award on International Photography : Call for submissions (PDF) : entry form (PDF)

Les Rencontres Prix Bayeux-Calvados for War Correspondents

BJP: Mono winners announced

London Festival Fringe  : London Photography Award 2012 shortlist 

Moving Walls 20 :  Documentary Photography Project at the Open Society Foundations Documentary Photography Project at the Open Society Foundations : annual exhibition of social-issue documentary photography.

Open Society  2012 Production Grant to Individuals  from Central Asia, the South Caucasus, Afghanistan, Mongolia, and Pakistan

ANI

Aaron Siskind Fund

Emerging Photographer Fund

KL Photo Awards 2012 Shortlisted

Apps and Books

World Press Photo 2012 App (iTunes)

Really want to get VII Photo’s Questions Without Answers book…

photo: Alexandra Boulat

Geo (GER): Questions Without Answers by VII Photo

CNN: Review on Questions without Answers 

James Whitlow Delano: Black Tsunami ( e-book)

CesuraPublish

Photographers

Ben Lowy : Spring 2012 promo

Kayte Brimacombe

Phyllis Galembo

Jane Stockdale

Carl Court

Alessandro Vincenzi

Mark Esplin

Claudia Leisinger

To finish off…as usual..some quirkyness…

Check out Story Wheel… pretty cool site for all Instagram users…

Related… Mastergram

Also… Virtual Lighting Studio

WSJ’s Best and Worst Jobs 2012

Airplane Lavatory Self-Portraits

And Doonesbury on unpaid work

Soon passing 1,000,000 all-time views for the site…and 30,000 followers for @photojournalism… Thanks for visiting and following!

apertureWEEK: Online Photography Reading Shortlist

Aperture aggregates the best posts from this past week in the photography blogosphere.

  • LightBox presents an essay written by Tim Hetherington, who was featured in Aperture issue 204, from the new book Photographs Not Taken, one year after the photographer’s death in Libya. The collection, compiled by Will Steacy (one of Aperture’s Green Cart Commissioned photographers), also features essays by Roger Ballen, Ed Kashi, Mary Ellen MarkAlec SothPeter van Agtmael and more. Additionally, PDN features an 8 image retrospective by Hetherington, whose work is now on view at Yossi Milo Gallery in New York (through May 12, 2012).
  • This week in commentary: LPV Magazine  digests Instagram articles by Om Malik, the New Yorker’s Ian Crouch and New York Magazine’s Paul Ford, finds out, “Facebook Buys Instagram, Some Photographers Sad.” APhotoEditor reads Paul Melcher‘s poignant article on La Lettre de La Photographie alongside Marc Andreessen‘s WSJ piece “Software Will Eat The World,” and explores “how a company with 13 employees and no profits [Instagram] can replace a now bankrupt company [Kodak] that once employed over 120,000 people with annual sales of $10 billion as the ‘manufacturer’ of a device to bring photography to the masses.” In related news, NPPA opens a mobile phone photo contest, calling for entries through Sunday, April 22, 2012, while Magnum Photos has deployed another team to Rochester to document the once-vibrant home of Kodak as part of their Postcards From America series.
  • Poynter investigates the controversy over the Pentagon delaying the LA Times from publishing photographs of US soldiers posing with the body parts of Afghan corpses, a story which has since elicited over 2000 comments on the Times’ website.
  • Sophie Calle, featured in Aperture issues 191 and 142, talks to the Guardian about her best shot from the series Voir La Mer, in which she “took 15 people of all ages, from kids to one man in his 80s, to see [the sea] for the first time.” She photographed them from behind so as to not obstruct their initial encounter, and she captured the entire process, including their reactions, on video. Her current exhibition, Historias de Pared (at Museo de Arte Moderno Medellín through June 3, 2012) is reviewed on Fototazo.
  • In honor of Albert Hoffman’s infamous Bicycle Day (April 19), LIFE Magazine shares a number of never-before-published dream-like photographs that were to accompany an original 1966 article titled, “New Experience That Bombards the Senses: LSD Art.”
  • American Suburb X shares journal entries from William Gedney on “Kentucky, Sex and Diane Arbus,” alongside scans of the archival material culled from the Duke University Rare Books and Manuscript Library.  Speaking of rare books, ICP Library profiles some of the innovative and experimental photobooks they found and photographed at the New York Antiquarian Book Fair last week.
  • Time Magazine releases their annual list of “The 100 Most Influential People in the World,” alongside a portrait gallery of 24 of the honorees.  Included this year is artist Christian Marclay, of the monumental video installation recently purchased by MoMA, The Clock, and the 2007 Aperture monograph Shuffle, which takes the form of a deck of cards. The Clock will be shown for free this summer from the middle of July to mid-August at Lincoln Center’s David Rubenstein Atrium. Stake out your places now!

