Memoria by James Natchwey.

“I have been a witness. A witness to these people who have been taken everything – their homes, their families, their arms and legs, and until the discernment. And yet, a thing that they had been subtracted, dignity, this irreducible component of the human being. These images are my testimony. “

James Nachtwey

Conducted in close collaboration with James Nachtwey and Roberto Koch, this exhibition is the largest ever retrospective dedicated to the work of the photographer. Through his look, it proposes a remarkable reflection on the theme of war, the scope of which is necessarily collective.

Ten-seven different sections constitute the route of exposure, forming a set of nearly two hundred photographs. They offer a broad panorama of the reports the most significant James Nachtwey: El Salvador, the Palestinian Territories, Indonesia, Japan, Romania, Somalia, the Sudan, Rwanda, Iraq, Afghanistan, Nepal, the United States with among others a singular testimony of the attacks of 11 September, as well as of many other countries. The exhibition ends on a news story dealing with immigration in Europe, today more than ever a topical.

It brings together as well the photographs of the one that can be considered as the photojournalist the most prolific of these last decades, an observer exceptional of our contemporary world and probably one of its witnesses the most perceptive.

James Nachtwey, whose career is marked by numerous prizes and awards in a variety of areas, is globally recognized as the heir of Robert Capa. Its moral force and its social commitments and civilians were led to devote his entire life to the Photograph. Sudan, Darfur, 2003 © James Nachtwey Archive, the Hood Museum of Art, Dartmouth


It captures the most extreme conditions of human life – which do not take that too often the forms of hell on earth – thus the witness epic in the cruelty of the war. It has continuously been to photograph the pain, injustice, violence, and death. But for that it never is forgotten the suffering and loneliness human, it creates images of a dizzying beauty, spotlessly framed and informed, and to the effects quasi-film. The extraordinary beauty and infinite tenderness which emanate from are all means to fight and resist.

In a posture always compassion, it captures scenes and contexts: in Bosnia, in Mostar where a sniper aims through a window, famine in Darfur, the sick of tuberculosis or even the terrible effects of Agent Orange in Vietnam. Among its images the most emblematic, we think immediately to which represents a young boy of Rwanda, a survivor of a concentration camp Hutu, the face Scarface. Also Come in mind the photographs of the second intifada in the West Bank, where Nachtwey was then in the first line. It depicts the war since 40 years, showing without detour the fate of the populations that are the terrible experience. As of September 11, 2001, when the war reached “at home,” on American soil, during the attack on the twin towers, followed by the war in Iraq and Afghanistan. The images of James Nachtwey reveal humanity mutilated by the violence, devastated by disease and hunger, a tolerance which, by nature, seems to go astray.

“I wanted to become a photographer to enter the war. But I was pushed by the natural feeling that an image that would expose without detour the true face of a conflict would be, by definition, a photograph anti-war”.
James Nachtwey

Bosnia and Herzegovina, Mostar, 1993 © James Nachtwey Archive, the Hood Museum of Art, Dartmouth


JAMES NACHTWEY The duty of memory

“The memory is an essential thing that we have to imagine the future and prevent the errors of the past. Through his photographs and his words, James Nachtwey reminds us that if we are unable to the remembrance of the past, we will be condemned to perpetual its repetition.

For nearly forty years, James Nachtwey photograph the pain, injustice, violence, and death. This death if particular which knows neither the fullness of old age or the heat of the loved ones, but who has the eyes of a child, the emaciated hands of a woman or a man’s face that poverty has ravaged. What the fact Hold, costs that, within this “grieving community” that form our human condition. In this maelstrom of “eternal pain,” it is this belief infallible that the photojournalism, in what he has led, can still influence public opinion, as the first milestones in a history book that would remain to write.

Born in Syracuse in the State of New York in 1948, James Nachtwey grew up in the 1960s. Its eyes are a flood of images of the Vietnam War and marches for the civil rights. Quickly, he feels how vital it is to testify and, through its work, it, therefore, commits to combat the hypocrisy, which if we often, in fact, divert our gaze, as much as our conscience. The reportage in Romania, which follows the fall of the Berlin Wall and the collapse of the USSR, marks a point of no return. The doors are starting to open. As those of a hell on earth, an orphanage where a dramatic crime against humanity had to be committed. The painful reality the spoiled up to the marrow: “I wanted to flee, I did not want to watch later. But it had become a test. Had to do I steal or well assume full responsibility to be there, with my photographic camera?”.

