Magnum Photos -The Changing of a Myth
▻https://www.youtube.com/watch?v=AOHmvL5KeXw
#magnum #magnum_photo #photographie #photojournalisme
Magnum Photos -The Changing of a Myth
▻https://www.youtube.com/watch?v=AOHmvL5KeXw
Boy Photographer Seeks Danger as Others Flee - Lo Manh Hung, Story of the Youngest Photo Journalist in South Vietnam
▻http://www.vintag.es/2016/10/boy-photographer-seeks-danger-as-others.html
Boy Photographer Seeks Danger as Others Flee - Lo Manh Hung, Story of the Youngest Photo Journalist in South Vietnam
#Letizia_Battaglia, une photoreporter engagée contre la #mafia
« Il faut continuer à lutter jusqu’à la fin ». Letizia Battaglia, une des premières photojournalistes femmes d’Italie, a documenté pendant près de 20 ans les crimes de la mafia en #Sicile. Et, à 81 ans, elle poursuit le combat.
▻http://www.leparisien.fr/flash-actualite-culture/letizia-battaglia-81-ans-une-photoreporter-engagee-contre-la-mafia-21-09-
#photographie #photojournalisme #femmes
cc @albertocampiphoto
#Rennes : Loi Travail - La mobilisation continue. ►http://emmanuel-brossier.com/rennes-loi-travail-la-mobilisation-continue … #LoiTravail #Photojournalismepic.twitter.com/jWdeiri3ir
▻https://twitter.com/emmanbrossier/status/730861380560097280
#Rennes : Loi Travail - La mobilisation continue. ►http://emmanuel-brossier.com/rennes-loi-travail-la-mobilisation-continue … #LoiTravail #Photojournalismepic.twitter.com/jWdeiri3ir
Attention chutes d’images
►http://nextstep.samizdat.net/2016/04/chutes-d-images
Faire des photos et des vidéos de la lutte en cours, les diffuser sur les réseaux sociaux ou les publier sur un blog personnel ou encore un site militant, sont devenus des pratiques courantes.
Si c’est une bonne chose de ne pas laisser la production de l’information aux seuls “spécialistes”, c’est aussi une pratique à risque qu’il convient de maitriser. Il appartient en effet à chacun et chacune d’entre nous de ne pas se transformer involontairement en auxiliaire de police.
#loi_travail #manifestations #images #vidéos #photos #photojournalisme #police #contrôle #répression
la police, en plus de filmer et photographier directement les manifestations et actions de protestation, procède à une collecte systématique de ce qui circule sur le web, voire dans les rédactions des agences de presse ou des médias… Et n’hésite pas parfois à faire des perquisitions et saisir des ordinateurs et des disques durs pour récupérer des éléments à charge.
tout à fait @odilon : je l’ai diffusé immédiatement et je continue allègrement car c’est une parfaite synthèse de ce que je tente d’expliquer ... tout le temps !
1965-1975 Another Vietnam
Astonishing, rare images of the Vietnam War from the winning side
▻http://mashable.com/2016/02/05/another-vietnam-photography/#n0BH72o.ZkqT
For much of the world, the visual history of the Vietnam War has been defined by a handful of iconic photographs: Eddie Adams’ image of a Viet Cong fighter being executed, Nick Ut’s picture of nine-year-old Kim Phúc fleeing a #napalm strike, Malcolm Browne’s photo of Thích Quang Duc self-immolating in a #Saigon intersection.
Many famous images of the war were taken by Western photographers and news agencies, working alongside American or South Vietnamese troops.
But the North Vietnamese and Viet Cong had hundreds of photographers of their own, who documented every facet of the war under the most dangerous conditions.
Almost all were self-taught, and worked for the Vietnam News Agency, the National Liberation Front, the North Vietnamese Army or various newspapers. Many sent in their film anonymously or under a nom de guerre, viewing themselves as a humble part of a larger struggle.
#vietnam #war #guerre #photographie #North_Vietnamese_Army #Viet_cong
L’#Europe_forteresse : le travail de #mémoire des photojournalistes
L’Europe fait face depuis plusieurs semaines à un afflux permanent de migrants, sans précédent depuis la Seconde Guerre Mondiale. Plus de 430 000 ont traversé la Méditerranée selon l’OIM, l’Office international des migrations. Une Europe qui commence lentement à les accueillir, mais qui érige aussi des murs et des clôtures. Le 27e festival Visa pour l’image à Perpignan a présenté les travaux de plusieurs photojournalistes qui suivent depuis des années ces migrations. Véronique Gaymard a rencontré #Giulio_Piscitelli. Son objectif : témoigner et faire un devoir de mémoire.
