List of authors mentioned in project 4: Re-thinking photojournalism 2: post-photojournalism
He has an intense career as a photojournalist, covering from local sporting events, Haiti catastrophe, Hurricane Sandy, Tsunam, Libyan revolution or the wars in Iraq and Afghanistan. Interesting use of iPhone to take images in conflict zones or shots from the fixer vehicle with which he moved through Afghanistan:
He was a British-American photojournalist whose most famous work was the 2010 film Restrepo, directed by himself and Sebastian Junger; nominated in 2011 for the Oscar Award for Best Feature Documentary. Hetherington was killed by mortar bombs from forces loyal to Gaddafi in that year’s Libyan Rebellion.
He was commissioned to document the London riots of 2010. As Stuart Allan describes in his essay “Blurring Boundaries: Journalism in a Digital Age”, when he realises that other fellow photographers are being attacked, he decides to complete the assignment with his mobile phone instead of using his professional equipment.
Photographer Magnum. He was working in 2001 in Afghanistan. During the Taliban-controlled period all photography was prohibited, except that related to identity documents. Dworzak published a series of portraits purchased from a local studio in Kandahar, including a series of photographs taken of Taliban militiamen over and above those requested for official documents. In this series of found images, the Taliban orthodoxy seems to relax to offer a parade of surrealistic comic portraits where militiamen pose with their weapons against colorful backgrounds.
In his series “Guerre Ici” he deals with the subject of visual fatigue, caused by an excess of war photography. By digitally combining war photographs taken in real conflicts with urban settings in the city of Paris, it provokes in the spectator a reaction of sympathy and urgency.
Luc Delahaye (born 1962) is a French photographer known for his large-scale color works depicting conflicts, world events or social issues. His pictures are characterized by detachment, directness and rich details, a documentary approach which is however countered by dramatic intensity and a narrative structure.
The photograph of the dead Taliban is the subject of study in Mark Durden’s essay “Documentary Pictorial: Luc Delahaye’s Taliban, 2001”, which analyses the relationship between journalism and the aesthetics of art.