Revisiting Misrata, After Tim and Chris

TIME contract photographer Yuri Kozyrev and I recently spent two weeks driving across Libya, from east to west, surveying the aftermath of the Arab Spring’s most thorough revolution to get a sense of the lessons learned and the challenges that still lie ahead for the vast, oil-rich country. The war-ravaged city of Misrata was one of the key stops on our journey, not only for its significance as perhaps the most brutally repressed flashpoint in Libya’s uprising against Muammar Gaddafi, but also because of its significance on the emotional map of many foreign correspondents who covered this war, myself and Yuri included. Yuri lost one of his close friends here, Tim Hetherington. Hetherington, an award-winning British photographer and director, was killed along with the great American photographer Chris Hondros, while covering the fighting on Misrata’s Tripoli Street on April 20, 2011. The two had travelled, along with other journalists, to Misrata by boat from the rebel-held eastern city of Benghazi.

At the time, Misrata was under a fierce and brutal siege by Gaddafi’s forces, but the city had become a symbol of the Libyan resistance—and Gaddafi’s violent tactics to stop it. Yuri was in frequent contact with Hetherington at the time, hoping to make the same perilous journey by boat. “I thought it was very important to go there,” he told LightBox this month. “It was almost impossible to cover the war from the eastern front line, and Misrata was a hotspot.”

Yuri never made it there; the sudden deaths of Hetherington and Hondros put an end to those plans. So our trip last month marked his first visit. “We had never heard about Misrata before the war, but when the war happened, Misrata was a very important place. And not just Misrata, but Tripoli Street,” he says. “For me it was on a personal level. It was in the news, and everybody mentioned it. But for me, it’s also about friends.”

Seeing Tripoli Street was hard for Yuri. There were moments, as we surveyed the wreckage, moving silently past block after block of shell-shocked neighborhoods, that I could see the grief on his face. Misrata’s war museum—“The Ali Hassan Gaber Exhibit,” named for the al-Jazeera cameraman killed covering the revolution—is something we came across by chance on our first day in the city. In it, Misrata’s residents and former fighters have meticulously documented the horrors of their city’s experience in war. There are rows of rockets, missiles, and tanks; clothing and furniture hauled away from Gaddafi’s compound in Tripoli; photographs of the rebels’ gruesome injuries; official documents detailing regime corruption; and the portraits of all 1,215 of the city’s martyrs. Yuri told Lightbox what it was like to visit the exhibit, set amid the destruction on Misrata’s Tripoli Street: “Inside there are hundreds of portraits of Libyans who were killed. When I walked through, looking through these portraits for the dates they were killed, suddenly I stopped. On the left side there were two portraits of Tim and Chris.”

Misrata’s residents are keen never to forget the details of this horrific point in their history. Indeed, everywhere we traveled in Libya, we found similar efforts to immortalize the names and faces of those lost; and the tragic events that transpired. But all along Tripoli Street, there is also rebirth, and there is hope. New billboards and storefronts have sprung up from the city’s ashes. Uniformed traffic cops in white gloves patrol intersections—despite the absence of a fully functioning central government. And construction workers in orange vests clear rubble and tend to new flowers in the grassy medians. Stores selling wedding dresses and school supplies have re-opened their ground floor display windows; even as the gaping holes caused by rockets and tank shells remain to be fixed just above. “There are a lot of signs of war but you can see that there is life,” Yuri says. “There is life in different ways, girls on the street, boys on motorbikes, and flower shops.”