▻http://www.rfi.fr/emission/20150912-europe-forteresse-le-travail-memoire-photojournalistes
#photojournalisme #photographie #réfugiés #asile #migrations
cc @albertocampiphoto
• Coup de gueule : les agences photo répondent à Christophe Barbier
▻http://www.franceinter.fr/blog-autopsie-dune-photo-coup-de-gueule-les-agences-photo-repondent-a-ch
Le 5 octobre dernier, Christophe Barbier, directeur de la rédaction de l’Express, répondait à Sonia Devillers dans « L’instant M » sur la question des délais de paiement aux fournisseurs, notamment aux agences photographiques. Droit de réponse de ces dernières.
Le #photojournalisme doit-il craindre l’art ? - OAI13
▻http://www.oai13.com/featured/art-et-photojournalisme-une-liaison-trouble
Mais alors, faudrait-il redouter l’#esthétique ? « Non, car l’idée est d’avoir une photo la mieux construite possible, afin d’attirer l’oeil du spectateur. La qualité esthétique de l’image va permettre de toucher son oeil : elle est un atout si elle permet de relier la photo à l’#information qu’elle contient, à la cause qu’elle défend. Il doit donc y avoir une #éthique derrière l’esthétique. »
Capa : la légende du #photojournalisme mise à nu | La puissance du #storytelling dans l’imaginaire photographique
▻http://imagesociale.fr/2014
Une histoire mille fois reprise, enjolivée, qui colle aux images, les magnifie et les transforme. Selon les termes de Morris, « Leur grain imparfait, peut-être accentué par l’accident de laboratoire, a contribué à en faire parmi les plus dramatiques photographies de combat jamais prises. » Les réactions offusquées qui ont accueilli l’enquête de Coleman montrent à quel point cette trame narrative participe de l’attachement à ces clichés étranges et tremblants. Plus encore, elles suggèrent ce que le genre du photojournalisme doit à la mise en valeur quasi publicitaire de ses productions.
Dans la tête d’un photojournaliste en première ligne - L’actu Médias / Net - Télérama.fr
▻http://www.telerama.fr/medias/dans-la-tete-d-un-photojournaliste-en-premiere-ligne,130972.php
Je n’ai jamais refusé d’aller où que ce soit, mais ça ne veut pas dire que je cherche les emmerdes. Elles sont assez grandes pour venir à moi.
Photojournaliste, un métier rongé par la précarité - Libération
▻http://www.liberation.fr/ecrans/2015/09/05/photojournaliste-un-metier-ronge-par-la-precarite_1375629
Le 30 juillet, le ministère de la Culture et de la communication, qui tente de faire avancer le dossier, a proposé un projet de décret. Il prévoit que le salaire minimum versé en contrepartie de la commande d’une image fixe, ou d’une série d’images ayant le même objet et prises sur le même lieu, soit dans une fourchette comprise entre 49 euros et 84 euros pour cinq heures, selon le support (en particulier 84 euros en presse quotidienne nationale, 49 euros en presse magazine). Un tarif jugé inacceptable par les organisations syndicales qui ont écrit le 1er septembre à Fleur Pellerin. « Par exemple, font-ils valoir dans leur courrier, la rémunération proposée de 49 euros pour un temps minimum d’exécution de cinq heures, dans le cadre d’une commande d’une entreprise de presse magazine, correspond à trente jours de travail pour parvenir au Smic mensuel. » Côté éditeurs de presse en revanche, les tarifs du projet de décret sont jugés trop chers…
À ce prix-là, mieux vaut faire caissier, c’est moins risqué.
Ainsi, la plupart des photojournalistes ne font plus exclusivement de la presse, et complètent leurs revenus avec du corporate, de la mode, du mariage… D’où la diminution du nombre de cartes de #presse, la commission exigeant 51% de travail de « presse » pour la délivrer. D’autant que nombre d’employeurs tendent à régler en droits d’auteur plutôt qu’en salaires. « Le statut de salarié des photographes de plus en plus décalé par rapport à la réalité du métier », constate Dominique Sagot-Duvauroux qui suggère : « La flexibilité devrait être compensée par la prise en charge sociale de la collectivité. »
Le festival Visa pour l’image
▻http://etudesphotographiques.revues.org/397
A titre d’archvie perso.
