Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that creates images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (i.e., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work is both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media.

• Timeliness — the images have meaning in the context of a recently published record of events.

• Objectivity — the situation implied by the images is a fair and accurate representation of the events they depict in both content and tone.

• Narrative — the images combine with other news elements to make facts relatable to the viewer or reader on a cultural level.

Like a writer, a photojournalist is a reporter but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (i.e., physical danger, weather, crowds).

History[link]

Foundations[link]

The practice of illustrating news stories with photographs was made possible by printing and photography innovations that occurred between 1880 and 1897. While newsworthy events were photographed as early as the 1850s, printing presses could only publish from engravings until the 1880s. Early news photographs required that photos be re-interpreted by an engraver before they could be published. Train wrecks and city fires were a popular subject in these early days.^[1]

In 1847, an unknown photographer took daguerreotypes of the U.S. troops in Satilo, Mexico, during the Mexican-American War.^[2][1][3] The first known photojournalist was Carol Szathmari (Romanian painter, lithographer, and photographer) who did pictures in the Crimean War (between Russia and Ottoman Empire, 1853 to 1856). His albums were sent to European royals houses^{[citation needed]}. Just a few of his photographs survived. William Simpson of the Illustrated London News and Roger Fenton were published as engravings. Similarly, the American Civil War photographs of Mathew Brady were engraved before publication in Harper's Weekly. Because the public craved more realistic representations of news stories, it was common for newsworthy photographs to be exhibited in galleries or to be copied photographically in limited numbers.

On March 4, 1880, The Daily Graphic (New York)^[4] published the first halftone (rather than engraved) reproduction of a news photograph. Further innovations followed. In 1887, flash powder was invented, enabling journalists such as Jacob Riis to photograph informal subjects indoors, which led to the landmark work How the Other Half Lives.^[5] By 1897, it became possible to reproduce halftone photographs on printing presses running at full speed.^[6]

Despite these innovations, limitations remained, and many of the sensational newspaper and magazine stories in the period from 1897 to 1927, (see Yellow Journalism) were illustrated with engravings. In 1921, the wirephoto made it possible to transmit pictures almost as quickly as news itself could travel. However, it was not until development of the commercial 35mm Leica camera in 1925, and the first flash bulbs between 1927 and 1930 that all the elements were in place for a "golden age" of photojournalism.

Farm Security Administration[link]

From 1935 to 1942, the Farm Security Administration and its predecessor the Resettlement Administration were part of Franklin Roosevelt's New Deal, and were designed to address agricultural problems and rural poverty associated with the Great Depression. A special photographic section, headed by Roy Stryker, was intended merely to provide public relations for its programs, but instead produced what some consider one of the greatest collections^[7] of documentary photographs ever created in the U.S. Whether this effort can be called "photojournalism" is debatable, since the FSA photographers had more time and resources to create their work than most photojournalists usually have.

Golden age[link]

Into the Jaws of Death: Assault landing One of the first waves at Omaha Beach as photographed by Robert F. Sargent.

In Migrant Mother Dorothea Lange produced the seminal image of the Great Depression. The FSA also employed several other photojournalists to document the depression.

In the "golden age" of photojournalism (1930s–1950s), some magazines (Picture Post (London), Paris Match (Paris), Arbeiter-Illustrierte-Zeitung (Berlin), Berliner Illustrierte Zeitung (Berlin), Life (USA), Look (USA), Sports Illustrated (USA)) and newspapers (The Daily Mirror (London), The New York Daily News (New York)) built their huge readerships and reputations largely on their use of photography, and photographers such as Robert Capa, Romano Cagnoni, Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith became well-known names.

Henri Cartier-Bresson is held by some to be the father of modern photojournalism, although this appellation has been applied to various other photographers, such as Erich Salomon, whose candid pictures of political figures were novel in the 1930s.

Soldier Tony Vaccaro is also recognized as one of the pre-eminent photographers of World War II. His images taken with the modest Argus C3 captured horrific moments in war, similar to Capa's soldier being shot. Capa himself was on Omaha Beach on D-Day and captured pivotal images of the conflict on that occasion. Vaccaro is also known for having developed his own images in soldier's helmets, and using chemicals found in the ruins of a camera store in 1944.

