Since the beginning, photojournalism has been male dominated, binding the archetype of the war photographer inextricably to masculinity. I learnt this at university when I read, among others, Don McCullin’s Unreasonable Behaviour, a biography of Robert Capa by Alex Kershaw called Blood and Champagne and The Bang-Bang Club by Greg Marinovich and Joao Silva. I also learned this when I watched the documentary film War Photographer about James Nachtwey.
“Being a spectator of calamities taking place in another country is a quintessential modern experience, the cumulative offering of more than a century and a half’s worth of those professional, specialized tourists known as journalists,” writes Susan Sontag in Regarding the Pain of Others. “Specialised tourists known as journalists” is a cutting but accurate description of what we do in an industry where photographs mostly document the majority world’s tragedies, wars and natural disasters, and are created mostly by white men from the richest countries.
Women have photographed war for almost as long as men have. From Gerda Taro, who documented the Spanish Civil War, to Olive Edis, the first female photographer to be commissioned as an official war artist by the Imperial War Museum in Britain. There’s also Florence Farmborough, Christina Broom, Elsie Knocker, Mairi Chisholm, Margaret Hall and Nino Jorjadze, who photographed World War I. Many of these women were professional documentarians, commissioned as official military photographers or working for editorial clients. Others acted as journalistic witnesses whose works were widely overlooked, says Hilary Roberts, the research curator of photography at the Imperial War Museum London, who categorizes war photographers into three broadly defined categories; official, commercial and private.
Later, Lee Miller, Faye Schulman, Constance Stuart Larrabee and Margaret Bourke-White covered World War II. And Catherine Leroy, Dickey Chapelle and Felipa Schuyler went to Vietnam. Susan Meiselas, Alexandra Boulat and Carolyn Cole, alongside many exceptional women, have created significant contributions to the visual record of contemporary conflict.