I’m especially keen now at looking into how Europeans edit photographic stories because the have a very different point of view than us Americans. It’s a bit more existential and less obvious. In many ways, it’s liberated from structures that we impose on our storytelling. I love tradition, but if we are all telling stories in the same way, I think we do our subjects a disservice as well as the public.
Maggie Steber
We live in a post-photographic world now and we need to think in broader and fresher terms.
Tim Hetherington(Source: lalettredelaphotographie.com)
Potocari, Bosnia-Herzegovina, July, 2010. Hundreds of coffins ready for the funeral ceremony held each year on 11 July to commemorate the July 1995 Srebrenica massacre, the most brutal massacre in Europe since World War Two. All those remains that have been identified in the previous year are buried. In 2010, the year this photograph was taken, 775 bodies were buried.
“As the Jews who, expelled from Sepharad, took with them the keys to their homes and kept them for five hundred years, our keys came with us too, in suitcases and in pockets. Keys to houses that had been searched, destroyed, violated… sharing the same ring with new keys that opened other doors and allowed us to construct once again a home, maybe forever, maybe just for a time.” —Marcelo Brodsky
Recycling workers on top of Smokey Mountain, Nigel Gordon Dickinson//Smokey Mountain, Cambodia