Until the 1980s, most large newspapers were printed with turn-of-the-century “letterpress” technology using easily smudged oil-based ink, off-white, low-quality “newsprint” paper, and coarse engraving screens. While letterpresses produced legible text, the photoengraving dots that formed pictures often bled or smeared and became fuzzy and indistinct. In this way, even when newspapers used photographs well — a good crop, a respectable size — murky reproduction often left readers re-reading the caption to see what the photo was all about. The Wall Street Journal adopted stippled hedcuts in 1979 to publish portraits and avoid the limitations of letterpress printing. Not until the 1980s had a majority of newspapers switched to “offset” presses that reproduce photos with fidelity on better, whiter paper.

By contrast Life, one of America’s most popular weekly magazines from 1936 through the early 1970s, was filled with photographs reproduced beautifully on oversize 11×14-inch pages, using fine engraving screens, high-quality inks, and glossy paper. Life often published a United Press International (UPI) or Associated Press (AP) photo that had been first reproduced in newspapers, but the quality magazine version appeared to be a different photo altogether.

In large part because their pictures were clear enough to be appreciated, and because their name always appeared with their work, magazine photographers achieved near-celebrity status. Life became a standard by which the public judged photography, and many of today’s photo books celebrate “photojournalism” as if it had been the exclusive province of near-celebrity magazine photographers.

The Best of Life (1973), for example, opens with a two-page (1960) group shot of 39 justly famous Life photographers. But 300 pages later, photo credits reveal that scores of the photos among Life’s “best” were taken by anonymous UPI and AP photographers.

Thus even during the golden age, because of printing limitations and the UPI and AP syndication systems, many newspaper photographers labored in relative obscurity.

"Life" and the other photographic magazines celebrated the human spirit during the Second World War and when the war ended there was an optimistic period in the USA and Europe of unbridled consumerism and a general belief that things could only get better. The magazines celebrated humanism and the sense that anything was possible. Even if they showed poverty and hunger it was with an underlying message that by exposing it to public scrutiny things would improve.

Decline of the photo magazines[link]

During the sixties there was a growing realization that the view that photography would cause living conditions to improve was naive. The menace of the Cold War had shown that in the Korean War (1950-1953) fighting could end in a stalemate but there was still a chance that good would overcome. The sense that America could change the world in a positive way was tarnished but still there. In the sixties and early seventies the Vietnam War (1961-1975) shook that ideal and the civil rights issues threw the nation into upheaval — the sense that there was going to be a better world was thrown into question and the picture magazines found it difficult to exist as the world grew more cynical. Obtaining advertising revenue for the magazines became increasingly difficult as the trend moved to the more positive lifestyle magazines — here pictures of famous people and domestic abundance could attract ad revenue. "Picture Post" in the United Kingdom published its last issue on 1 June 1957 using the same cover image of two leaping ladies that it had when it started on 1 October 1938. "Life" in the USA hung on through the 1960‘s and published its final issue on 29 December 1972.

Manuel Rivera-Ortiz: Tobacco Harvesting, Viñales Valley, Cuba 2002

The rise of the photo agencies[link]

In 1947 a few famous photographers founded the international photographic cooperative Magnum Photos. In 1989 Corbis Corporation and in 1993 Getty Images were founded. These powerful image libraries sell the rights to photographs and other still images.

Acceptance by the art world[link]

Since the late 1970s, photojournalism and documentary photography have increasingly been accorded a place in art galleries alongside fine art photography. Luc Delahaye, Manuel Rivera-Ortiz and the members of VII Photo Agency are among many who regularly exhibit in galleries and museums.^[8]

Professional organizations[link]

Military Photographer of the Year 1st Runner-Up: MC1 Shane T. McCoy

The Danish Union of Press Photographers (Pressefotografforbundet) was the first national organization for newspaper photographers in the world. It was founded in 1912 in Copenhagen, Denmark by six press photographers.^[9] Today it has over 800 members.

The National Press Photographers Association (NPPA) was founded in 1946 in the U.S., and has about 10,000 members. Others around the world include the British Press Photographers Association^[10] (BPPA) founded in 1984, then relaunched in 2003, and now has around 450 members. Hong Kong Press Photographers Association (1989), Northern Ireland Press Photographers Association (2000), Pressfotografernas Klubb (Sweden, 1930), and PK — Pressefotografenes Klubb (Norway).^[11]

News organisations and journalism schools run many different awards for photojournalists. Since 1968, Pulitzer Prizes have been awarded for the following categories of photojournalism: 'Feature Photography', 'Spot News Photography'. Other awards are World Press Photo, Best of Photojournalism, and Pictures of the Year as well as the UK based The Press Photographer's Year.^[12]

Ethical and legal considerations[link]

Photojournalism works within the same ethical approaches to objectivity that are applied by other journalists. What to shoot, how to frame and how to edit are constant considerations. Photographing news for an assignment is one of the most ethical problems photographers face. Photojournalists have a moral responsibility to decide what pictures to take, what picture to stage, and what pictures to show the public. For example, photographs of violence and tragedy are prevalent in American journalism because as an understated rule of thumb, that “if it bleeds, it reads”. The public is attracted to gruesome photographs and dramatic stories. A lot of controversy arises when deciding which photographs are too violent to show the public.

