Your wonderful and kind messages mean so much to us, as has your friendship, council and support over so many years. There is no prize in our trade that we could ever value as much as your belief in us.

– Vaughan and Pranvera Smith

 

Thank you to Stewart Purvis, Richard Gizbert, Tina Carr, Emma Beals, Allan Little, Mani, Stuart Hughes, Richard Sambrook, Jon Snow, Marina Litvinenko, Martin Bell, Tom Fenton, Anthony Loyd, Lyse Doucet, Bill Neely, Lindsey Hilsum, Charles Glass, John G Morris, Salim Amin, Liz Palmer Gary Knight, Jon Lee Anderson, Jeremy Bowen, Matt Frei and Jean-Jacques Gonfier.

Photography agency VII’s latest publication, Questions Without Answers, not only spans over two decades of world history, but it also spans the evolution of photojournalism and the photographers who have pioneered their own take on the industry.

The book reflects the independence that the VII founders established for themselves when they set up their agency in 2001 – the ability to change and develop and evolve. Three out of the original seven founding members were on the panel for Monday’s event, Gary Knight, Christopher Morris and John Stanmeyer. All have been able to escape the constraints of the major agency, setting their own agenda and timetables.

Three years in the making, Questions Without Answers covers a broad spectrum of reportage. Chairing the event, Alexia Singh, Editor-in-Charge of the Wider Image Desk at Thompson Reuters, remarked on the contrast of Gary Knight’s coverage in Iraq – “a terrifying blood, sweat and tears story” – to his slower paced, contemplative documentation of poverty in India.

Knight said: “I got a lot more than I bargained for. . . . I really grew a little tired of the violence and I started to think of ways to move away from that kind of photography.”

But non-conflict work also brings its horrors. In 2004, John Stanmeyer’s reached the tsunami-torn shores of Sri Lanka within 24 hours of the waves hitting, before moving on the cover the impact in Aceh.

“I’ve been in a lot of natural disasters, of course a lot of conflicts, but natural disasters have a different psychological effect,” said Stanmeyer. “In a natural disaster there is no one to blame. Who are you going to blame? Are you going to blame God? Allah? Buddha? It was a calamity of a scope that is beyond human scale. It was beyond photography, it was beyond a camera, it was beyond me.”

Christopher Morris has also made a move from conflict photography, which he initially considered “the ultimate in photography – man trying to kill another man – the ultimate evil in humanity”. But that move away from conflict photography has allowed him closer focus on the decision makers:

“For me it’s fascinating to cover politics because you cover conflict all your life and these are the people that actually carry it through, these are the people that make the decisions.”

The agency seems to have created the space for its members to explore the space that surrounds the actions of war and conflict. The fourth panellist, Lynsey Addario, said that she was always drawn to “the issues surrounding war – on the margins”.

Addario is one of the seven women who now make up the agency of 23, helping to tip the scales in this once male-dominated industry. Admitting that the work can be “physically gruelling and emotionally draining”, she said that a person’s reactions depend on their own sensitivities: “It doesn’t matter if you’re a man or a woman.”

Knight expanded on this point:

“Too much can be made of [the gender issue] – they’re out there and they’re doing it, and they’re doing it very, very well. . . . Over the course of my career, you see many, many more women photographing, one of the problems is you don’t have many ethnicities photographing.”

To try and rectify this imbalance, VII launched a mentor programme to try and encourage photojournalism globally, giving budding photographers a chance to develop and find their own voice and audience.

In Stanmeyer’s words, this is the kind of “empowerment” that VII has brought to its members, a freedom to act independently, which Knight likened to the lunatics taking over the asylum. But Questions Without Answers is a testament to the lunatics’ success. “The challenge now,” said Knight, “is building something that will last . . . a legacy.”

Join more than 15 photojournalists from the prestigious agency VII Photo for a half-day seminar on photojournalism at the Royal Institution of Great Britain.

The seminar will be split into three panel discussions with opportunities to ask questions and learn more about the work of VII and the state of modern photojournalism.

9:00 Keynote address 

Director and Founder of the Frontline Club Vaughan Smith 

9:30 The Creation of VII – The role of photojournalism in the 21st century

With Ron Haviv, Christopher Morris, Seamus Murphy and Franco Pagetti. Moderated by Max Houghton.

11:00 Photographic Education: Finding your way

With Ashley Gilbertson, Ron Haviv, Gary Knight and Anastasia Taylor-Lind. Moderated by Paul Lowe.

12:30 The New Economy: How to fund your projects

With Venetia Dearden, Ed Kashi, Tomas van Houtryve, Jon Jones (The Sunday Times),  Gary Knight and Donald Weber. Moderated by Stephen Mayes.

14:00 Book signing of Questions Without Answers – The World in Pictures by the Photographers of VII and more.

