A daily section of JFC at the Visa Festival for Image from August 31 to September 8, 2019.
Ivor Prickett of the New York Times is a photographer I discovered in Perpignan: he is exposed to the Urban Planning Workshop, opposite the Convent of the Minimes. Yves Bremond, the printer from Dupon Phidap who superbly made the prints, had alerted me to the “sensitivity of this reportage”. He tackled a poignant subject, life in Mosul and Raqqa, during the offensive of the Iraqi and Kurdish special forces. Yves insisting on the technical quality of images, I wanted to know more about their journalistic side, despite the weariness that sometimes overwhelms us in front of so much misery.
And I was immediately caught and carried away by this neat, documented reportage extremely well presented and scenographed. Ivor Prickett’s work is of remarkable photographic professionalism because he captures the human aspect of madness in combat. He knows how to describe dramatic situations without voyeurism or sentimentalism, he transcribes dignity in violence and despair. This is exactly what I, for one, expect from an objective photographic eye. The New York Times still gives a photographer the ability to work in depth on a story full of resentment: the hunt for the last Daesh fighters and their families. Grandiose!
Jean-François Camp :
Former owner of the DUPON laboratories, sponsors of the Visa pour l’Image festival for 30 years, but also the Rencontres D’Arles, the Images and Nature Festival of La Gacilly, the Bayeux Prize for war correspondents. Vice President of the association Visa pour l’Image, creator and in charge of the International Center for Photojournalism and CEO of DUREV Events dedicated to the promotion of the photographic image in Paris.