Photographs of the dead or injured arise controversy because more often than not, the name of person depicted in the photograph is not given in the caption. The family of the person is often not informed of the photograph until they see it published. The photograph of the street execution of a suspected Viet Cong soldier during the Vietnam War provoked a lot of interest because it captured the exact moment of death. The family of the victim was also not informed that the picture would run publicly.

Other issues involving photojournalism include the right to privacy and the compensation of the news subject. Especially regarding pictures of violence, photojournalists face the ethical dilemma of whether or not to publish images of the victims. The victim’s right to privacy is sometimes not addressed or the picture is printed without their knowledge or consent. The compensation of the subject is another issue. Subjects often want to be paid in order for the picture to be published, especially if the picture is of a controversial subject.

Another major issue of photojournalism is photo manipulation – what degree is acceptable?  Some pictures are manipulated for color enhancement and others manipulated to the extend where people are photo shopped in or out of the picture. War photography has always been a genre of photojournalism that is frequently staged– see war photography: history for early examples). Due to the bulkiness and types of cameras present during past wars in history, it was rare when a photograph could capture a spontaneous news event. Subjects were carefully composed and staged in order to capture better images. Another ethical issue is false or misleading captioning. The 2006 Lebanon War photographs controversies is a notable example of some of these issue, and see photo manipulation: use in journalism for other examples.

The emergence of digital photography offers whole new realms of opportunity for the manipulation, reproduction, and transmission of images. It has inevitably complicated many of the ethical issues involved.

Often, ethical conflicts can be mitigated or enhanced by the actions of a sub-editor or picture editor, who takes control of the images once they have been delivered to the news organization. The photojournalist often has no control as to how images are ultimately used.

The United States National Press Photographers Association (NPPA) is a professional society that acknowledges concern for the public’s right to freedom in searching for truth in a photograph and the public’s right to be informed about the events that occur in the world. Since the same ethical approaches are applied to photojournalism as to other journalism forms, photographs should illustrate news in an object manner to keep the public accurately informed. The following are the Code of Ethics that the members of NPPA follow: 1. The practice of photojournalism, both as a science and art, is worthy of the very best thought and effort of those who enter into it as a profession. 2. Photojournalism affords an opportunity to serve the public that is equaled by few other vocations and all members of the profession should strive by example and influence to maintain high standards of ethical conduct free of mercenary considerations of any kind. 3. It is the individual responsibility of every photojournalist at all times to strive for pictures that report truthfully, honestly and objectively. 4. Business promotion in its many forms is essential, but untrue statements of any nature are not worthy of a professional photojournalist and we severely condemn any such practice. 5. It is our duty to encourage and assist all members of our profession, individually and collectively, so that the quality of photojournalism may constantly be raised to higher standards. 6. It is the duty of every photojournalist to work to preserve all freedom-of-the-press rights recognized by law and to work to protect and expand freedom-of-access to all sources of news and visual information. 7. Our standards of business dealings, ambitions and relations shall have in them a note of sympathy for our common humanity and shall always require us to take into consideration our highest duties as members of society. In every situation in our business life, in every responsibility that comes before us, our chief thought shall be to fulfill that responsibility and discharge that duty so that when each of us is finished we shall have endeavored to lift the level of human ideals and achievement higher than we found it. 8. No Code of Ethics can prejudge every situation, thus common sense and good judgment are required in applying ethical principles. .^[13]

Laws regarding photography can vary significantly from nation to nation. The legal situation is further complicated when one considers that photojournalism made in one country will often be published in many other countries.

The impact of new technologies[link]

Smaller, lighter cameras greatly enhanced the role of the photojournalist. Since the 1960s, motor drives, electronic flash, auto-focus, better lenses and other camera enhancements have made picture taking easier. New digital cameras free photojournalists from the limitation of film roll length, as thousands of images can be stored on a single memory card.

