« Knowing the life of Reza, is get the key to understanding his work. Born 50 years ago in Iran, he quickly discovers a formidable weapon to defend freedom: journalism. In an era of dictatorships – that Shah’s first Islamist regime of then – it does no good to be rebellious. Reza knows the prison, torture, exile.
Since 1981, when he left the home country, he lives in the West. But regularly, he rebuilt his suitcase, screwed his goal and leaves the other hand, to those who live the struggle and pain. »
Thus begins the book « Destins Crusaders: reporter photographer’s book. »
Reports photograph of Reza, international photographer, this book is one of the worst receuil that I could read.
Each photo is accompanied by a text more or less narrative and tragic Rachek Deghatti.
Although this man I have known torture, imprisonment, exile I do not regard as a photographer reporter.
Why by what one man has suffered should we bring him more recognition?
This man has always bugged me at the highest point. Reza claims that he started his life as a photographer and « donor dreams imagined » since he was child and he chooses the image as a means of telling and dénnoncer.
But …. none of his photographs are placed in context. That woman commented on his photos dramatizing the situtation to larmoyer in the cottages is one thing but putting a scene to me sphotographies repugnant.
This photo p82 included the following comment: « Afghanistant. Bothak Village. 15km to the east of Kabul. May 1993. » 5 shadows men roam the walls of a facade of a building in poor condition. Between mobres, where the sun passes, two machine guns. »
Cette mise en scene is easy for me and deceitful. Instead of taking a photograph on the strong positions it the shadow of two machine guns between them men.
Maybe this photo is not a stupid games theatre director but did not play universal. It is not known where it is who he is. there are beautiful writing that it is afghanistant but two mitrailletes plastic, two mates and the wall of the corner just as well have been the case.
I am not a photographer but what I gene in this collection is that apitoyement made on the lives of all those people. Being a war reporter, photographer or postpone any court is not to say photographing a misery or shit people of the country where the mission sent to us. It does not mean no longer try to show t’elle or t’elle thing sugérant always thanks to a photographic montage or to mount a novel photo melodramatic. Reza this of his photographs:
« Beyond borders, cultural diversity, deadly wars, my images do not say the only sad fact of life mutilated.
If they are witnesses, they tend to show the smile behind the tears, the beauty behind the tragedy, life, stronger than death.
This exhibition on the garden fence
Luxembourg, is the story of the family
human, our family. »
Here I want to scream. I am ok, these photographs, these events are part of human history, but why so many beautiful words? So larmoyements?
We are obliged to cry before the tragedy of others …?
How can one claim that a photograph of reportage am and our thanks to our photographer, truth, freedom, the strength of a man, the last soufle are dénnoncés in broad daylight?
I do not understand this sort of claim hypocritical. Being a photographer, reporter, is something else …