Conflict of interest: the role of war photography
![Soldiers and individuals - rather than just journalists - often had means of recording the conflict right before their eyes, conveying a new sense of conflict to the public. This image was taken using cameras owned by Cpl. Charles A. Graner Jr. and Staff Sgt. Ivan Frederick II, who described the scene, “1.53 am Oct 20 2003. Detainee is handcuffed in the nude to a bed and has a pair of panties covering his face, the Abu Ghraib prison, Baghdad, Iraq”]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/b6/8ca4cac95d3799967184e81af2fa/_h353_w628_m6_ofalse_lfalse.jpg"}} "Soldiers and individuals - rather than just journalists - often had means of recording the conflict right before their eyes, conveying a new sense of conflict to the public. This image was taken using cameras owned by Cpl. Charles A. Graner Jr. and Staff Sgt. Ivan Frederick II, who described the scene, “1.53 am Oct 20 2003. Detainee is handcuffed in the nude to a bed and has a pair of panties covering his face, the Abu Ghraib prison, Baghdad, Iraq” (Cpl. Charles A. Graner Jr. and Staff Sgt. Ivan Frederick II)")
![Even after the Vietnam conflict came to an end photojournalist Philip Jones Griffiths continued his journeys back to indigenous communities who were largely left with little support. His images tell the tale of war’s aftermath and effect, in this case the horrors of the chemical defoliant Agent Orange that was sprayed over jungles and littered communities with cases of mutations and cancers. Quynh Lan, 11 years old, at her home in A Luoi, Vietnam. Her father was sprayed many times with Agent Orange.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/a3/873e322ad3429c7fde2768ae5a2c58/_h353_w628_m6_ofalse_lfalse.jpg"}} "Even after the Vietnam conflict came to an end photojournalist Philip Jones Griffiths continued his journeys back to indigenous communities who were largely left with little support. His images tell the tale of war’s aftermath and effect, in this case the horrors of the chemical defoliant Agent Orange that was sprayed over jungles and littered communities with cases of mutations and cancers. Quynh Lan, 11 years old, at her home in A Luoi, Vietnam. Her father was sprayed many times with Agent Orange. (© Philip Jones Griffiths / Magnum Photos)")
![This poster, created by the OCLAE (Latin American and Caribbean Students’ Association) was published to mark the 11th anniversary of the National Front for the Liberation of South Vietnam. It is an example of how photography was incorporated into graphical measures campaigning the opposition of America’s intervention in Vietnam.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/ee/3f565b39654cf44a2348f546675d/_h353_w628_m6_ofalse_lfalse.jpg"}} "This poster, created by the OCLAE (Latin American and Caribbean Students’ Association) was published to mark the 11th anniversary of the National Front for the Liberation of South Vietnam. It is an example of how photography was incorporated into graphical measures campaigning the opposition of America’s intervention in Vietnam. (Designed by Félix Beltrán. 1971)")
![Photography’s importance to the Latin American left since the Mexican Revolution is displayed in the exhibition, “Photography & Revolution: Memory Trails Through the Latin American Left.” The collection displays how photographs were used as a form of anti-oppression after years of radical right-wing leadership swept across the country after the Cold War. Humanist photographers engaged in social documentary, and relatives of the disappeared used photographs of their loved ones who often went missing due to military dictatorship.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/a7/35d45b693f5553336bb26aabfb972/_h353_w628_m6_ofalse_lfalse.jpg"}} "Photography’s importance to the Latin American left since the Mexican Revolution is displayed in the exhibition, “Photography & Revolution: Memory Trails Through the Latin American Left.” The collection displays how photographs were used as a form of anti-oppression after years of radical right-wing leadership swept across the country after the Cold War. Humanist photographers engaged in social documentary, and relatives of the disappeared used photographs of their loved ones who often went missing due to military dictatorship. (Anonymous photographer © Museo de la Palabra y la Imagen, El Salvador)")
![A simple display of recent war photography might be the most horrific. With nothing more than a banner made from readily available materials such as cardboard and masking tape, Thomas Hirschhorn pieced together “The Incommensurable Banner,” a cornucopia of images rarely seen in main-stream media, but often found in circulated underground online and print magazines. These images contain bodies ripped and blown apart, often unrecognized spews and sprays of red amorphous matter, emphasizing that these were once living, breathing individuals with memories and families. The piece questions the role of mass media and how it portrays modern warfare, which is often mistaken as more technological and less personally confrontational.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/fb/1a6283190dc599127f528272f50c6/_h353_w628_m6_ofalse_lfalse.jpg"}} "A simple display of recent war photography might be the most horrific. With nothing more than a banner made from readily available materials such as cardboard and masking tape, Thomas Hirschhorn pieced together “The Incommensurable Banner,” a cornucopia of images rarely seen in main-stream media, but often found in circulated underground online and print magazines. These images contain bodies ripped and blown apart, often unrecognized spews and sprays of red amorphous matter, emphasizing that these were once living, breathing individuals with memories and families. The piece questions the role of mass media and how it portrays modern warfare, which is often mistaken as more technological and less personally confrontational. (The Incommensurable Banner, 2007 - Studio view. © Thomas Hirschhorn)")
