VIDEO// Gerda Taro

Today would mark Gerda Taro's 108th Birthday. Gerda Taro was a German war photographer, and the companion and professional partner of photographer Robert Capa. Taro is regarded as the first female photojournalist to cover the front lines of a war and to die while doing so. Wikipedia

Gerda Taro was a pioneering and largely unknown female photojournalist whose work consisted almost exclusively of dramatic photographs from the Spanish Civil War. Irme Schaber, Taro's biographer and curator of the current exhibition at the Barbican will present and talk about a wide selection of Taro's work. Gerda Taro (1910-37) worked alongside Robert Capa, who was her photographic as well as romantic partner and the two collaborated closely. Her photographs were widely reproduced in the French press and incorporated the dynamic camera angles of New Vision photography as well as a physical and emotional closeness to her subject. While covering the crucial battle of Brunete in July 1937, Taro was struck by a tank and killed. Irme Schaber is a writer and lecturer on the history of exile photography, photojournalism and print-media. She is currently researching the work and lives of Hansel Mieth and Otto Hagel, two important German refugee photographers who were some of the earliest photographers for Life magazine.

Source (Frontline Club Youtube)

JIHAD 2.0

The line between popular culture and the reality of conflict is no longer clear cut, but where does this leave photography?

Tom Seymour — 26 August 2014

In February 2011, the Arab Spring spread to Libya. After a week-long siege, the town of Ajdabiya fell when French aircraft bombed the Gaddafi-loyalist troops. Here, a local man is pictured thanking God for the victory while standing on a burning tank. He was aware of Mads Nissen, the photographer, so he was actively presenting an image of himself for the camera. Image © Mads Nissen, courtesy Panos Pictures

Before he was killed in Libya, war photographer Tim Hetherington talked of “the feedback loop” – the self-perpetuating link between the reality of conflict and its portrayal in popular culture. But where such fictions were once tightly controlled, the internet has opened the floodgates, creating an ever-increasing circle that is seemingly more gruesome than ever before.

A few months before he died, Hetherington submitted to Vanity Fair a series of photographs of US soldiers fighting in Afghanistan. At the time, Francis Ford Coppola’s Vietnam epic Apocalypse Now was getting a re-release. The designers atVanity Fair mixed the images up, mistakenly using Hetherington’s shots to illustrate a review of the famously conceptual rendering of war.

It was an ironic mistake. Just before the photographer died covering the uprising in Libya, he wrote of what he termed “the feedback loop” –

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Source (http://www.bjp-online.com/)

World Press Photo Olivier Laurent Speaks with Gary Knight

Gary Knight, who presided over this year's World Press Photo jury, speaks to BJP about judging the prestigious awards for the fourth time, noting the evolution of an industry that is struggling to find proper resources

© Goran Tomasevic, Serbia, Reuters

© Goran Tomasevic, Serbia, Reuters

“I've done this four times with World Press Photo and multiple times elsewhere in the world and, I have to say – no disrespect to any other jury I've served on – this one was by far the most exceptional. It was a really thoughtful and intelligent, open-minded jury, that was very willing to challenge its own prejudices and preconceptions in a way that I've never experienced before.”

When the two-week-long process kickstart in early February, Knight brought the jury together to define its goals. “It was important to establish what we were going to judge and what we were going to ask ourselves,” Knight tells BJP in a phone conversation. “There was a significant conversation about the hierarchy of issues. Are some issues more important than others ...

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Source (http://www.bjp-online.com/)