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Remi Ochlik

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When photojournalist Tim Hetherington suffered a mortar shell wound to the groin in Libya in April of last year, he ultimately died of massive blood loss. His death, according to friends, may have been prevented.

“Tim was my closest friend,” says Michael Kamber, founder and director of the Bronx Documentary Center. “He bled to death because he was surrounded by photographers who didn’t know how to stop the bleeding.”

In response to this assessment, Hetherington’s other close friend and co-director of the Oscar winning documentary Restrepo, Sebastian Junger, founded Reporters Instructed in Saving Colleagues (RISC), of which Kamber sits on the board. The organization simulates real war-injury scenarios at the Bronx Documentary Center, complete with pools of blood, contorted limbs and frenetic movement amid smoke-clad air, in order to train photographers and journalists in potentially life-saving techniques. “We go to great lengths to achieve the feel of war,” says Kamber.

“My adrenaline was going after I finished shooting the drills,” says photographer and Bronx Documentary Center volunteer, Katie Khouri. ”There was a real sense of urgency once trainer Sergeant Sawyer Alberi threw the smoke bombs and the CD of wailing and sporadic gunfire started. The trainees — all of whom are experienced conflict journalists – are a fun group of people but when the simulation began everyone switched into go mode.”

The need for medical training among journalists is especially desperate now as news outlets are employing freelancers — many without insurance or institutional support – to deliver stories.

“The industry is closing down bureaus. Increasing we are relying on freelancers for photographs. Look at the images from Syria, almost all of those are by freelancers, many of whom are without medical training or medical kits. It’s a recipe for disaster,” says Kamber, who has reported from over a dozen conflict zones during his career and even admits that he was unprepared in the past.

In recent years, the deaths of several photojournalists have reminded us of the extreme dangers faced by reporters in conflict zones. Getty photographer Chris Hondros died in the same mortar explosion as Hetherington; Anton Hammerle was killed by Gaddafi loyalists in April 2011; and Rémi Ochlik died in the bombing of Homs, Syria, in February of this year.

Prior to Hetherington’s death, he and Kamber were in the planning stages of a center devoted to video and photo documentary work.

“The Bronx Documentary Center is in Tim’s honor,” says Kamber. “It is dedicated to exactly what he believed in.”

Producing still and moving images for news, for film, for art spaces and for education, Hetherington believed in and practiced an approach to visual journalism that broke through the traditional confines of genre. The Bronx Documentary Center described by Kamber as a “community space, but not a hangout space” is devoted to serious application of skills and engagement. That extends from practical and vital training to exhibitions, lectures and workshops.

“We’re inventing new ways [to support documentary] and finding new outlets for documentary work, now that traditional media is dying and the public are distracted by a million points of white noise,” says Kamber.

Kamber lived in the Bronx during the eighties and says the support form the local community has been only positive, even during the conflict simulations that spill smoke, noise and blood onto the adjacents streets.

“Hundreds of people come by to stop, watch, comment, take photos and encourage us,” says Kamber. “Last year, when some neighbors heard the recording of the gunfire, they called the police, which is understandable. This year we’ve been very conscious to reach out to the NYPD.”

Unlike general hostile-environment training, RISC is focused on exclusively on medical training and on the procedures that will sustain someone between injury and the hospital front door. Tim Hetherington was only minutes from a hospital when he was struck by mortar fire in Misrata, Libya.

Through fundraising, RISC covers the cost of training which is approximately $1,000 per journalist. Following successful programs in New York, RISC plans training in London and Beirut. The response has been overwhelming. Kamber says, ”We’ve waiting lists. Journalists are desperate to get this training.”

Rookies, veterans, untrained and partially trained alike, there is a very real need for RISC’s type of training and photographers know it.

“You could see in some faces that it was taking them back to some bad memories,” says Khouri. “The reality is that potentially having to save an injured fellow journalist is a very real possibility when you report from the front lines. No one there took that responsibility lightly.”

