How did you come to war reportage?
As I began to work as a photo reporter for the newspaper, I had not the intention to report from conflict zones. But one of my first Jobs led me to El Paso, Texas, directly on the border to Mexico. It was fought in the late ‘ 80s, as the two political parties to the leadership. Thousands gathered to heated protests; something that I’m where I grew up in the suburbs of California and Virginia – had never seen. This job led to many more in Mexico, Central and South America, and the Caribbean for the “L. A. Times” where you hired me in 1994. For ten years, I reported on political strife and natural disasters, which was a good preparation for the jobs that followed in more distant conflict zones such as Kosovo and Palestine, as well as, shortly after 9/11, in Afghanistan and in Iraq.
What attracted you to this work?
As a US-American photo-journalist, I felt it my duty to show how much influence the US government has around the world, and to show how our soldiers fight abroad. If you are one of the few international reporters who cover such stories, it means that your work will learn a lot of attention. In Baghdad, I was one of ten American journalists, as the bombing began; and I was the only one reported in the spring of 2002, during the siege of the Nativity Church in Bethlehem from the interior of the Church.
Is it easier or more difficult for a woman to report from crisis areas?
Both. As a woman, I have more direct access to the reality of life and that of other women, especially in the Middle East and Asia. Elsewhere, the fact that I am a woman, my work is made more difficult, for example, when it comes to military operations on the inside. But I’m of the difficulties never be discouraged, to do my Job. Some of my strongest images have been created under such restricted conditions.
kiss goodbye: A father with his deceased son. Image: Carolyn Cole / Los Angeles Times
death and violence make no distinction between a man and a woman. But the female view from that of the man is different, perhaps?
The fact that I am a woman, never had influence on how I selected my reports and as I walked up to a story. I also tried never, specially the Situation of women in the affected regions of the map. But women and children as men, are now victims of the war, and so their fates are important when it comes to showing the ravages of a war on a people. I believe that the nature of the images, the power of a photo reporter, have less to do with his gender than to the severity of his emotional sensitivity. For my part, I often find images carry more emotion than Action, even if they occur in chaotic situations.
Some of your images are of terrible beauty. It has been criticized that you are the miserable aesthetic.
When I’m working, I always try to find the image that everything that happens around me, brings home the point. The image of the News to be transported, but with good composition, good light, good colours. Significant Moments. I want that my pictures are informative, but also engaging. The Aesthetic is Central, if you don’t want the viewer to look the other way. So I try, in the Chaotic and frightening a Moment of rest to find. The people should see the horrors of war, Yes, but also the humanity.
Waiting prisoners: The men waiting for their interrogation by the Pakistani intelligence service. Image: Carolyn Cole / Los Angeles Times
Why was it so much less War reporters war reporters?
Because there is an enormous amount of dedication and commitment needed to get such jobs. For me, it took many years, until my Client had the confidence in me and sent loss. In a Business dominated by men, especially in the boardrooms, women are now less opportunities. There has begun a change, but it is still always measured with unequal Ellen.
the Client may also Have scruples, a woman exposing such dangers?
Can> be. The death of several prominent journalists – Chris Hondros, Tim Heath ringtone, Daniel Peel, Marie Colvin was a Wake-up call. This illustrates the dangers faced by all journalists. Less media companies are now willing to take the risk to send their own people in crisis areas. Rather, they rely on freelance journalists on the ground.
Wounded in the neck and face: A woman in a hospital in Baghdad. Image: Carolyn Cole / Los Angeles Times
you Feel fear when you are working? report
From crisis regions can be very scary. But I do I meet all sorts of safety precautions. The protective clothing that is in demand, whether it is a helmet or wear a headscarf, for example. Attempts to establish contacts to local journalists and Translators. And work together, whenever possible, with journalists who I know and I trust. What is also important is The support I have received in all the years of my family is. I am very grateful.
What drives you to go on and on?
The Belief that what I was doing, has a sense. I turn all my energy to make the physical and the mental, the best possible images.
you will Be working in the future in a conflict zone?
I have Just returned from Australia, where I saw the Bush fires and the devastation they leave behind. I’ve seen a lot of Beelendes, but really Worry about the future makes me of the planet. Many of the wars that I have photographed, were disguised as wars of Religion or Power, it was in truth to natural resources. I think the journalists of my Generation expects me to self – have so far failed, the destruction of our earth show. Therefore, I want to focus in the future on environmental issues. For me, this is the greatest battle of our time.
“a photographer on the inside of the Front” is the name of the Show, the regions of the past 90 years shows images of international War, taken by Carolyn Cole and 7 other photographers. The exhibition was created in cooperation with the Kunst Palast in Düsseldorf, where she was seen last year in a slightly modified Form.
photo Museum Winterthur
Grüzenstr. 44
opening: Fri 28.2. 18 At Up To 24.5.
Talk with Carolyn Cole: So 1.3. 11.30 am
www.fotomuseum.ch
Created: 27.02.2020, 17:24 PM