À l’impératif de ramener de l’information s’ajoute la nécessité de provoquer de l’émotion, deuxième maître mot du festival, abondamment employé dans les communiqués de presse25. Topique de la photographie de presse, et plus spécialement de la photographie de guerre, le choc émotionnel est considéré comme nécessaire pour sensibiliser le spectateur et espérer le mobiliser. Privilégiant ces deux termes, Jean-François Leroy reprend les professions de foi des grands magazines de photographie du xxe siècle. En France, le magazine Paris-Match est ancré dans cette double perspective d’information et d’émotion, à travers la fameuse formule « le poids des mots, le choc des photos » du rédacteur en chef du magazine, Roger Therond, lui-même à l’initiative du festival Visa. Aux États-Unis, le magazine Life répondait dès 1937 à ses lecteurs, scandalisés par la violence des photographies, que « l’amour de la paix n’a ni sens, ni force à moins d’être fondé sur la connaissance des horreurs de la guerre ; et les morts auraient péri en vain si les vivants refusaient de les voir26 ». Autrement dit, le meilleur moyen de dénoncer la barbarie est de la montrer dans toute son horreur. Cette conception de la photographie a d’ailleurs connu son apogée lors de la guerre du Viêtnam, avec des photographies particulièrement violentes. Parce qu’elles ont permis de mobiliser l’opinion américaine, leur exemple fait encore figure de symbole, fréquemment repris par le directeur du festival : « Regardez l’impact des images dans la mobilisation contre la guerre du Viêtnam. La photo de Nick Ut, qui montre cette gamine brûlée au napalm, a été pour beaucoup dans la montée de l’antimilitarisme aux États-Unis27. » Cet exemple prouverait à lui seul la capacité de la photographie à changer le cours de l’histoire, à devenir un événement historique. Comme le note Michel Poivert, « le fantasme d’historicisation, du faire-histoire par l’image reste une pièce essentielle de l’imaginaire du photojournalisme28 ». Jean-François Leroy est particulièrement sensible à cette vision héroïque de la photographie. En témoigne la rencontre exemplaire orchestrée par Visa en 1995 entre Joe Rosenthal, auteur du cliché historique représentant les soldats plantant un drapeau américain sur l’île d’Iwo Jiwa le 26 février 1945, et Evgueni Khaldei, immortalisant un soldat communiste brandissant l’étendard soviétique sur le Reichstag, le 2 mai 1945. Pour célébrer un événement aussi important que la fin de la Seconde Guerre mondiale, Visa choisit d’inviter les photographes qui en ont donné la représentation historique la plus connue.
L’« âge d’or » revisité/Alentours de Bayard
▻http://etudesphotographiques.revues.org/518
#photo #perpignan #photojournalisme
Women in Photojournalism - The New York Times
▻http://lens.blogs.nytimes.com/2015/07/01/women-in-photojournalism/#
She recalls her early days at The A.P.’s Miami bureau, where the all-male staff routinely went to Miami Beach to take cheesecake photos of young women in swimsuits. Her own subjects were sometimes not as cooperative. When a female sportswriter won her case allowing women into locker rooms, Ms. Willens went into one for a news conference. After showering, the quarterback appeared, a small towel wrapped around his waist. He put one foot up on a chair, exposing himself to everyone in the room. She had to shoot the interview from the waist up.
“I’m pretty sure this crude gesture was a not-so-subtle message on what he thought of my presence there,” Ms. Willens recalled.
Just being the only woman in a room full of photographers — even just editing their images after a game — can be taxing. Sometimes, she said, the conversations veer into sexist territory.
“And it doesn’t just happen at sporting events,” she said. “I’ve been in the booth at the United Nations with six or eight male colleagues using their telephoto lenses to eye a good-looking woman on the Security Council floor and the same type of conversation has ensued.”
What Do #Drones Mean for the Future of Photojournalism?
#Tomas_van_Houtryve received the 2015 Infinity Award for Photojournalism for the series Blue Sky Days, a drone’s-eye view of America. With his camera attached to a small drone, he traveled across the United States to photograph the very sort of gatherings that have become habitual targets for U.S. air strikes abroad.