RISC has an ongoing fundraising effort at Global Giving. Visit the RISC website and follow RISC on Facebook and Twitter

All images: Katie Khouri

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“War is worse than drugs. One moment it’s a bad trip, a nightmare. But the next moment, as soon as the immediate danger has passed, there is an overpowering desire to go back for more. To risk one’s life in order to get more pictures in return for not very much. It is an incomprehensible force that pushes us to keep going back in.”

-Rémi Ochlik, 2004

This spring, after French war photographer Rémi Ochlik was killed during fighting in Homs, Syria, a group of close friends and colleagues felt their obligations to the photographer weren’t complete. Meeting aboard a TGV train on their way to Paris from the World Press awards ceremony in Amsterdam in late April, the group took stock of everything that had happened since Rémi’s death. His photographs had spoken for themselves when exhibited in tribute in Amsterdam. The large circle of friends gathered in his name was a testament to his character; he was always the guy who would make friends sharing a cigarette. But one duty remained unfinished—not a tribute, nor a memorial, but a commitment to continue what was and what should have been in Rémi’s life.

Now, five months later, Revolutions is finisheda book of 144 pages, across which Rémi’s photographs of the Arab Spring spread forth. The tome depicts hope, anger, celebration and fear—some of humanity’s most powerful emotions recorded in photographs—and feelings the photographer undoubtedly felt during a career cut short by the harsh realities often facing those documenting armed conflict.

Scattered through this visual record of Rémi’s witness are the words of friends, which encompass close confidants, long-time coworkers and fellow photographers. Their testimonies are short, speaking to the memories of a man killed at a time and place in the world many photographers hesitated to cover.

Ochlik began his photography of the Arab Spring in Tunisia—and so the book does the same. “It is impressive to see the ease with which he moves through the street as the rocks fly everywhere,” writes Julien De Rosa of his shared time with Rémi outside Tahrir Square in Cairo. “This is clearly his natural environment.”

Rémi, considered by colleagues an old-school photographer despite his young age (29), moved with confidence and resolve through the borders of conflict in the Middle East. This is what makes his death that much more painful, for at his age and with his skill, his potential had seemed limitless.

“Be safe, okay?” were the last words that Gert Van Langendonck told Rémi before his final trip to the besieged city of Homs. “You’ve already won your World Press Photo.” And indeed Rémi’s work was deserving of high honor—his story from Libya earned him first prize in the 2012 World Press Photo competition’s General News category. His photographic eye was strong—strengthening, even—as he entered Syria. A vision deserving of high honor, cut short by a barrage of shelling that also killed American correspondent Marie Colvin.

Rémi was often aware that he didn’t have a personal project in the works, Van Langendonck told TIME. Personal projects provide an outlet for photographers to explore their interests outside of commissioned editorial work, allowing for an inner-consistency even as a photographer’s surroundings are rapidly changing. So caught up in his work, Remi didn’t need it — “I’ve never had so many of my pictures published in my life,” he told Van Langendonck.

After paying the ultimate price for his work, Rémi’s personal project became clear. Although the future promise of the French photographer will never be fully realized, the publishing of Revolutions has brought a modicum of closure.

Revolutions is now available through Emphas.is. The book project, funded by contributors, raised $24,250 as of Sept. 4, exceeding its original fundraising target of $15,000 by almost 40%.

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The Women's Initiative:

In every country in the world, women are being abused, trafficked, bartered, sold, burned by fire and acid and killed, sometimes by their own families, for “honor” or anger.
 
The Alexia Foundation, recognizing that most of the time abuse of women in the United States is hidden, rationalized, ignored, and sometimes worst of all, quietly accepted by the women being abused, has created a grant to provide resources for a photojournalist to produce a project that illuminates any form of abuse of women in the United States but with global significance.
 
The Alexia Foundation’s main purpose is to encourage and help photojournalists create stories that drive change. While our traditional grant guidelines put no limits on the subject matter for grant proposals, a few proposals about women’s rights in the last few years have been so powerful that they have compelled the Foundation to create a grant specifically on the issue of women’s abuse.  Because this issue is so shocking and deplorable – but continues partly because it is so often unseen or ignored – the Foundation will provide a $25,000 grant so a project can be produced that will illuminate the horrors of what is happening, often invisibly in our own communities.