The seminar will be followed by portfolio reviews with eight VII Photo photographers. More details on how to book a portfolio review are available here.

Sponsored by:

Since its formation in 2001, VII Photo has represented some of the leading photojournalists of the 21st century. As a collectively owned agency, it has grown from seven to 23 members, diversifying from conflict photography to all branches of photojournalism.

VII’s new book, Questions Without Answers, tackles issues that have shaped the world in our lifetime.

A powerful visual history of the world from the end of the Cold War to the present day, the book features a startlingly wide variety of work; from coverage of the war in Iraq and the events of 9/11 to an exploration of Hurricane Katrina’s aftermath, from portraits of our most significant cultural figures to dispatches from the current economic crisis.

VII photographers Lynsey Addario, Gary Knight, Christopher Morris and John Stanmeyer will be at the Frontline Club to discuss the key themes in the book and their individual experiences of covering history in the making. The event will be moderated by Alexia Singh, Editor-in-Charge, Wider Image Desk at Thompson Reuters.

Lynsey Addario began photographing professionally in 1996 for The Buenos Aires Herald in Argentina, with no professional training. Since 2001, Addario has freelanced for the daily New York Times, National Geographic, and TIME while living in Mexico, Iraq, Turkey, and India, covering feature stories worldwide, in addition to conflicts in Afghanistan, Iraq, Darfur, Lebanon, and Congo. Addario has won many awards and was part of the NYT team to win the 2009 Pulitzer Prize for International Reporting, for her Talibanistan photographs.

Gary Knight made his name covering the breakup of the former Yugoslavia and conflicts arond the world. His work has been widely published by magazines all over the world, exhibited globally, is in the collections of several museums and private collectors and has been the recipient of numerous high-profile awards. Knight lectures on photography an journalism at Tufts University in Boston.

Christopher Morris is also a founding member of VII. He spent the first twenty years of his career covering conflict and a further eight years as the White House photographer for Time Magazine. He has won numerous awards, including the Robert Capa Gold Medal award, the Visa d’Or award and numerous World Press Photo Awards.

John Stanmeyer another founding member of VII, has witnessed nearly every major historical event in Asia in the past 12 years, photographing the rapid changes taking place throughout the entire region. Working regularly for National Geographic Magazine and Time Magazine, Stanmeyer has been awarded the Robert Capa and numerous World Press Photo awards. In 2008 he received the National Magazine Award for this in-depth essay on the global Malaria epidemic.

Questions Without Answers will be on sale at the event and available for signing.

Sponsored by:

In fact, Knight and Nordland represented 100 percent of the world’s journalists covering the story when they were there. That’s right: as far as they could determine, they were the only recognisable journalists there reporting. How can this be? In a world of wealthy and powerful 24-hour news channels and networks, in a media world of committed documentary-makers, in a world of hungry freelancers, more than 2 million displaced people living in refugee camps are getting virtually no coverage.

Newsweek magazine deserves credit for bankrolling what was an expensive and time-consuming assignment. And it devoted four pages in both its domestic and international editions to the story. Knight and Nordland proved what tenacious and resourceful journalism is all about by overcoming all the obstacles to getting to the Darfur story. How they accomplished this and what they found is compelling listening and viewing on the Frontline video recording of their presentation. (www.frontlineclub.com)

It’s worth a reminder that the tragedy unfolds out of view while we’re being force-fed the media gluttony of Shilpa and Big Brother, Anna Nichole Smith, and Britney Spears.

For those who do take the risks to get to the Darfur and witness what is a complicated story now that the rebel groups are so badly divided themselves, there’s no guarantee that their stories will be aired or published.

Knight despairs about the celebrity-driven media market in Britain. Along with Mort Rosenblum and Simba Gill he plans to introduce a new serious quarterly international news magazine called Dispatches later this year that will feature reportage and photography from the sharp edge of journalism.

If mainstream journalism isn’t interested in Darfur – apart from admirable journalist-commentators such as the New York Times‘s Nicholas Kristof – is there anything that can be done to support freelancers who can’t afford to travel to Khartoum or N’Djamena and find a way to get in? What will it take to underwrite more independent filmmakers such as Phillip Cox, who first showed us the unfolding tragedy more than three years ago?

This is where the Frontline Club could make a difference. All it needs is to establish a fund for the coverage of humanitarian crises. A survey carried out by the Reuters Foundation and the Fritz Institute several years ago found that journalists, especially those living outside North America, would accept money from an “independent” source. Who is independent and what funders expect from their investment will always be an issue. But if the Bill and Melissa Gates Foundation or any other reputable foundation wants to empower the Frontline Club to ensure that crises on the scale of Darfur don’t go uncovered, then surely the lesser evil is informing the world.