These glances panicked, seized in a massive plan, occur as infernal circles. For example, the famine in Somalia, “where the deprivation of food is used as a weapon of mass destruction and, where, since the middle of the year 1992, epidemics and hunger have caused the death of more than 200 000 people”. Sudan also, devastated by war and famine, as well as the Bosnia in 1993, Rwanda in 1994, Zaire or even the Chechnya. The objective of James Nachtwey also aims poverty in India and Indonesia, the scourge of AIDS, the drug or tuberculosis, but also the acts of love of the relatives who remain at the bedside of patients.

Then comes September 11, 2001. The war, which had not affected the more prosperous part of the globe since sixty years, returns to the West. This history to mark a new turning point. Nachtwey documents the wars that ensue in Afghanistan, Iraq, and that recall the errors of the past bitterly. His compassion inspired him an unfailing sense of empathy toward those who suffer, populations traumatized by the earthquakes, like in Nepal, in Haiti or Japan, and by the tsunami that struck Indonesia. Then it coexists with the terrible contemporary tragedy of migrants in Europe, among us, where hundreds of thousands of people are forced to flee to try to survive in an elsewhere that they imagine a land of hope and the home.

Nachtwey writes: “My photographic work is linked to the human instinct, the one who wins when the rules of the Civilization and the socialization fly in brilliance. At this time, the law of the jungle takes over. Violence and land claims are then needed, spoofing with them their batch of cruelty, terror, and suffering, but also a spirit of ancestral survival. It is a dark mechanism and frightening, and I am trying through my work to make a share of spirituality. Essentially the compassion.”

A COMPASSIONATE GAZE is a look of knowledge, conscience, and memory: the only possible antidote against this obscure scope, this heart of darkness that takes its horrific load by the yardstick of what the whole man is capable. We look at the images of Nachtwey, and we know now: we cannot forget ever again. ” Roberto Koch Co-Commissioner of the exhibition New York, 2001

© James Nachtwey Archive, the Hood Museum of Art, Dartmouth



James Nachtwey is born in 1948 in Syracuse in the State of New York (USA). He studied the history of art and political science at Dartmouth College from 1966 to 1970. In 1976, he worked as a photojournalist for a newspaper in New Mexico and then, in 1980, he moved to New York as a freelance photographer for various magazines. It is from 1981 that James Nachtwey will devote themselves entirely to photograph the war and social unrest Major. It covers the conflicts in the world, convinced that the awareness of the public remains essential to cause the change, and the photographs of war disseminated by the media can trigger a real consciousness to act in favor of peace.

In Europe, it documents the breakup of the former Yugoslavia, the war in Chechnya and the civil unrest in Northern Ireland. In Africa, it photography the genocide in Rwanda, the famine which becomes a “weapon of mass destruction” in Somalia and Sudan and the struggle for the Emancipation in South Africa. It documents the civil wars which gobble up Central America in the years 1980, El Salvador in Nicaragua in passing by Guatemala, as well as the invasion of Panama by the United States. In the Middle East, it covers the conflict Israeli-Palestinian since more than twenty years as well as the civil wars in Lebanon and, more recently, the war in Iraq, where a grenade explosion wounded him. It begins to work in Afghanistan during the years 1980, photographing the resistance in the face of the Soviet occupation, then the Afghan civil war and the offensive against the Taliban in 2001. In 2010, he shot military fighting Americans in the Helmand, Province in the south of Afghanistan. Elsewhere in Asia, it documents the guerrillas in combat in Sri Lanka and the Philippines as well as the bloody repression military against demonstrators in Bangkok in 2010. It has recently testified to the refugee crisis in Europe, the earthquake in Nepal and the “war against drugs” to the extrajudicial Philippines.



James Nachtwey covers the social subjects throughout the world with dedication always equal. The homeless, drug addiction, poverty or even the crime and industrial pollution are among the main subjects that it has widely photographed. Since the beginning of the years 2000, he has a great interest in health issues across the world, in particular in the developing countries, attesting to the ravages of diseases which the devastating effects affect a more significant number of people than the war. In 2007, he received the price ted for its global campaign to raise awareness of tuberculosis, based on its belief that the collective consciousness can encourage research, facilitate the financing, mobilize donors and motivate the political will. Many distinctions have been the crowning glory of his career as a photojournalist, but also to reward its contributions to the art and humanitarian causes. In 2001, he received the Common Wealth Award. In 2003, he got the price Dan David and, in 2007, the Heinz Family Foundation Award. In 2012, he is a laureate of the cost of peace of the city of Dresden for the whole of its reportage carried out for more than 30 years on all the conflicts of the world. In 2016, James Nachtwey obtains the price Princess of the Asturias.