![Though photojournalists often revel in the coming of faster, more portable cameras to shoot the frontlines of war, some recent art photographers such as Simon Norkfolk approach capturing the aftermath of warfare in a more traditional sense, using large-format cameras and tripods in order to create very large and finely resolved prints. The results are still and silent depictions of a war come and gone, leaving destruction in its path. Almost peaceful in appearance, the images show a different side of war.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/fe/02aa1b0731d9fa1db4d992e3cc89f/_h353_w628_m6_ofalse_lfalse.jpg"}} "Though photojournalists often revel in the coming of faster, more portable cameras to shoot the frontlines of war, some recent art photographers such as Simon Norkfolk approach capturing the aftermath of warfare in a more traditional sense, using large-format cameras and tripods in order to create very large and finely resolved prints. The results are still and silent depictions of a war come and gone, leaving destruction in its path. Almost peaceful in appearance, the images show a different side of war. (The Ministry of Planning, Baghdad 19-27 April 2003. © Simon Norfolk)")
![Photographer Harriet Logan travelled to Afghanistan in order to photograph the oppression against woman she often heard about. Her collection, “Unveiled: Voices of Women in Afghanistan,” captures her intimate encounters with women who risked their lives in order to give a better sense of life under Taliban rule and consistent warfare, both political and personal.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/42/91c0bc978d52d43a4a113eeeda2ec/_h353_w628_m6_ofalse_lfalse.jpg"}} "Photographer Harriet Logan travelled to Afghanistan in order to photograph the oppression against woman she often heard about. Her collection, “Unveiled: Voices of Women in Afghanistan,” captures her intimate encounters with women who risked their lives in order to give a better sense of life under Taliban rule and consistent warfare, both political and personal. (2001, uncovered girl in Kabul Street. © Harriet Logan)")
![Julian Germain’s “War Memorial” is a collection of shoe-box memories, trophies and scrap photos from those in the military service. The gallery offers a non-professional but personal perspective of memories never meant for publication, but for scrap-booking: tourist encounters, soldiers flexing for a pose, baby-girl shot, they all offer a loose and less formal perspective of amateur military images.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/97/13de74da325cf7235d494e541133e6/_h353_w628_m6_ofalse_lfalse.jpg"}} "Julian Germain’s “War Memorial” is a collection of shoe-box memories, trophies and scrap photos from those in the military service. The gallery offers a non-professional but personal perspective of memories never meant for publication, but for scrap-booking: tourist encounters, soldiers flexing for a pose, baby-girl shot, they all offer a loose and less formal perspective of amateur military images. (Details from War Memorial by Julian Germain, 2008 © Tricia Cane)")
![Photojournalist Geert Van Kesteren worked with Iraqi refugees, collecting images of their images of everyday life captured by camera phones. He became fascinated with how families and friends communicated from around the world and within Iraq, preserving a sense of community beyond the isolations of war in Iraq. The often mundane shots of family life are emphasized in collaboration with his own work from encounters in Iraq.]({"default":{"load":"wait","src":"http://db2.stb.s-msn.com/i/8c/eb51d4eb3fcc36fd54b31a1d244ae6/_h353_w628_m6_ofalse_lfalse.jpg"}} "Photojournalist Geert Van Kesteren worked with Iraqi refugees, collecting images of their images of everyday life captured by camera phones. He became fascinated with how families and friends communicated from around the world and within Iraq, preserving a sense of community beyond the isolations of war in Iraq. The often mundane shots of family life are emphasized in collaboration with his own work from encounters in Iraq. (A Muslim family celebrates Christmas at home. © Geert Van Kesteren/Collection Baghdad Calling)")
The images of war | In pictures | MSN News UK
Proper photojournalism wasn’t properly born until the proper cameras hit the market: Ermanox, Leica, Rolleiflex, and all existed well after the devastation of World War One. Photographers eager to capture the realities of the battlefield - such as Frank Hurley - relied on heavy, clunky, large-format cameras without automatic settings or light meters. His crafty technique might have created as much of a stir as his raw images; he often composited battle scenes from montaging images in order to create a more truthful representation of his experiences in battle.