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Opening at the Half King in New York: Antonio Bolfo - IMPACT: Life on the Housing Beat

‘We were as green as could be, and like other Impact officers I hit the ground running with little to no knowledge of how to operate on the street.  Yet we were expected to  …  solve family disputes, console the parents of murdered children, and entertain the neighborhood drunk.’

- Antonio Bolfo

New York, NY — On July 24th, Antonio Bolfo’s photo exhibit of rookie police officers charged with patrolling a South Bronx housing project will open at The Half King. Bolfo undertook this photo project as an NYPD insider—for two years he worked in a police program called Operation Impact. With only six months of academic training, he and his confederates had to conduct manhunts, defend the helpless, and supply emotional succor to victims of violence.

On opening night, Antonio and Ed Conlon, former NYPD detective and author of Blue Blood, will moderate a slideshow and discussion of Antonio’s work.

The Half King - 505 West 23rd Street, NY, NY 10011    

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Couple of weeks again since last updates..Been busy with some assignments and with a move from East London to Turnpike Lane which has left me wireless at home until mid-March which in turn means updating the blog is a bit of a hassle until then….Lots to share… So much going on during the last three weeks…World Press Photo…POYi, and of course the tragedies in Syria…

Features and Essays

From NatGeoMag March issue… Ed Kashi from Marseille, France….

Ed Kashi: Marseille’s Melting Pot (NGM) Edit on VII Photo. Surprised to see it there already. I would imagine there’s an embargo since NGM is still on the newsstands.

Brent Stirton’s World Press Photo winning Rhino Wars…

Brent Stirton: Rhino Wars (NGM)

Lynn Johnson: The Apostles (NGM)

Had just been thinking that hadn’t seen Dominic Nahr’s work in Time recently, and then two latest issues had work… from Egypt and Senegal…

Dominic Nahr: Revolution Lost (Lightbox) Egypt

Dominic Nahr: Senegal Spring (Lightbox)

Paolo Marchetti: Gangs of Port-au-Prince (Newsweek)

Andrea Bruce: Refugee Camps in Afghanistan (NYT Lens)

New York Times Magazine has a special photo issue on London coming up this Sunday…A lot of the work can be seen online…Would love to get my hands on the hard copy… Know a newsagent in Soho that usually get Sunday’s NYT on Tuesday…Costs £10 though….

Mark Neville: Here is London (NYT Mag)

Really enjoyed these portraits…

Gareth McConnell: Migratory Models (NYT Mag)

Lightbox has updated its Syria gallery by Romenzi…

Alessio Romenzi: Syrian Civil War (Lightbox)

Jehad Nga: Tripoli (NYT) Libya

Davide Monteleone: Libya’s Teachers, Schools, and Children After Gaddafi (Newsweek)

David Degner: Bahrain’s Stillborn Revolution (Photographer’s website)

Jorge Uzon: A Personal Landscape in Patagonia (NYT Lens)

Andrew Cutrano: Michigan Primary (Lightbox)

Matt Slaby: Being Latino in Arizona (TIME)

Marco Grob: Faces of the Latino Vote (Lightbox)

Stephen Crowley: Politics Photos (NYT Lens)

Mitch Epstein: Trees in the Urban Jungle (NYT Mag)

Damon Winter: Stella McCartney at Work (NYT Magazine)

Two really strong series by Panos photographer Mads Nissen…

Mads Nissen: Giving Life, Risking Life (Panos)

Mads Nissen: Ouma’s Wedding (Panos)

Adam Dean: Me N Ma Girls (Panos)

Ton Koene: Afghan Police Recruits (zReportage)

Robert Frank: Unseen New York Photos (NYT Lens)

Larry Towell: Faces of the Taliban (CNN)

Ernesto Bazan: Cuba (Lightbox)