He won five times the Robert Capa Gold Medal, for his courage and his exceptional work. It receives the title of the photographer of the year on eight occasions; the first price of the World Press Photo Foundation on two events; the Infinity Award in photojournalism three times; the price Bayeux-Calvados of war correspondents on two occasions and the price Leica on two occasions. Rewarded by the Overseas Press Club, by the time Inc., and by the American Society of Magazine Editors, it also receives the Henry Luce Award, the price of the foundation of Leipzig for the freedom and the future of the media and the cost of world citizenship Dr. Jean Mayer. In 2001, war photographer, a feature-length film documenting the life and work of James Nachtwey, is nominated for the Oscar for the best documentary. His books include deeds of war and hell.


The photographs of James Nachtwey are included in the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, the Getty Museum in Los Angeles, the Boston Museum of Fine Arts, the National Library of France or even of the Center Pompidou. Its images have been the subject of numerous personal exhibitions in the world. It has been invited to present his work at several international events, including the TED Talks, the Conference Bill and Melinda Gates Grand Challenges, the Pacific Health Summit, the World Conference on Tuberculosis in Rio de Janeiro, the annual meeting of the Young President’s Organization in Sydney and, on the occasion of the World Day of Peace in 2011, before the International Olympic Committee. The title of Doctor Honoris Causa is awarded by four American universities, including the Dartmouth College, which has recently acquired the whole of the archives of his work.

World Press Photo 2018. The Nominees.

Over the years, the World Press Photo has become an institution for photojournalists.Thousands of images are submitted in different categories, Contemporary Issues, Environment, General News, Long-Term Projects, Nature, People, Sports, and Spot News.

Here are some of the very best in Black & White. For more information on the World Press Photo competition and exhibition, visit

Richard Tsong-Taatari. Star Tribune

John Thompson is embraced in St Anthony Village, Minnesota, USA, after speaking out at a memorial rally for his close friend Philando Castile, two days after police officer Jeronimo Yanez was acquitted of all charges in the shooting of Castile. In July 2016, Officer Yanez had pulled over Castile’s car in Falcon Heights Minnesota as it had a broken brake light. Castile, an African American man, handed over proof of insurance when asked, and informed the officer that he had a gun in the car. Police dashboard camera footage reveals that Yanez shouted, “Don’t pull it out,” and fired seven shots into the vehicle, fatally wounding Castile. Yanez was found not guilty of second degree manslaughter on 16 June 2017. Thompson was a high-profile presence at rallies following his friend’s death.

Kevin Frayer. Getty Images.

20 September 2017 A young refugee cries as he climbs on a truck distributing aid near the Balukhali refugee camp, Cox’s Bazar, Bangladesh.

Kevin Frayer. Getty Images.

2 October 2017 Minara Hassan and her husband Ekramul lie exhausted on the ground on the Bangladesh side of the Naf River, after fleeing their home in Maungdaw, Myanmar.

Street Photography: A hot debate

Street photography in Pakistan is relatively new. A traditional society where laws/ guidelines are yet to be defined clearly in most of the situations, many people believe this art is against the dictates of their religion, law and order not ideal in some situations;  there is no wonder that few pursue this genre seriously.
by Aamir Shahzad

This emerging genre of photography has faced blazing criticism, occasional legal and ethical backlashes, besides stirring debates on public television and social media. Most street photography operates on the borderline between intrusion and observation. Even more problematic is the tradition of clandestine photography. Is street photography, an intrusion on someone’s personal space; that is the question? Can anyone claim privacy in a public space? Laws vary in different countries. There is a need to be aware of laws for those interested in documentary photography involving images shot on public places. Photography, as always, has lot of grey areas, where ethical concerns are involved. Is any image of human misery and poverty an insult to human dignity? Should we present only a happy face of society? An old man dragging a heavy load, a rag picker boy sifting through trash; do these pictures attempt to exploit human misery for self-promotion? Is showing social hypocrisy in a photograph is a breach of social rights? Art should not be judgmental, but it is often perceived that way. Sometimes it is the viewers who interpret an image through the haze of their own understanding and that their redemption is to put the ‘blame on the boogie’—the artist. Naked children sitting on the trash, addicts lying on the pavements, or a physically disabled persons begging around the market are reality of our lives as much as hunger and war. It is not something to be pushed under the carpet and pretend that if it does not exist in images, it does not exist at all. Famous street photographer Eric Kim says, ‘as a photographer, I see myself as a sociologist with a camera as my research tool to observe and record the people and world around me’. It reminds me of Pulitzer Prize winning photojournalist, Stanley Forman and his shot ‘The soiling of old glory’. The picture stirred great emotions when it was posted. A censor on such art would seriously hamper the growth of artistic expression and its potential to create a tolerant and enlightened society. Umair Ghani, a famous Pakistani photographer once commented on one of my street images, ‘Commerce and Art play a tug of war with Faith and provoke greater conflicts and challenges for those who consciously focus on such concerns. These trends affect everyday life and our understanding of it. Some societies have learnt to sustain that shock; others are too fragile to come to terms with this recent awareness’. An elderly bearded owner of a boutique, trying to cover his face to avoid the offence of being photographed while standing with mannequins wearing sleeveless low neck dress is a social satire on our confused moral and religious criteria. Images of women covered in shuttlecock veils shopping in posh markets with explicit advertising contents show challenges presented to prevailing cultural trends in our society. Such images do not stab our cultural façade, but helps us document our bleeding wounds of social confusion and to some extent stitch and heal them. This is serious level of street photography. It is above ridicule or criticism; It is a commentary and interpretation. Furthermore, street photography is a contested sphere in which all our collective anxieties converge. terrorism, pedophilia, intrusion and surveillance. Even an attempt to capture the culture of marginalized sections of society is seen by some as a potential threat to ideology of Pakistan with a threat of creating fissures in society. The photography codes of ethics from the US National Press Photographers Association have some solid points and guidelines. Now is the time to address this pressing need to discuss and review those points within our own legal and cultural parameters’
“Can anyone claim privacy in a public space? Laws vary in different countries.”