My desperate journey with a human smuggler
Barat Ali Batoor
Photojournalist Barat Ali Batoor was living in #Afghanistan — until his risky work forced him to leave the country. But for Batoor, a member of a displaced ethnic group called the #Hazara, moving home to Pakistan proved dangerous too. And finding a safer place wasn’t as simple as buying a plane ticket. Instead, he was forced to pay a human #smuggler, and join the deadly tidal wave of migrants seeking asylum by boat. He documents the harrowing ocean trip with powerful photographs.
Transcription:
▻http://www.ted.com/talks/barat_ali_batoor_my_desperate_journey_with_a_human_smuggler/transcript?language=en
Link:
▻http://www.ted.com/talks/barat_ali_batoor_my_desperate_journey_with_a_human_smuggler
#TED #migration #photojournalism #refugee @cdb_77 @reka @paolo
• La guerre perdue des photoreporters
►http://www.liberation.fr/monde/2013/02/15/la-guerre-perdue-des-photoreporters_882160
Loin des conflits qui ont fait sa gloire, une profession lutte contre sa disparition au sein d’une presse qui brade ses images. Illustration avec le parcours d’Alain Buu.
Les témoignages s’accumulent sur la situation des photojournalistes mais rien ne change. Ceux qui en parlent ne peuvent s’empêcher au passage d’entretenir le mythe du reporter de guerre. Il est plus grave qu’un ancien reporter de guerre se retrouve au chômage mais moins pour un type qui n’aurait jamais quitté sa région, fut-elle l’Île-de-France comme des photographes puisque c’est elle qui concentre presque tous les rédactions françaises et étrangères. Parce qu’en France tout va bien, pas besoin d’image, des illustrations suffit pour faire la une annuelle sur l’immobilier, les salaires des cadres, le blues des infirmières, la rentrée scolaire… On sait ce que c’est par coeur, pas besoin d’aller sur le terrain pour voir ce qui se passe, une image réalisé avec des mannequins sous de beaux éclairages dans un pays de l’Est fait très bien l’affaire…
Photojournaliste: Phil Moore
Phil Moore is an independent, British photojournalist, currently based in Nairobi, Kenya.
▻http://philmoore.info
#photographie #photojournalist #kenya #photographe
Être #musulman en #France | Slate.fr
▻http://www.slate.fr/grand-format/musulmans-bharat-98169
Bharat Choudary travaille depuis désormais six ans sur son projet actuel : Le silence des autres. Quand il a commencé il était encore étudiant en #photojournalisme, dans le Missouri –c’est là que je l’ai rencontré– il venait d’Inde, et s’intéressait à la construction des #identités. En 2009, il a commencé à travailler sur les musulmans, la façon dont ils vivent dans les pays occidentaux, leur rapport aux autres. Il poursuit ce projet depuis, et a décroché plusieurs bourses (dont Getty Images), récompenses (Pingyao International Photography Festival, Magenta Flash Forward), et ses photographies ont été publiées dans des journaux prestigieux dont le New York Times. Mais il a changé entre-temps son lieu d’étude. Après les États-Unis et la Grande-Bretagne, il s’est focalisé sur la France, à Marseille. Au lendemain des attentats contre Charlie Hebdo, nous avons échangé par mail sur son travail.
See What Undocumented Immigrants Carry Across the Border
▻https://timedotcom.files.wordpress.com/2014/12/central-american-migrants-07.jpg?w=699
Covering immigration issues can prove challenging for photographers – and not because access can be, at times, tough to obtain. Instead, image-makers such as Emanuele Satolli have to find new ways to depict immigrants’ hardship in a saturated visual landscape.
More
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In 2007, when the Italian photographer lived in Guatemala, he realized that immigration affected the large majority of people he encountered. “Some are saving money to go North, others are enjoying their new houses after spending a few years in the U.S., while many women have to take care of their families after their husbands left for the U.S.,” he says. “I was impressed to see that immigration had such a strong [impact] on life there. And that’s why I wanted to dig deeper into this topic.”
Yet, he didn’t want to produce yet another series that depicted immigrants “crossing rivers or jumping on trains in their attempt to reach the American dream,” he says. “I had to try to find a new way to talk about this.”
