Over the past week, thousands of photographers from around the globe descended on the picturesque southwestern French city of Perpignan for the world renowned International Festival of Photojournalism, called Visa Pour L'Image.
For the sixth year in a row at the festival, the ICRC's delegation in Paris presented the "Humanitarian Visa d'Or" award to one outstanding photojournalist covering armed conflict and violence. This year, the prize went to Juan Arredondo of Getty Images' Reportage unit, whose grainy black and white images of child soldiers in Colombia left the jury unanimously impressed. See his "Born into Conflict" gallery here and hear him talking about his work in the video above. (The audio is in English and the subtitles are in French.)
Particularly in situations of armed conflict and disaster, photographers play a unique role in bringing crises to the masses in a way other mediums aren't quite able to do. In this vein, for our newly resurrected #ICYMI Friday Round up, Intercross takes a deep dive into the world of photojournalism, and its impact on how we view humanity and war.
From Redfitz Films: The world’s leading conflict photographers take us behind the lens and into their lives. Witness their personal and professional battles to engage with, understand, handle, capture and present different forms of conflict in the hopes of making the world better. It offers fascinating insights from some of the best of the best, including Pete Muller, Joao Silva and Nicole Tung to name but a few. The images are incredible and the stories are heartbreaking, but viewer discretion is advised.
*NOTE: The Redfitz Conflict series contains graphic and disturbing accounts of war, violence, bloodshed, death, and sexual violence. It is for mature audiences only.
James Estrin/New York Times: In December, the French photographer Marie Dorigny arrived in Lesbos, Greece, to document the refugee crisis there. Many of the migrants, fleeing war-torn countries and landing by boat, were women and children whose needs posed special challenges to the European Union, the United Nations and various nongovernmental organizations struggling to cope.
Amid the hundreds of photographers covering the humanitarian crisis, Dorigny focused exclusively on female migrants from Syria, Afghanistan and Iraq. She photographed women as they landed, through processing by the European Union and then as they journeyed to Germany, a country where many of them were to be settled — at least temporarily.
From Ted.com: The destruction of war doesn't stop when the fighting is over. Photographer and TED Fellow Laura Boushnak shares a powerful photo essay about the survivors of cluster bombs, people who encountered these deadly submunitions years after the end of conflict. With her haunting photos, Boushnak asks those who still produce and condone the use of these weapons to abandon them.
From Tom Seymour/British Journal of Photography: The most shocking thing for me about covering this story is that you constantly realize that you’re not in a warzone. That you’re working in a place where there is peace. But the emotions that you’re capturing with your lens are the same,” Yana Dlugy, the writer who accompanied Aris Messini, writes. “I’ve worked in Syria and Libya. I know what a warzone looks like. You expect to see things like this there. You don’t expect to see them on Lesbos."
From Al Jazeera: In a modern war landscape, where smartphones flood social media with news and images faster than an audience can consume - or comprehend - some argue that profound war images help to shed light on a situation that may otherwise be more easily ignored. On the other hand, many claim that sensationalized images do not succeed in showing the extent of events. Al Jazeera analyzes the power and the limits of war imagery.
From AJ Willingham/CNN: To a fortunate many, war is an abstraction and the suffering it brings, though easy to understand, is hard to truly imagine. It's one of the reasons war photography and images of conflict are so essential. They bring these concepts into blinding focus and deny us the luxury of looking away. As the photos in this gallery show, it sometimes takes a singular excruciating image for it to truly sink in.
**The usual Intercross disclaimer: Just because something is featured here, doesn't mean we endorse or agree with it, and the views expressed on the platforms we're highlighting don't necessarily represent those of the ICRC.**
Are you a writer, videographer, photographer or blogger publishing interesting stuff linked to armed conflict, international humanitarian law (a.k.a. the law of armed conflict), innovation, compassion, history, etc. that you think deserves a shout-out here? Send us a link and we might feature your content next week. Write to: nclark (at) icrc (dot) org