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David Douglas Duncan

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I write to announce that Eugene Richards will be leaving Reportage and Getty Images forthwith.

All of us at Reportage have been both honoured and privileged to work with Gene these past 3 years but we have mutually agreed that Getty Images is no longer the right fit for Gene and as a result he will be moving on.

We wish Gene and Janine every happiness and success for the future.

On a personal note Gene and I will remain close friends and I look forward to meeting with him regularly to discuss the industry , projects and which wine to choose for dinner.

Aidan J Sullivan
Vice President Photo Assignment,

Editorial Partnerships and Development
Getty Images

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Last night we hosted a presentation and discussion at Frontline Club in London between Tom Stoddart, Peter Dench, and Aidan Sullivan.  Here is the full video (yes, it’s 90 minutes long, but worth it!).

Dench: I grew up where books mattered.  As a photographer, the holy grail for me was, in 1990, a book and an exhibition.

Stoddart: It still is, even more so, because you’re not going to get 20 pages in the Sunday Times Magazine…photographers have to find different ways of getting their work in front of people…the number one thing is to be in the industry and find ways of getting your work out there that people want to see, no matter how you do it.

Dench: I call it “diversify or die.”

There’s a nice write-up about the event posted on the Frontline Club blog.

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The Bosnia Book Project

These stunning images were collected from a group of photographers who covered the Bosnian War, including Reportage photographers Tom Stoddart and Laurent Van der Stockt.  Please help to support this project on Kickstarter!

The hardback book contains 248 pages that includes the work of many of the leading photographers and writers of the time. It charts the course of the war from its beginning in April 1992 to the Dayton Peace Accord in 1995. 

We have raised 50% of the money we need to publish, now we are looking for matching funds.

The book is now ready to print in Bosnia in time for its launch at the Sarajevo Film Festival in July 2012. We need your help to make this deadline.

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At Home with John Irving

Shaul Schwarz debuts a new series for Time today, exploring the homes of famous and iconic personalities.  In this video he goes into the home of author John Irving.

Read more about the shoot at Time Lightbox.

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What makes color photographs by Henri Cartier-Bresson so rare?

There’s a reason, it turns out, why coming across his color photos can be so jarring; not only did Cartier-Bresson infrequently shoot in color, but he destroyed virtually all of his color negatives, leaving an almost exclusively black-and-white legacy to future generations. Finding out that Cartier-Bresson shot professionally in color — and sometimes worked on major assignments in color — is a bit like reading Just Kids and learning that Patti Smith is not only a poet, but a thrilling, moving, utterly masterful writer of prose. One has a sense of happy surprise and, somehow, of enlargement.

One of Cartier-Bresson’s most significant color projects was a 1958 assignment for LIFE: a four-month, 7,000 mile tour through communist China during that country’s convulsive “great leap forward,” when the huge, ancient nation was being alternately pushed and pulled, dragged and harried by its leaders to leave its past behind and to embrace industrialization, collectivism and the precepts of Chairman Mao.

See the layouts from this photo essay here.

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We’re happy to be a part of Photo Week 2012 at the Frontline Club in London.  We’ll be moving our offices to Frontline on 23 May, for portfolio reviews and networking.  That evening, come by for a conversation with photographers Peter Dench and Tom Stoddart, and Getty Images VP of Photo Assignment Aidan Sullivan.  Please see full details here.

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The Brazilian Far West: A man passes... :


While I go through the long and almost endless TransAmazonian Highway I cross with dozens of men walking on the side of the road. Without direction or destination. They are carrying the weight of their lives in their backs, a strong and deep weight wich swamp infinite in their eyes.

While I´m…

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