“At the same time I didn’t want to do any kind of investigation [into Tim and Chris’ deaths], to try to understand what happened,” he says. “It happened. It happened last year, and I remember it, and that’s it. I was not in the mood yet to try to understand. I know that’s the street. I know that’s the place.”

Abigail Hauslohner is TIME’s Cairo correspondent.

Yuri Kozyrev is a contract photographer for TIME and was named the 2011 Photographer of the Year in the Pictures of the Year International competition.

Photographs Not Taken: A Chapter by Tim Hetherington

A new book, Photographs Not Taken, conceived and edited by photographer Will Steacy compiles personal essays written by more than 60 photographers about a time when they didn’t or just couldn’t use their camera.

The book, released by Daylight, is a fascinating compilation by a wide cross-section of image makers from around the world and is often filled with thoughts of regret, restraint and poignant self-realizations.

On the eve of the one-year anniversary of Tim Hetherington’s tragic death in Misrata, Libya, we present one of the most eloquent chapters from the book, in which the photographer offers his thoughts on depicting the dead in photographs and the questioning moment he had after making a picture of a dead soldier in Afhganistan:

There are many reasons not to take a picture—especially if you find the
 act of making pictures difficult. I was not brought up with a camera, I
 had no early fascination for pictures, no romantic encounters with the 
darkroom—in fact I didn’t become a photographer until much later on 
in life when I came to realize that photography—especially documentary 
photography—had many possibilities. One thing for sure was that
 it would make me confront any inherent shyness that I might feel. It
 did, but I still find making pictures difficult, especially negotiating and 
confronting “the other,” the subject, and dealing with my own motivations
 and feelings about that process.

This personal debate about making pictures was particularly apparent 
during the years I lived and worked in West Africa. In 2003 I lived as one 
of the only outsiders with a rebel group that was attempting to overthrow 
then-President Charles Taylor. It was a surreal experience—cut off
 and living in the interior of the country, I accompanied a rag-tag army 
of heavily armed young men as they fought their way from the interior 
forest into the outskirts of the capital, Monrovia. Reaching the edges of
the city was an exhilarating experience after weeks of living in a derelict 
front-line town with little food. At one point, the rebels took over the
 beer factory and, after liberating its supplies, turned part of the facility 
into a field hospital where people with gunshot wounds were treated 
with paracetamol. Outside the factory compound lay about five bodies 
of people who, from the look of things, had been executed. A number 
had their hands tied behind their backs and most had been shot in the
 head and, despite the graphic nature, I had no qualms about making 
some photographs of these people.

Not long after, government forces counterattacked to push the rebels out 
of the city. Everyone was exhausted from the lack of sleep and constant 
fighting, and the retreat quickly turned into a disorganized scramble
 to get out of the city. Soldiers commandeered looted vehicles, and I 
even remember one dragging a speedboat behind it in the stampede 
to escape. To make matters worse, government soldiers were closing in
on the escape route and began firing from different directions on the 
convoy of vehicles. One rocket-propelled grenade took out a car behind
ours, and at one point we abandoned our vehicles and took shelter in a
nearby group of houses. I began seriously considering abandoning the rebels and heading out on my own toward the coastline on foot, but luckily thought better of it and got back inside the car with the group I was with.

The road slowly wound its way away from the low-slung shacks of
 the suburbs and back into the lush green forest. Our close-knit convoy 
started to thin a little as some cars sped out ahead while others, laden 
with people and booty, took their time. The landscape slid by as I tried
 to come down and calm my mind from the earlier events—I was in a
 heightened state of tension, tired, hungry, and aware that I was totally 
out of control of events. Just as I started to feel the euphoria of being
 alive, our car slowed in the commotion of a traffic jam. A soft-topped 
truck up ahead that was carrying about 30 civilians had skidded as it
 went around a corner and turned over on itself. A number of people 
had been killed and wounded—probably having the same thoughts of 
relief that I had before calamity struck. Now they were dead and their 
squashed bodies were being carried out from the wreckage. Someone 
asked me if I was going to photograph this—but I was too far gone to be
able to attempt any recording of the event. I couldn’t think straight, let 
alone muster the energy needed to make a picture. I just watched from 
a distance as people mourned and carried away the dead. My brain was
 like a plate of scrambled eggs.

