Photo by Philip Jones Griffiths – Magnum Photos – Northern Ireland – 1973
Photo by Alex Majoli – Magnum Photos – Democratic Republic of Congo – Goma, inside the MONUC head office, Refugees during the screening -2003
The entire world of news outlets is migrating from paper to digital, but – so far – the revenues from web ads haven’t had anything in common with the ones provided by paper ads – hence the first ones to suffer are photographers, due to the erroneous thought that their images can be easily replaced with the ones found online.
Haviv feels that we are missing the chance to take iconic photos. No more expert eyes to capture them, no more symbolic pictures taken. James Estrin, a New York Times photographer who co-edits the paper’s photography blog “Lens”, speaks about the quantity of images we see daily, about their speed. He worries that today’s torrent of images makes it impossible for an iconic photo to emerge: there are so many photographs that it’s difficult to for one to cut through the noise and stick out, and even when a photo goes viral, it’s only for 24 hours.
Photo by Moises Saman – Magnum Photos – AFGHANISTAN. Kunar Province. March 2010. Afghan soldiers carry a wounded comrade into an American medevac helicopter after a Taliban ambush near the village of Tsunek, Kunar Province.
Photo by Paolo Pellegrin – Magnum Photos – Kosovar refugees who have just crossed the border into Albania at Morina on their tractor – Kosovo 1999
Photo by Jerome Sessini – Magnum Photos – CUBA. La Havana. January 6, 2008. Downtown Havana. Rationing store.
Obviously, there is no clear distinction between these two forms, and reciprocal influences are evident…but this would be another debate.
Photo by Peter van Agtmael – Magnum Photos – USA. South Carolina. 2011. ‘Wounded’ soldiers are treated during a combat lifesaving course that attempts to train soldiers to treat common wounds during simulated combat.
Even news agencies – even if their main goal is to spread dispatches and not in-depth analysis, shall be authoritative and verify the reliability of the photographers and journalists they work with, even though this checks cost money and could slow down the work.
Photo by Alex Webb – Magnum Photos – MEXICO. Juarez. Chihuahua. 1975.
Photo by Christopher Anderson – Magnum Photos – AFGHANISTAN. Kunduz. 2001. Taliban fighter seen through the windshield of a Toyota HiLux that has been smeared with mud as camouflage from American bombers surrenders to Northern Alliance troops outside of Kunduz.
First of all, we need to hear from directly Reinhard Krause, the global director of photography for Reuters, about what was going on there in Aleppo and what Barakat was doing. How was he killed? What were the circumstances?
Secondly, what was Reuters doing employing a teenage photographer in an extremely hostile and dangerous war zone? And why did Reuters fail to include Barakat’s age in their own news stories about his death? Barakat has been shooting for Reuters since the early spring. Is Reuters denying they knew his age all along?
Photo By Tim Hetherington – Magnum Photos – AFGHANISTAN. Korengal Valley, Kunar Province. July 2008. ‘Doc’ Kelso sleeping.
Several people who say they knew Barakat said Reuters was paying him $100 USD for sets of ten photos and that he got bonus pay if one of his images made it into the LENS blog in The New York Times. How as Barakat being paid? Did Reuters provide him with cameras? Laptops? Phones? Did he have any first aid training? A kevlar vest? Helmet?
The Reuters public relations comment where they refuse to comment on Barakat ‘to best protect the many journalists on the ground in a dangerous and volatile war zone’ is bullshit. If it’s such a ‘dangerous and volatile war zone’ then why did you have an unprotected, untrained, teenager shooting your photographs for you there?”
As I previously said, there were news stories that Barakat was ‘an activist,’ and that at one time he had tried to volunteer for an Al-Qaida linked group because he wanted to be a suicide bomber. Did Reuters do any background check on Barakat or verify him in any way?
Photo by Josef Koudelka – Magnum Photos – PORTUGAL. 1976.
He furthermore adds: “No professional photojournalists from large media organizations are covering Syria on a routine basis because it’s too dangerous and death or kidnapping is nearly unavoidable. So under those conditions, what’s the moral obligation with Reuters? The Associated Press? Agence France-Press? Is it acceptable to be publishing and circulating photographs from ‘activists’ who are embedded with the FSA rebels, who are shooting the story of the war from only one perspective, who are making photos that are only furthering the cause of the uprising?”
Picture editors at media outlets who have a contract to receive Reuters News Photographs have a reasonable expectation that the pictures coming to them are by professional photojournalists, and that the pictures have been made while abiding by a Code of Ethics and are accurate and true. If a photograph comes into the picture desk of The New York Times from Reuters, how is the picture editor supposed to know if the photo has come from a professional, ethical journalist, or from a teenage activist who is different from the rebels only in that he is holding a camera instead of bomb or pistol?
ALL THE PICTURES IN THIS POST ARE OF PROFESSIONAL PHOTOJOURNALISTS @ MAGNUM PHOTOS WHICH I THANK FOR LETTING ME PUBLISH THEIR PICTURES
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