Content remains the most important element of photojournalism, but the ability to extend deadlines with rapid gathering and editing of images has brought significant changes. As recently as 15 years ago, nearly 30 minutes were needed to scan and transmit a single color photograph from a remote location to a news office for printing. Now, equipped with a digital camera, a mobile phone and a laptop computer, a photojournalist can send a high-quality image in minutes, even seconds after an event occurs. Camera phones and portable satellite links increasingly allow for the mobile transmission of images from almost any point on the earth.

There is some concern by news photographers that the profession of photojournalism as it is known today could change to such a degree that it is unrecognizable as image-capturing technology naturally progresses.^[14] Citizen journalism and the increase in user contribution and submission of amateur photos to news sites is becoming more widespread. As early as the Crimean War in the mid-19th century, photographers were using the novel technology of the box camera to record images of British soldiers in the field. However, the widespread use of cameras as a way of reporting news did not come until the advent of smaller, more portable cameras that used the enlargeable film negative to record images. The introduction of the 35 mm Leica camera in the 1930s made it possible for photographers to move with the action, taking shots of events as they were unfolding.

The age of the citizen journalist and the attainment of news photos from amateur bystanders have contributed to the art of photojournalism. Paul Levinson attributes this shift to the Kodak camera, one of the first cheap and accessible photo technologies that “put a piece of visual reality into every person's potential grasp.”^[15] The empowered news audience with the advent of the Internet sparked the creation of blogs, podcasts and online news, independent of the traditional outlets, and “for the first time in our history, the news increasingly is produced by companies outside journalism”.^[16][17]

See also[link]

Journalism portal

• VII Photo Agency
• Associated Press
• List of photojournalists
• Magnum Photos
• Photo caption
• ZUMA Press

References[link]

Further reading[link]

• Kenneth Kobre, Photojournalism : The Professional's Approach 6th edition Focal Press, 2008.
• Don McCullin. Hearts of Darkness (1980 - much reprinted).
• Zavoina, Susan C., and John H. Davidson, Digital Photojournalism (Allyn & Bacon, 2002). ISBN 0-205-33240-4
• The Photograph, Graham Clarke, ISBN 0-19-284200-5

External links[link]

• "A Brief History of Photography and Photojournalism, by Ross Collins, North Dakota State University, Fargo
• La Bruja, Cuba - an example of photojournalism
• An example of ethics guidelines for photo-journalism by DigitalCustom
• "Photojournalism". Photography. Victoria and Albert Museum. http://www.vam.ac.uk/collections/photography/past_exhns/photojournalism/. Retrieved 2007-06-16. 
• The British Press Photographers' Association
• Gaia - Photojournalism from around the world
• How To Become a Photojournalist, CubReporters.org
• Pressphotos freelance photographers accociations around the world

Tyler Hicks is an American journalist who works as a staff photographer for The New York Times. Based in Kenya, he typically covers foreign affairs, with an emphasis in recent years on conflict and war, but also works at times on assignments across the United States.

He has won several awards. He was named the newspaper photographer of the year by the Missouri School of Journalism's Pictures of the Year International contest in 2007.^[1] He shared the 2009 Pultizer Prize for International Reporting with a team from The New York Times recognized for coverage of Pakistan and Afghanistan, where he works frequently in the field, focusing on the ground-level experience. In 2010, his photographs from the wars in Iraq and Afghanistan, along with the war correspondence of his colleagues Dexter Filkins and C.J. Chivers, with whom he often works, were selected by New York University as one of the Top Ten Works of Journalism of the Decade.^{[citation needed]}

Before working at the Times Hicks was a freelance photographer based in Africa and the Balkans, and worked for newspapers in North Carolina and Ohio.^[2]

Hicks has worked in Afghanistan, Pakistan, India, Iraq, Russia, Bosnia, Lebanon, Israel, and many countries in Africa including during the 2011 South Sudan referendum. He graduated from Boston University's School of Communication in 1992 with a degree in Journalism.^[3]

Hicks was reported missing on March 16, 2011, while covering the revolution in Libya for The New York Times.^[4] The New York Times reported on 18 March 2011 that Libya had agreed to free him and three colleagues: Anthony Shadid, Lynsey Addario and Stephen Farrell.^[5] Hicks and his three colleagues were released on March 21, 2011, six days after being captured in Ajdabiya by forces loyal to Colonel Qaddafi. ^[6]

On Feb 16, 2012, Hicks's colleague Anthony Shadid suffered a deadly asthma attack while covering civil unrest in Syria. Hicks reportedly carried the body of his dead colleague across the border into Turkey. ^[7]

References[link]

Notes

External links[link]

• Lens posts published by Tyler Hicks, (The New York Times) Tyler Hicks' essays on the Times' Lens blog.