There isn’t much more to add, but I always remember that day and the 
feeling of being so empty—physically, mentally, and spiritually—that it
 was impossible to make the photograph.

Years later, when I put together a book about those events in Liberia, I
 included a photograph of one of the people who had been killed outside 
of the beer factory. I thought it was an important picture but didn’t
 dwell on what it might mean for the mother of that boy to come across 
it printed in a book. My thoughts about this resurfaced recently as I put
 together a new book about a group of American soldiers I spent a lot of 
time with in Afghanistan. They reminded me a lot of the young Liberian 
rebel fighters, and yet, when I came to selecting a picture of one of their
 dead in the battlefield, I hesitated and wondered if printing a graphic 
image was appropriate. It was an image I had made of a young man 
shot in the head after the American lines had been overrun—not dissimilar
 from the one in Liberia. My hesitation troubled me. Was I sensitive
 this time because the soldier wasn’t a nameless African? Perhaps I had 
changed and realized that there should be limits on what is released 
into the public? I certainly wouldn’t have been in that questioning position 
if I’d never taken the photograph in the first place….but I did, and 
perhaps these things are worth thinking about and confronting after all.

—Tim Hetherington

Tim Hetherington (1970-2011) was a British-American photographer and 
filmmaker. His artwork ranged from digital projections and fly-poster exhibitions to handheld-device downloads. Hetherington published two monographs, Long Story Bit by Bit: Liberia Retold (Umbrage Editions, 2009), 
and Infidel (Chris Boot, 2010). His Oscar-nominated 
film Restrepo, about young men at war in Afghanistan, was also released in 2010.
 Tragically, Hetherington was killed while covering the 2011 Libyan civil war.

Photographs Not Taken also features work by Roger Ballen, Ed Kashi, Mary Ellen Mark, Alec Soth, Peter van Agtmael and many others. More information about the book and how to purchase it is available here

On April 22, 2012 from 2:00-4:00pm, MoMA PS1, located in Queens, NY, will host a a panel discussion with contributors Nina Berman, Gregory Halpern, Will Steacy, Amy Stein, moderated by Daylight founders Michael Itkoff and Taj Forer.

Review: Will Steacy (ed.), Photographs Not Taken

Photographs Not Taken

We live in the age of photo proliferation. Digital technology in all its forms (cameras, phones, computers, the Internet) has made photography the most democratic of media, both in terms of making and disseminating images. And they are everywhere, all the time: on our TVs, our computer screens, our smartphones and in our streets. Of course, this state of affairs is not as new as we might think—it has been in place since Walter Benjamin and his age of mechanical reproduction—but digital technology has led this proliferation to take off exponentially.

The impact of this is clear, even in traditional, ‘purist’ photography circles. In 2007 the Musée de l’Elysée in Lausanne created a crowd-sourced exhibition entitled We Are All Photographers Now, allowing anyone to upload their photographs to be included in the show. More recently Europe’s biggest photo-festival, the Rencontres d’Arles, centred on an exhibition entitled From Here On, a kind of manifesto for the age of the online image (“Now we’re a species of editors. We all recycle, clip and cut, remix and upload. We can make images do anything.”) where much of the work was made by artists appropriating or collecting other people’s images. Even Elliot Erwitt has been saying that more pictures are better than one.  So what a relief to open a photobook (am I allowed to call it that?) and discover that it does not contain a single picture: the cover’s ‘empty’ frame is the closest thing to an actual photograph.

Photographs Not Taken is a collection of essays about photographs that, for one reason or another, did not end up being taken. The writer and photographer Will Steacy, who edited the volume, asked an eclectic group of photographers (Emmet Gowin, Tim Hetherington, Laurel Nakadate and Jamel Shabazz all feature to give you an idea of the mix) to “abandon the conventional tools needed to make a photograph–camera, lens, film—and instead make a photograph using words.” The book is both a collection of opportunities missed, of attempts to conjure up in words those images that got away, but also a look into the psychology of the photographer and their ethics, reflexes, and methods.