Rob Hornstra: Sochi Singers (Lightbox)

Donald Weber: A Gun to Your Head: Inside Post-Soviet Interrogation Rooms (Lightbox)

Have to be honest, if these photos had not been taken by Parr, probably wouldn’t have paid any attention to them…

Martin Parr: Frozen Face of Minnesota (Start Tribune) Related

Gerd Ludwig: Long Shadow of Chernobyl (Boston Globe)

Eirini Vourloumis: Greek Austerity (NPR)

Peter Dench: A Decade of England Uncensored (CNN)

Kristoffer Tripplaar : Post Offices (NYT Lens)

Stefano De Luigi: Homeland (VII)

Sim Chi Yin: China’s Petitioners (VII Mentor)

Damir Sagolj: Myanmar’s War on Opium (The Atlantic)

Always an inspiration…Look at Paolo Pellegrin’s retrospective…

Paolo Pellegrin: Retrospective (Magnum)

Zhang Xiao: China’s Changing Coastlines (Lightbox)

Kate Nolan: The Young Women of Kaliningrad (Foto8)

Anoek Steketee: Amusement Parks in Rwanda (Lightbox)

Lucas Jackson: American Embassy in Baghdad (NYT)

JB Russell: Reconstructing Iraq (Panos)

Jason Andrew: On the Road with the Tea Party Express (New Yorker)

Tina Remiz: The Place Where I Am Not (Firecracker)

Kenneth O’Halloran: Ireland’s Ghost Estates (NYT Mag)

Daniel Cuthbert: First On Scene: Paramedics in South Africa (Photographer’s website) multimedia

Bruce Gilden: Foreclosures, Las Vegas & Reno (Magnum in Motion)

Pavel Prokopchik: Apashka: The Last dervish of Kazakhstan (Foto8)

Tomasz Szustek: Ireland in the Time of Recession (Uspecto)

Lauren Fleishman: Love Ever After (Lightbox)

Misha Friedman: Tuberculosis (NYT Lens)

Victor Blue: Disappeared in Guatemala (CNN)

Oded Balilty: Ultra Orthodox Jewish wedding in Israel

Jean Gaumy: One year after the Fukushima disaster (Magnum)

Interviews

Canon USA has done more interviews with VII Photo members… John Stanmeyer looking rather mad-professor-y..

Canon: VII Photo interviews

Yuri Kozyrev : At Home on Revolution’s Road (NYT Lens)

Alex Webb : Chicago (Leica blog)

Samuel Aranda : World Press Photo Winner (BJP)

Brent Stirton (BJP)

Aidan Sullivan : WPP (BJP)

Donald Weber (BJP)

New Statesman’s photo editor Rebecca McClelland interviewed Don McCullin….

Don McCullin (New Statesman)

Ragnar Axelsson (Ideas Tap)

Lynsey Addario (Canadian Business)

Lynsey Addario (Women’s Media Center)

Jodi Bieber (A Photo Editor)

Anthony Shadid : Arab Spring (SCPR)

Guy Martin : Arab Spring (MSNBC)

Lise Sarfati (ASX)

Alec Soth (Sartorialist)

Christopher Anderson (ASX)

Peter Dench (PicBod)

Rob Hornstra (BJP)

Tomas van Houtryve (PDN)

Anja Niedringhaus (AP photo blog)

Peter DiCampo (BBC)

Tomasz Lazar : Turning Point (NYT Lens)

Temo Bardzimashvili : Turning Point (NYT Lens)

Articles

R.I.P. Anthony Shadid. Such a great journalist.

photo: Ed Ou

NYT: Anthony Shadid, Reporter in the Middle East, Dies at 43

NYT: Remembering Anthony Shadid

NYT: ‘House of Stone,’ a Memoir by Anthony Shadid

New Yorker: Remembering Anthony Shadid

Rest in Peace. Marie Colvin and Remi Ochlik

Marie Colvin. photo: Ivor Prickett

NYT: Two Western Journalists Killed in Syria Shelling

NYT: Parting Glance: Rémi Ochlik

Lightbox: Remi Ochlik Tribute in Images

“I expected to see horrible things. Yes, I was afraid” – Remi Ochlik

Guardian: Remi Ochlik

NYT: Conflict Reporting in the Post-Embed Era

Frontline Club: Freelance News Safety Survey

Robert Fisk: The heroic myth and the uncomfortable truth of war reporting (Independent)

