Philip Jones Griffiths, born Rhuddlan, Wales, 18 February 1936 died 18 March 2008.
"Philip enriched all our lives with his courage, his empathy, his passion, his wit and his wisdom; and for many he gave to photojournalism its moral soul. He died as he wanted so passionately that we should live — in peace."
Everyone is familiar with the notion that the internet is rapidly taking over, invading every aspect of our lives, drastically changing how we interact with others and define ourselves.
"In March 2003 Western coalition forces started an illegal war of occupation, which has caused havoc and destruction for over half a million people around the world. Torture is now admitted as a means of obtaining information in Western Democracies. Communities once living and sharing together now massacre each other. The doomsday clock has moved forward from seven minutes to five. We were waiting for the barbarians, but they were already within the gates; they wear the masks of democracy. The world is now a worse place."
In 1971 Daniel Meadows, a photography student at Manchester Art College, formulated a plan to compile what he termed “a photographic cross section of the English people” by traversing the country in a double-decker bus made over into a studio. It was a plan long on ambition and short on practicalities. And shorter still on funding
This year's World Press photo awards included five picture story winners who used repetition for effect. These awards suggest ways in which the lines defining photojournalism are being redrawn
Photographer Oliver Chanarin, and by association his creative partner Adam Broomberg, were in the thick of the action in Amsterdam as the jury pored over thousands of images to award the prizes in the 2007 World Press Photo Contest.
Amidst rumors of all night sessions and heated discussions on the role, limits and meaning of photography, they reveal here for the first time the workings of the jury and the fundamental issues debated in that room. This is their assessment of "the vital signs of a photographic genre in crisis".
While Philip-Lorca diCorcia was photographing passers-by on New York’s Times Square he reckons he exposed some three or four thousand frames…of which a mere seventeen subsequently saw publication in the series Heads. Control, restraint and a punitively exacting editing process have, hitherto, appeared integral to his work.
To get the ball rolling for March Foto8 readers are invited to name the photograph or photographer they feel has had the most influence on them. Post your answers along with a link to the photograph or the photographer's site (where available) in the comments thread for this topic.
There was this face hung in the darkness. There were these two eyes, lividly white and glistening, illuminated by the reddish glow of a cigarette, so they shone with a glittering and barbaric intensity through hair matted by rain. There was this figure squatted at the mouth of a dark cave one hundred feet aloft in the darkness of the night whilst every other soul was abed tucked in with their dreams of oblivion and sweetness. The rain whispered in shimmering curtains. Beyond was a great and roiling immensity of darkness: the sea.
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