And that new take came after reading a recent #TIME LightBox article. “I was really inspired by [TIME’s International Photo Editor] Alice Gabriner’s post where she talked about how photo editors and photographers should work together to overcome visual challenges. In that post, she explained how [photographer] Alexandra Boulat tried to find a new way to talk about the Palestinian tragedy.”
That was in 2006, when Boulat, who had documented wars since the 1990s, had grown frustrated of “photographing endless scenes of violence in the same way she had for years, fearing that these pictures had lost their impact,” Gabriner wrote. “As a result, she began taking different kinds of pictures, focusing on the ordinary and details of normal life.”
The ordinary and the details can be found in Satolli’s images of Central American immigrants. “I was interested in the few things these immigrants bring with them on this perilous and long journey,” he says. One man carried with him a small Virgin Mary statue, hair gel and toilet paper, among other objects. Another brought an extra pair of shoes, a bible, toilet paper and a cell phone, while another traveled with only one pair of glasses so “he’d look like a local,” says Satolli.
The 35-year-old photographer met most of his subjects at La Casa del Migrante, a refuge run by Scalabrinian missionaries in the border town of Tecún Umán in #Guatemala where immigrants can get help and rest for two or three days.
Now, Satolli, who continues his work on immigration, hopes that his simple, yet powerful images will help humanize undocumented immigrants. It’s an especially important goal he says, at a time when we’re inundated by images that are just the opposite—“in which [dramatic scenes] become ordinary”—and when immigration is likely to take a central role in U.S. politics this year and in 2016.
▻http://time.com/3647891/undocumented-immigrants-bags
#photojournalism #photo #usa #migration #mexico
Pep Bonet: Fe en el caos
Why Violent News Images Matter
▻http://timethemoment.files.wordpress.com/2014/08/ebola.jpg?w=499&h=340
A recent slew of situations resulting in catastrophic violence and death, including the Israel-Gaza war, the armed expansion of the Islamic State, the downing of a Malaysian Airlines plane in the Ukraine, the ongoing conflict in Syria, and also the spread of the Ebola virus, has led to a renewed debate as to what kinds of imagery media outlets should be expected to show.
One argument is that editors working for mainstream outlets, and perhaps even photographers as well, are unethically withholding from readers certain horrific imagery of contemporary conflicts and disasters because of a fear of offending or shocking, or even from a fear that readers will abandon the publication altogether. In his new book, War Porn, photographer Christoph Bangert asks: “How can we refuse to acknowledge a mere #representation—a picture—of a horrific event, while other people are forced to live through the horrific event itself?”
Kenneth Jarecke, author of an excruciating photograph of a horribly burned Iraqi soldier during the first Persian Gulf War that went largely unpublished, posed a similar question in American Photo magazine in 1991: “If we’re big enough to fight a war, we should be big enough to look at it.”........
▻http://lightbox.time.com/2014/09/02/violent-news-images-matter-fred-ritchin/#1
#photo #photojournalism #photojournalisme #photography #photographie #news #press #violence
Horrific pictures of dead bodies won’t stop wars
Paul Mason
People who believe that showing violent images from conflict zones will deter killing are mistaken
Nearly four months on from the Gaza conflict, the image I remember most is this: we are in the crowded triage room at Al-Shifa hospital, whose tiles are echoing with wails and screams. A group of men is staring at a pile of curtains, blankets and towels on the floor. Then somebody uncovers what’s beneath.
If you watched TV reports that night you would have seen the blurred bodies of six children. My cameraman took a shot of blood being mopped off the floor to signify what we could not show.
But on Twitter they don’t blur things out. If you follow the Syrian conflict, you will see horrific pictures of dead children and their grieving relatives several times a week. If you’re following the Islamic State story on social media, you will see crucifixions, executions, beheadings – often posted by people trying to convince us that IS are bad and should be blown to smithereens themselves.
We are besieged now by images of the dead in conflict, usually published by people who believe it will either deter killing, expose the perpetrators or illustrate war’s futility and brutality.
It is an old illusion and we can trace it back to a precise moment in history. In 1924, the German anti-war activist Ernst Friedrich published a shocking book called War Against War!.
Friedrich had been jailed during the war for sabotaging production in an arms factory, and was a wild leftwinger. By the early 1920s, he had assembled a comprehensive collection of photographs showing the reality of the first world war. Probably the most offputting are those of facial mutilations endured by surviving soldiers.