NYT: Two Wars, Seen Many Ways

PDN: Remembering the 13 Syrians who died while rescuing a photojournalist

Kent Kobersteen: What it Takes to be a National Geographic Photographer (The Photo Society)

Kathy Ryan reflects on the New York Times Magazine’s London issue and finding young talent…

“A photographer should try to present something clear, deliberate” – Kathy Ryan

Kathy Ryan: London in Pictures (NYT Mag 6th Floor blog)

Related to an earlier NYT Mag issue…

NYT Mag 6th Floor blog: Fiddling With the Irish Cover

World Press Photo related…

Big congratulations to Samuel Aranda for his World Press Photo of the Year!

NYT: World Press Photo Winner

NYT: Samuel Aranda Meets the Subjects of His Award Winning Photo

WPPY winner Samuel Aranda talked to NYT Lens in December about working in Yemen under cover

“Can We See Through Symbols?” No Caption Needed blog wrote in October about Aranda WPPY’s image

BBC News: The story behind the World Press Photo

David Campbell: This photo is not just what it is: reading the World Press Photo debate

BJP: World Press Photo: Does the winning image reference Michelangelo’s Pietà?

Pietà by Michelangelo and Samuel Aranda’s World Press Photo of the Year next to each other:

BJP: World Press Photo: What was missing from this year’s entries?

BJP: World Press Photo: A judge’s top tips for future entrants

Every World Press Photo winners from 1955-2011

POYi related…

photo: Yuri Kozyrev

NYT Lens: At Home and Away: Pictures of Year

PDN: Yuri Kozyrev Wins POYi’s 2011 Freelance Photographer of the Year Award

New Yorker: Desert Island Books by Peter van Agtmael

How to by PDN….

PDN: How to land environmental portrait assignments

PDN: How I Got That Job: John McDermott’s adidas Assignment

PDN: Anatomy of a Successful Grant Application: Andrew Lichtenstein on the Aftermath Project Grant

PDN: All the New Work That’s Fit to Print

PDN: Ten favorite photo accessories

Dench on Parr: ” Since winning first prize at his camera club, he has never submitted work for a competition or consideration for a festival. Prizes are bestowed; inclusion in festivals requested”

Peter Dench: In Conversation With Martin Parr (Photographer’s blog)

Nowness: Juergen Teller Exposed

Lightbox: The Disappearing Afghan Box Camera

DVA Foto: Jon Stewart slams Time Magazine (and Pellegrin’s cover image)

NYT: ‘Hell and Back Again’ Shows War Stories Don’t End When War Movies Do

Lightbox Tumblr: Paolo Pellegrin shooting Italian PM [video]

NYT Mag 6th Floor blog: Erasing ‘The Americans’

NYT Mag 6th Floor blog: Snapshots of the Famous

photo: Jared Moossy

NYT Lens: Turning Art Into Activism

Mike Davis: What do learn from photojournalism contests

Reuters: Editing the Oscars (Reuters photo blog)

Yossi Milo Gallery: Yossi Milo Gallery Announces Exclusive Representation of The Estate of Tim Hetherington

Guardian: Featured photojournalist: Kieran Doherty

Guardian: Featured photojournalist Susana Vera

Wayne Ford: Year in Development — celebration of photographic printers’ art

Verve: Laura Boushnak

Verve: Olof Jarlbro

Verve: Dörthe Hagenguth

Verve: Philip Gostelow

Verve: Ross McDonnell

Awards, Grants, and Competitions

World Press Photo of the Year

Photo: Samuel Aranda

World Press Photo: 2012 Contest gallery

Pictures of the Year International : Winner 2012 galleries

Congrats to all the photographers chosen for this year’s PDN 30!