Ed Kashi (born November 16, 1957) is an American photojournalist and member of VII Photo based in the Greater New York area. Kashi's award-winning work spans from high-end print photojournalism to experimental film. He is most noted for documenting contemporary sociopolitical issues.^[1]

Ed Kashi, Photojournalist
Born	November 16, 1957
Education	Syracuse University
www.edkashi.com

Ed Kashi's work on the plight of the Kurdish people and the impact of the oil industry upon the impoverished Niger Delta has provided extensive photojournalistic reporting of these global issues. In addition, he is known for his coverage of religious strife both in America and abroad. Most notable would be his work documenting the Protestant community in Northern Ireland, the lives of Jewish settlers in the West Bank, and the strife between the Shiites and Sunnis in Iraq.

Kashi and his wife, Julie Winokur, are co-founders of a non-profit multimedia company called Talking Eyes Media.^[2] Talking Eyes Media was created in 2002 to deliver issue-orientated stories to the general public. Some of the stories covered by Talking Eyes Media/Ed Kashi are: Aging in America,^[3] Denied: The Crisis of America's Uninsured and The Sandwich Generation. Aging in America was further the subject of a book published by powerHouse books^[4] and named by American Photo Magazine as one of the best photo books of 2003.^{[citation needed]} Aging in America also received an award from Pictures of the Year, World Press Photo and two Freddie Awards(2005).^{[citation needed]}

"Curse of the Black Gold, Hope and Betrayal in the Niger Delta”, published in National Geographic Magazine, February 2007, chronicled the negative impact of oil development on the impoverished Niger Delta. This article led to a collaborative photographic and editorial essay book published by powerHouse books in May 2008, Curse of the Black Gold: 50 Years of Oil in the Niger Delta.

A leading pioneer of multimedia storytelling^{[citation needed]}, Kashi uses stills along with video and audio, putting him on the cutting edge of new media. His work appears on Mediastorm and msnbc.com. Kashi's innovative approach to photography and filmmaking produced the Iraqi Kurdistan Flipbook which premiered on msnbc.com in December 2006.^[5] The Flipbook utilizes thousands of stills in a moving image format, layered with music to create a symphonic documentary.^[5] The Flipbook has been part of many film festivals across the world including Silverdocs (2007) and the Tiburon International Film Festival (2008).[[1]]

Kashi has worked closely with National Geographic Society since 1990 and holds a degree in photojournalism from Syracuse University.^[6] His clients include: The New York Times Magazine, Time, Mediastorm, Ford Foundation, Robert Wood Johnson Foundation, GEO, Newsweek and msnbc.com.^{[citation needed]} Photojournalisms, his latest book is a compilation of journal writings to his wife, done over a nearly 20 year period, from various locations around the world. It was published in March 2012, by JGS/Nazraeli Press and was recently highlighted during an interview with Kashi for the New York Times Lens Blog *[2] . Kashi continues to teach and lecture extensively.

Bibliography[link]

• Photojournalisms (JGS/Nazraeli Press, 2012)
• Three (powerHouse books, 2009)
• Curse of the Black Gold: 50 Years of Oil in the Niger Delta (powerHouse books, 2008)
• Aging in America (powerHouse books, 2003)
• Denied: The Crisis of America's Uninsured (Talking Eyes Media, 2003)
• When the Borders Bleed: The Struggle of the Kurds (Pantheon Books, 1994)
• The Protestants: No Surrender (Ed Kashi, 1991)

References[link]

External links[link]

• Ed Kashi website
• Curse of the Black Gold: 50 Years of Oil in the Niger Delta
• Aging in America at MSNBC.com
• Talking Eyes Media
• Iraqi Kurdistan Flipbook
• The Sandwich Generation
• Friends for Life
• [3]

Ron Haviv (1965)^[1] is a photojournalist, producing work covering a broad spectrum of international conflict. He is the author of several photographic collections and the recipient of a number of awards. Haviv is also a co-founder of VII Photo Agency, which is dedicated to documenting change, conflict, and development of individuals, cultures and societies worldwide. He also lectures at universities, conducts workshops worldwide, and has appeared on a number of television news shows.