But there is also documentary evidence of the brutalities of war: the hanging of a priest by a triumphant German soldier; a starved Armenian child, captioned by the words of a German politician who had claimed that “every mercy shown to lower races is a crime against our mission”.
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Often Friedrich himself indulged in crude propaganda: a picture of “Papa” posing proudly in his uniform on recruitment, juxtaposed with his shattered body three weeks later, with the comment “not included in the family album”.
Though hounded by censors and lawsuits, Friedrich’s book went into 10 editions before the Nazis banned it. The “international anti-war museum” he had opened in a terrace house in Berlin was closed by Hitler’s stormtroopers in 1933 and turned into a torture chamber.
Friedrich’s work represented a breakthrough. Before then, imagery of war had been subject to absolute censorship during conflict and diluted for the sake of “taste and decency” by the media during peacetime.
So War Against War! – republished in facsimile this year in the UK by the Bertrand Russell Peace Foundation – poses a relevant question: why is it that showing people gruesome photographs of war injuries does not deter war? In a conflict such as Israel-Palestine, people on both sides feel compelled to fight. Other conflicts are wars of choice. Professional soldiers know what they are signing up to. One day spent on a trauma first aid course, even with fake blood spurting out of rubber prosthetic wounds, is enough to illustrate what it is going to be like.
The closer I get to conflict, and the people who endure it, the more I think: nothing we know about war can deter us from it. In fact, in the 90 years since Friedrich’s book came out, we’ve developed coping strategies to assuage the feelings of horror such imagery arouses.
Faced with horrific injuries, we develop prosthetic technologies and plastic surgery. Faced with lethal weaponry – we develop Kevlar or drones and stand-off weapons to keep our own soldiers safer. We professionalise armies and improve survival rates for the wounded.
Plus there’s international law. Today, no day of conflict passes without somebody accusing someone of breaking the Geneva Conventions. The implication is that war conducted according to the rules is regrettable but all right. Instead of the language of the jingoist, which Friedrich ridiculed, we have the language of the technocrat: collateral damage, civilian deaths to be regretted.
Finally, while the first world war was begun in ignorance about the horrors of war, by the mid-century, belligerents had learned how to use images of atrocity to fire people up to fight.
But why do we then report war? Last week, I attended the Rory Peck awards, where my Gazan producer Khaled Abu Ghali won the Martin Adler prize for the work he did for Channel 4 News. The room was full of people who risk their lives to get pictures of horrific injury, cruelty and death, and the executives who send them there.
There’s a growing frustration in this milieu not just that journalists are being targeted, but that a disbelieving public has come to see all graphic imagery of war as potentially fake, manipulated or propagandist.
Adler, a Swedish film-maker murdered in Mogadishu in 2006, imbued his camerawork with an unflinching gaze. It was the absurd human situations, the disarmed honesty of the combatants and pointlessness of conflict that he was there to record, not the mutilated faces.
Many Germans in the 1920s and 30s came to believe, despite the horrific photographs, that the war had embodied the noblest and most exhilarating aspects of human life; and specifically that warfare represented the ultimate in technological modernity and moral freedom. This remains a more dangerous myth than the idea that war is harmless, fun or simply heroic. Adler, and others like him, understood that showing absurdity is more important than showing injury.
I have no doubt the men clustered around the children’s bodies in Al-Shifa thought the war they were fighting was just. But the collective sigh when they saw the injuries convinced me they had seen through any illusions as to the conflict’s glory.
Pictures of war should not only show us what bodies look like. They should educate us about the absurdities, the accidents and pointless killing.
▻http://www.theguardian.com/commentisfree/2014/nov/23/horrific-pictures-of-dead-bodies-wont-stop-wars
#the_guardian #war #photo #photograpy #violence #photojournalism #reportage
Josef Koudelka: Nationality Doubtful
An aeronautical engineer by training, Josef Koudelka (Czech, naturalized French, born 1938) became intensely committed to photography by the mid-1960s and quickly emerged as one of the most influential, iconoclastic photographers of his generation. This exhibition—the first U.S. #retrospective devoted to Koudelka since 1988—traces his legendary career with more than 140 works produced over five decades. It marks the first time that the work of one contemporary photographer will fill the Center for Photographs at the Getty.