photo: Ilvy Njiokiktjien

PDN:’30′ 2012

Lightbox: James Nachtwey receives Dresden International Peace Prize and Wim Wenders presents the award

PDN: Moriyama, Ai Weiwei to Be Honored at ICP Infinity Awards

PDN: AP’s Charles Dharapak wins Photographer of the Year in White House News Photogs Assn. contest

Inge Morath Award 2012

Emerging Photographer Fund 2012

CPN: Editor’s Choice by New Statesman Photo editor Rebecca McClelland

BJP: Photographers Leonora Hamill and Eric Pillot have won this year’s HSBC Photography Prize

Photocrati Fund : April 1

Photo Contests and Grants Calendar

Agencies and Collectives

VII Photo : Newsletter

Magnum Foundation Winter 2012 Newsletter

Prime Collective : Newsletter

Statement Images : New Members

Crowd Funding

Redux Pictures: John Keatley and Arts Aftercare needs your help!

Festivals

Visa Pour l’Image : How to Participate

multiMedia

Polka Magazine

Once Magazine If you wanna pitch stories… go here

Jobs

MSNBC : Picture Editor

MSNBC : Paid Intern Picture Editor

AP Interns

Magnum : Head of Licensing and Content Syndication

Photographers

Alessio Romenzi

Andrew Cutrano

Jorge Uzon

Ton Koene

Pavel Prokopchik

Jan Dago

New Tumblr blog “The Brazilian Far West” by Sebastian Liste….

Sebastian Liste : blog

Andreas Laszlo Konrath

Tom Broadbent

Kate Nolan

Kalle Koponen

Meeri Koutaniemi

To finish off… Don McCullin + iPad = FAIL

and The ultimate analysis on Samuel Aranda’s WPPY

and a great response to a letter asking for money

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French photojournalist Rémi Ochlik, who was killed Wednesday in Homs, Syria, won first place in the General News category for the 2012 World Press Photo competition for his photo story, “Battle for Libya.” Take a look back over his photography from Haiti in the aftermath of the 2010 earthquake there. (All images credit Rémi Ochlik/Imago/Zuma Press unless specified. All images taken in November 2010 unless specified.)


A view of the Aviation refugee camp in Port-au-Prince, Haiti, in November 2010, as cholera raged throughout refugee camps across the country.


A young person is cared for at a cholera-treatment center in Haiti.


A woman prays in a cholera treatment camp.


A child plays in Port-au-Prince’s Cite Soleil slum.


Cyclists in Cap Hatien pass burning tires set ablaze by locals angry at U.N. peacekeepers, whom they blame for the outbreak of cholera.


Roadblocks are set up around Cap Hatien by angry protesters.


People gather in the street of Cap Hatien to protest the U.N. presence.


A coffin in the streets of Cap Hatien.


At sunrise in Aviation Refugee Camp, a child emerges from a makeshift shower in an abandoned helicopter.


Brazilian soldiers with the United Nations peacekeeping force patrol the Cite Soleil slum.


A view of U.N. peacekeepers on patrol in Cite Soleil.


Supporters of presidential candidate Jude Celestin rally at the Carrefour airport.


Presidential candidate Michal Martelly rallies supporters in Port-au-Prince.


Police arrest two men they say were involved in a knife fight on the sidelines of a political rally.


Another view of the arrests at the political rally.


Martelly supporters at a rally in Port-au-Prince.


Supporters of Mirlande Manigat, the only female candidate in the Haitian presidential election, attend a musical rally in Port-au-Prince.


Manigat supporters shout their approval.


Haitian police check bystanders for weapons during a patrol around the Cite Soleil slum and Aviation refugee camp in December 2010.


A woman suffering from cholera arrives via wheelbarrow at a Doctors Without Borders hospital in Port-au-Prince in November 2010.


Rémi Ochlik in an undated photo. (Lucas Mebrouk Dolega/AFP/Getty Images)

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