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The Art of Black & White

Harold Davis gave a few conferences about the Art of Black and White for B&H. Here are two of our favorites in wich he discuuses the Art of Black and white photography in the digital era. A very interesting topic as except if you own a monochrome camera such as the Leica Monochrome, all the images you are making are in color. The process of converting to Black & White only comes during the processing workflow. In this video, you learn a lot about how to think and envision your images and how to process theimage with intent.

Creative Vision and Craft in Digital Photography

The second video goes more into the real way to create and craft your images. A real must watch for any Black & White photographer.

A vision in Fine Art Photography

Having a vision is an essential part in Fine Art Photography. This is what leads to a great image.
When you go out shooting, whatever your subject is, you must have your finished image in mind. When you so portraits, you prepare your lighting, choose the right lens and angle, and then you start shooting. When you shoot landscapes, cityscapres or architecture, you first work on your composition to find the right elements, than you decide if you want a long or very long exposure, a color or black and white image. In any case your vision is the key to success.

Here is a great video to discuss this topic and handcratft a great Black & White image.. Enjoy and feel free to leave any comments about your own experience.



Sweden’s indigenous and unrepresented community is brought into focus through a powerful portrait series

Nikon European Ambassador Joel Marklund has completed a unique project profiling Sweden’s community of Sami people – a subject close to his heart. With his D5 and NIKKOR lenses, Joel aimed to go beyond the stereotypes he feels the Sami community is associated with, showcasing their everyday lives through a series of intimate portrait images.

The Sami people traditionally inhabit a territory known as Sápmi, which traverses the northern parts of Norway, Sweden, Finland and the Russian Kola peninsula. Although divided by the formal boundaries of the four states, the Samis exist as one group, united by cultural and linguistic bonds and a common identity. Joel wanted to communicate the true nature of this identity and move beyond surface-level perceptions of ‘reindeer herders living in the mountains’.

“The best stories aren’t always the ones in the most exotic or remote locations,” comments Marklund. “I was determined to cover something I believed in, something that really mattered to me. The Sami story has not been told by many, so, having grown up in Boden near to where some of their communities resided, it was one I felt both compelled and humbled to tell.”

To document what it is like to live as a Sami today in Sweden, Joel spent six weeks visiting the community, embedding himself in the lives of twelve of its people – from singers and dancers to drum makers and students – to tell their individual stories. During the project, he paired the D5 with the AF-S NIKKOR 35mm f/1.4GAF-S NIKKOR 50mm f/1.4G and AF-S NIKKOR 70-200mm f/2.8G ED VR II.

Joel’s images reveal the Sami people in both their traditional environment, wearing traditional clothing called ‘gákti’, and their day-to-day working lives that are more intertwined with the rest of society. This cultural contrast runs through the series.

For example, Joel discovered Marika Renhuvud helping her family with the reindeer slaughter before learning, after a few days of photographing Marika, that she was a student at Ballet Academy Stockholm.

Maxida Marak, meanwhile, who grew up in Stockholm, before moving to live among a traditional Sami community, has headed back to the city to become a successful singer, while another story follows Merethe Kuhmunen, a student aiming to promote LGBT rights in Sápmi.

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