Biography[link]

A graduate of New York University^[2], Ron Haviv has covered conflict and other humanitarian crises worldwide since the end of the Cold War. Haviv is known for his broad documentation of the Yugoslav Wars: the battle of Vukovar in Croatia, the Siege of Sarajevo, the atrocities committed at Serb concentration camps in Bosnia and Herzegovina, and the practice of ethnic cleansing as exhibited by Arkan's Tigers.^[3]

He has also photographed the city of Juárez,^[4] a battleground of the Mexican Drug War where civilian, law enforcement and cartel member casualties occur daily.^[5] Additionally, Haviv is noted for his coverage of the destruction of the 2010 Haiti Earthquake, as well as the subsequent Cholera epidemic, and celebrity support and involvement in its reconstruction. Haviv's photography also sheds light on malnutrition in Bangladesh, clashes between Los Angeles gangs and police forces, the 2009 Afghan presidential elections, the Sri Lankan Civil War, the struggle for children in Darfur, among many other situations of conflict.

Haviv’s images have been distributed widely by various publications including Business Week, Fortune, Le Monde, Newsweek, The New York Times Magazine, The New Yorker, Paris Match, Vanity Fair, Vogue, Time, and US News & World Report, among others worldwide. Additionally, numerous museums and galleries have featured his work, including the Louvre, the United Nations, and the Council on Foreign Relations. Haviv has spoken about his work on ABC World News, BBC, CNN, NPR, MSNBC, NBC Nightly News, Good Morning America and The Charlie Rose Show.^[6]

Haviv’s photography has been collected and published in the critically acclaimed books: Blood and Honey: A Balkan War Journal, Afghanistan: On the Road to Kabul, and Haiti: 12 January 2010. He is one of seven co-founders of VII Photo Agency, formed in 2001, along with Alexandra Boulat, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey and John Stanmeyer. Haviv has channeled his focus on raising awareness for human rights violations by helping to create multi-platform projects for NGO’s, such as Doctors Without Borders’ DR Congo missions: The Forgotten War and Starved for Attention, UNICEF’s Child Alert for Darfur and Sri Lanka, and the International Committee of the Red Cross’ World at War.

Bibliography[link]

• Blood and Honey: A Balkan War Journal
• Afghanistan: On the Road to Kabul
• Haiti: 12 January 2010

Selected Solo Exhibitions[link]

Haiti: January 12, 2010

• VII Gallery, New York, NY (2010)
• Fovea Gallery, New York, NY (2010)

Children of Darfur

• San Francisco Mission Cultural Center, San Francisco, CA (2008)
• International Human Rights Film Festival, New Orleans, LA (2008)
• University of California, Los Angeles, CA (2006)
• The United Nations, New York, NY (2005)

Blood and Honey: A Balkan War Journal

• War Photo Museum, Dubrovnik, Croatia (2003-2010)
• Southeast Museum of Photography, Daytona Beach, FL (2005)
• Queen's Museum, Belfast, Northern Ireland (2005)
• Rex Cultural House, Belgrade, Serbia (2002)
• Freedom Forum, London, England (2001)
• Skopje Cultural Museum, Skopje, Macedonia (2001)
• National Gallery, Sarajevo, Bosnia and Herzegovina (2000)
• Saba Gallery, New York, NY (2000)

Afghanistan: The Road to Kabul

• Grazia Neri, Milan, Italy (2002)
• 92nd Street Y, New York, NY (2002)

Images of War

• Bayeux, France (2001)
• The Council on Foreign Relations, New York, NY (1999)
• International Festival of Photojournalism, Gijon, Spain (1999)
• The Newseum, New York, NY (1997)
• Fotofusion, Palm Beach, FL (1996)
• Perpignan, France (1995)

Selected Group Exhibitions[link]

• World at War, Newseum, Washington, D.C. (2009)
• Humankind, Hasted Hunt, New York, NY (2008)
• Act of Faith, The Noorderlicht Photofestival, Groningen, Netherlands (2007)
• DR Congo: The Forgotten War, Stephen Cohen Gallery, Los Angeles, CA (2006)
• VII, Hasted Hunt, New York, NY (2005)
• War Envoy, Verona, Italy (2005)
• WAR, International Center of Photography, New York, NY (2004)
• New York to Kabul, Louvre, Paris, France (2002)

References[link]

External links[link]

• Website
• VII Photo Agency
• Eyewitness: Ron Haviv photos of The Tigers massacring Bosniaks