Naturally many of these non-photographs were not taken because of an ethical or moral decision by the photographer, a decision that photojournalists must face on a day-to-day basis. Interestingly, many of the writers contrasted the act of taking a photograph with the state of being present as a human being. In these cases the camera is described as a defense to hide behind, with which to shield the photographer from the impact of the moment happening in front of or to them. The book also has its more surreal moments: Matt Salacuse describes the scientologist jedi mind trickery of Tom Cruise forcing him to lower his camera and to pass up the opportunity of photographing Cruise and Kidman’s newborn adopted baby.

It must be said that the essays are uneven… after all this is a collection of texts by photographers and not by writers. I found that some of the texts failed to bring the images to life, or perhaps that too many of these images ended up ‘sounding’ the same. For me Roger Ballen‘s essay stood out: he avoids any explanation of why he didn’t photograph the scene he describes (did he even have a camera with him on that day?), but there is no question whose world this lost moment belonged to. Rather than in attempting to resurrect lost images through words, an exercise that surely would be better accomplished by a group of writers, I found Photographs Not Taken to be most successful when it makes the reader think about the decisions that go into making, or not making a photograph. And if it encourages us to put down our cameras from time to time, that can only be a good thing.

Note: The International Center of Photography in New York will be hosting a book signing with several of the contributors on Friday, March 23rd from 6:00-7:30 p.m.

Will Steacy (ed.), Photographs Not Taken, (Daylight, 2012).

Rating: Worth a look

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Kick off 2012 and Visit New Exhibitions

New Year, 2010, © Jowhara AlSaud

Kicking off the 2012 art season, check out highlights on view throughout New York! See below for some of our favorite Aperture artists and galleries.

New Photographers at Dazinger Gallery, January 12–February 25, introducing five emerging photographers unlinked to one another through content but brought together for their first time exhibiting in New York City. Featured photographer Tereza Vlčkovà from Aperture’s groundbreaking book, reGeneration 2: tomorrow’s photographers today.

Silverstein Annual at Bruce Silverstein Gallery, January 14–February 25, offers exposure to ten up-and-coming photographers who have been chosen by ten prominent curators, including Nelli Palomaki, reGeneration 2 artist. View her limited edition prints available through Aperture.

Penetration at Foley Gallery, January 12–March 3, recreates the photographic image with five artists who interrupt the common photographic process. Portfolio Prize 2008 Runner-Up Jowhara AlSaud’s portraits of faceless figures, inspired by censorship, are personal photographs made into drawings etched on the surface of a negative, view her limited edition prints here. Pushing the capabilities of photographic paper itself, Marco Breuer scratches and scrapes the light-sensitive paper making conceptual, abstract imagery. See Breuer’s limited edition book by Aperture Early Recordings and Untitled 2007 and the highly acclaimed compilation The Edge of Vision: The Rise of Abstraction in Photography, he was also featured in Aperture magazine issue 172.

Joel Sternfeld: First Pictures at Luhring Augustine, January 6–February 4, displays a selection of Joel Sternfeld’s earliest photographs, taken between 1971 and 1980, documenting his travels across America through vibrant colors twined with wit and satire.

Visions: Tim Hetherington at Bronx Documentary Center, through January 22, is the inaugural exhibit featuring photography and multimedia work produced by photojournalist Tim Hetherington who was killed in April of 2011 as he covered Libya’s revolution.

First Look at Yossi Milo Gallery, January 26–February 18, is the inaugural exhibition at the new gallery space located at 245 Tenth Avenue. The photographers included all had their first solo New York City exhibition presented by the Yossi Milo Gallery. These artists include Robert Bergman, Mohamed Bourouissa, Pieter Hugo, Simen Johan, Sze Tsung Leong, Loretta Lux, Yuki Onodera, Muzi Quawson, Mark Ruwedel, Alessandra Sanguinetti, Lise Sarfati, Alec Soth, Kohei Yoshiyuki and Liu Zheng. A celebration will be held in honor of these photographers on February 16 from 6:00–8:00 pm.