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Robert Capa Gold Medal

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VICE Loves Magnum: An Interview with Christopher Anderson

Magnum is probably the most famous photo agency in the world. Even if you haven’t heard of it, chances are you’re familiar with its images, be they Robert Capa’s coverage of the Spanish Civil War, Steve McCurry’sAfghan Girl or Martin Parr’s very British holiday-scapes. Unlike most agencies, Magnum’s members are selected by the other photographers in the agency, which, given they’re the greatest photo agency in the world, means that becoming a member is a pretty grueling process. As part of an ongoing partnership with Magnum, we will be profiling some of their photographers over the coming weeks.

First up is Christopher Anderson, who became a Magnum nominee in 2005 and was a full member by 2010. His early work on Haitian immigrants’ illegal journey to America—during which he and they sank in the Caribbean Sea in a handmade wooden boat named Believe in God—won him the Robert Capa Gold Medal. And last year, we produced an episode of Picture Perfect about him.

His subsequent book projects include Son, a series of photos capturing his wife and young child as his own father grew ill with cancer, and Capitolio, which documents unrest in Caracas during the time of Chavez.

I had a chat with him about how he sees himself and how that’s changed over his career.


Joe Biden descends from Air Force Two in Virginia, shot for New York Magazine.

VICE: You’ve vocally distanced yourself from photojournalism in the past. Why is that?
Christopher Anderson: 
There are photojournalists in Magnum, but I don’t see it as a photojournalist agency. It’s more founded in documentary photography. If I were to use a term for myself, I feel I’d fit more closely in the bracket of documentary photography than photojournalism. The term photojournalist tends to be loaded with meaning: specifically that one reports the news. I don’t see that as my function. Even when I was photographing things that were news topics, like conflicts, my function was not that of a news reporter, my function was to comment on what I saw happen that day and to offer a subjective point of view. In my role, I was commenting on what was happening, but also trying to communicate what it felt like to be there when it was happening.

So you wanted to capture images that were more emotional and personal?
Exactly. But I would go further and say that I not just wanted to do that, that is in fact what I did do. I had no pretence of objectivity. I was photographing, giving my opinion, and I wanted you to know that I was giving my opinion.

Did your unconventional approach make it initially more difficult to sell your photos, or was it beneficial from the start?
Well, I don’t think I was going ‘round articulating that to editors, saying, “No, I won’t work for you unless you understand that what I do is subjective.” With the agency I was with before, it didn’t make a difference, as I was already sort of working for “journalistic magazines,” and I worked a lot for the New York Times Magazine. The kind of stories that I would do, even ones from conflict zones, would be longer and more in depth in their approach to what was happening there, trying to put what was happening in a more human, intimate context rather than the headlines of the day. But to be honest, the marketable advantage never crossed my mind at the time. I was just intent on trying to do what I did in the way I wanted to with as much integrity as possible.

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The Overseas Press Club of America has just announced the winners of its annual awards. LightBox presents the work of the photojournalists who were honored by the OPC, and who will be further recognized tonight at the organization’s gala.

The Robert Capa Gold Medal Award for “photographic reporting from abroad requiring exceptional courage and enterprise” went to André Liohn (EPA/Prospekt) for Almost Dawn in Libya. Read more about the project here on LightBox.

The Olivier Rebbot Award for “best photographic reporting from abroad in magazines or books” went to David Guttenfelder (AP) for his work in Japan. Read more about Guttenfelder’s work here on LightBox. Sebastian Liste (Getty) and TIME’s Yuri Kozyrev (Noor) received citations for their work.

The John Faber Award for “best photographic reporting from abroad in newspapers or news services” went to Pete Muller (AP) for his work in Eastern Congo. Muller was also named 2011 Wire Photographer of the Year by LightBox; read more about his work here. David Guttenfelder received a citation for his work.

The Feature Photography Award went to David Guttenfelder for his work inside North Korea. Todd Heisler (The New York Times) and Stephanie Sinclair (VII) also received citations.

The Overseas Press Club has, since 1939, been an association of journalists working in the United States and around the world. Read more about the organization here.

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