The images of war | In pictures | MSN News UK
Soldiers and individuals - rather than just journalists - often had means of recording the conflict right before their eyes, conveying a new sense of conflict to the public. This image was taken using cameras owned by Cpl. Charles A. Graner Jr. and Staff Sgt. Ivan Frederick II, who described the scene, “1.53 am Oct 20 2003. Detainee is handcuffed in the nude to a bed and has a pair of panties covering his face, the Abu Ghraib prison, Baghdad, Iraq”
The images of war | In pictures | MSN News UK
Even after the Vietnam conflict came to an end photojournalist Philip Jones Griffiths continued his journeys back to indigenous communities who were largely left with little support. His images tell the tale of war’s aftermath and effect, in this case the horrors of the chemical defoliant Agent Orange that was sprayed over jungles and littered communities with cases of mutations and cancers. Quynh Lan, 11 years old, at her home in A Luoi, Vietnam. Her father was sprayed many times with Agent Orange.
The images of war | In pictures | MSN News UK
This poster, created by the OCLAE (Latin American and Caribbean Students’ Association) was published to mark the 11th anniversary of the National Front for the Liberation of South Vietnam. It is an example of how photography was incorporated into graphical measures campaigning the opposition of America’s intervention in Vietnam.
The images of war | In pictures | MSN News UK
Photography’s importance to the Latin American left since the Mexican Revolution is displayed in the exhibition, “Photography & Revolution: Memory Trails Through the Latin American Left.” The collection displays how photographs were used as a form of anti-oppression after years of radical right-wing leadership swept across the country after the Cold War. Humanist photographers engaged in social documentary, and relatives of the disappeared used photographs of their loved ones who often went missing due to military dictatorship.
The images of war | In pictures | MSN News UK
A simple display of recent war photography might be the most horrific. With nothing more than a banner made from readily available materials such as cardboard and masking tape, Thomas Hirschhorn pieced together “The Incommensurable Banner,” a cornucopia of images rarely seen in main-stream media, but often found in circulated underground online and print magazines. These images contain bodies ripped and blown apart, often unrecognized spews and sprays of red amorphous matter, emphasizing that these were once living, breathing individuals with memories and families. The piece questions the role of mass media and how it portrays modern warfare, which is often mistaken as more technological and less personally confrontational.
The images of war | In pictures | MSN News UK
Though photojournalists often revel in the coming of faster, more portable cameras to shoot the frontlines of war, some recent art photographers such as Simon Norkfolk approach capturing the aftermath of warfare in a more traditional sense, using large-format cameras and tripods in order to create very large and finely resolved prints. The results are still and silent depictions of a war come and gone, leaving destruction in its path. Almost peaceful in appearance, the images show a different side of war.
The images of war | In pictures | MSN News UK
Photographer Harriet Logan travelled to Afghanistan in order to photograph the oppression against woman she often heard about. Her collection, “Unveiled: Voices of Women in Afghanistan,” captures her intimate encounters with women who risked their lives in order to give a better sense of life under Taliban rule and consistent warfare, both political and personal.
The images of war | In pictures | MSN News UK
Julian Germain’s “War Memorial” is a collection of shoe-box memories, trophies and scrap photos from those in the military service. The gallery offers a non-professional but personal perspective of memories never meant for publication, but for scrap-booking: tourist encounters, soldiers flexing for a pose, baby-girl shot, they all offer a loose and less formal perspective of amateur military images.
The images of war | In pictures | MSN News UK
Photojournalist Geert Van Kesteren worked with Iraqi refugees, collecting images of their images of everyday life captured by camera phones. He became fascinated with how families and friends communicated from around the world and within Iraq, preserving a sense of community beyond the isolations of war in Iraq. The often mundane shots of family life are emphasized in collaboration with his own work from encounters in Iraq.
