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War Photography By Hannah and Keishx
The genre AN INTRODUCTION TO WAR PHOTOGRAPHYWar, in its many forms, is one of the most extreme human experiences. We are compelled to bear witness to its impact by whatever means available. This compulsion feeds the genre of war photography which is almost as old as the medium itself. Yet war photography is a complex and frequently misunderstood genre. THE CLANDESTINE CAMERA IN WARTIME Clandestine photographers have consistently played an important role in war since the nineteenth century. Most have been untrained amateur photographers who used their wits and ingenuity to take photographs of military significance. In doing so, they risked lives and had to overcome many obstacles to obtain cameras and photographic materials, circumvent security controls and ensure that their photographs survived to fulfill their purpose.
Roger Fenton Valley of the shadow of death
Roger fenton When the Crimean War erupted in 1854 it brought with it a unique opportunity for early practitioners of the photographic arts. Fenton was selected in 1855 by Thomas Agnew, a Manchester publisher, to document the war that had begun due to tension brought on by the expansion of Russia. Fenton entered the fray as an observer, taking with him two assistants and five cameras, in addition to other necessary supplies. Rather than document the actual bloodshed, as a modern war photographer would, he focused instead on capturing images of the camps, the port of Balaklava, officers from the French and British armies, and the Croats, Zouaves and Turks. By September of 1855 he had not only returned to London with his images but has also exhibited a number of them.
Don mccullin Don McCullin is recognised as one of the greatest war photographers, and throughout the 1960's and 1970's he covered events of global importance for the Sunday Times Magazine including the Vietnam war. His first published story in 1958 concerned his own street gang in North London, and his subsequent images in Britain have looked at the unemployed and the destitute. Abroad, McCullin has covered ecological disasters and the war-torn regions of the world, documenting events normally hidden from view. His work proved so painful and memorable that in 1982 he was forbidden to cover the Falklands war by the British government of the time.
Stephen depont Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondent’s Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007 he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan. In 2010 he received the Gardner Fellowship at Harvard's Peabody Museum of Archaeology & Ethnology.
John moore John Moore, October 20, 2006 "I was staying overnight at a U.S. obvervation post in the Afghan Paktika province, overlooking the Pakistan border. The small post had almost been overrun during a Taliban attack just weeks before, so the soldiers were hyper-alert, constantly scanning the surrounding hills for insurgents infiltrating from Pakistan's North Waziristan tribal belt. There was a lot of idle time, and one of the soldiers pulled out a box of grenades to show me. He lifted up one with a message for the enemy 'One (1) Free Trip to Allah.' I supect the Taliban would have appreciated the sentiment.”
Technical equipment • Tripod • Camera • Fully charged battery • A war like environment • Shhhhhhhhhhhhhhhit loads of time. • And patience
