Tim Hetherington obituary
Many of you may have seen the work of Tim Hetherington exhibited at Host Gallery in September last year and will have been struck by the humanism and empathy he exhibited for his subjects. Below is the obituary from the Guardian web site posted earlier today.
An outstanding photojournalist and film-maker, he defined a generation of reportage
James Brabazon guardian.co.uk,
Tim Hetherington in 2007 in Korengal Valley, Afghanistan, during the filming of Restrepo Photograph: AP
The photographer and film-maker Tim Hetherington, who has been killed at the age of 40 while covering the escalating violence in Misrata, Libya, was a leading light of his profession. The canon of work he bequeaths defines a generation of reportage.
His eye and ability for capturing on film some of the most disturbing events of the past decade was as relentless as it was unsurpassed. With a great sense of self-deprecation and humanity, Hetherington was driven repeatedly to explore the ragged, violent margins of society to bring back portraits of people profoundly affected by conflict.
Never an end in itself, for Hetherington the purpose of working in war was to understand better the lives of the civilians and soldiers caught up in it. Fundamentally a humanitarian, he worked not only for news organisations and magazines, but for human rights organisations, and undertook extensive projects for the US-based advocacy group Human Rights Watch.
In Misrata he wanted to record the plight of civilians. He died with them: an explosion on the town's mortally dangerous Tripoli highway – the frontline in the battle between forces loyal to the Libyan leader Muammar Gaddafi and the rebels trying to unseat him – killed him and his friend, the US photographer Chris Hondros. At least eight other civilians were killed in fighting that day, a fact Hetherington would have been at pains to ensure was not forgotten.
Careful not to be pigeonholed as a photographer or a film-maker, Hetherington worked across different, mixed visual media. His interest lay in creating diverse forms of visual communication and his work ranged from multi-screen installations, to fly-poster exhibitions, to handheld device downloads. Known for his long-term documentary work, Tim lived and worked in west Africa for eight years, reporting on social and political issues worldwide.
As a film-maker, he worked as both a cameraman and as a director and producer. Liberia: An Uncivil War (2004), the first documentary he worked on – as an assistant producer and cameraman – was also his first experience of filming warfare. Surviving repeated firefights and close-quarter combat, Hetherington captured iconic images of the Liberian rebels fighting to overthrow then-President Charles Taylor. When a rebel commander threatened to execute a doctor tending to injured rebel soldiers, suspecting him of espionage, Hetherington put himself in front of the condemned man and pleaded for his life, physically grabbing the pistol from the incensed commander. On that occasion humanity prevailed, and the doctor's life was saved.
An assistant producer and cameraman on the BBC's Violent Coast series (2004), about west Africa, cameraman on The Devil Came On Horseback (2007), about attacks across the border with Chad by Sudanese militia, and a producer/director on Channel 4's Unreported World – Nigeria: Fire in the Delta (2006), he made his debut as director of a documentary feature film with Restrepo (2010) – a cinematic release made with his fellow director Sebastian Junger about a platoon of forward-deployed US soldiers over the course of a year in Afghanistan's isolated Korengal Valley.
At times almost constantly in combat, and deeply affected by his time in Afghanistan, Hetherington said of his experience there: "When I'm filming, I'm very focused … You don't really have time to start examining your emotions when you're in the middle of this kind of situation. You kind of push them to a deeper place in your mind and examine them later. But war is traumatic. I've seen a lot of traumatic things happen in the Korengal Valley when we were there … I was with people who got killed and that was a very sad and upsetting thing to go through."
Awarded the Rory Peck award for features (2008) and the grand jury prize at the 2010 Sundance film festival, Restrepo was subsequently nominated for an Academy award. The film gave an unprecedented insight into the lives of US soldiers fighting and dying on that war's least reported frontline. Originally conceived as a short news piece for ABC News Nightline, it ultimately served, perhaps more than any other film from Afghanistan, to create an enduring connection between the US public and the experience of the US soldier. His most recent film, Diary, is a highly personal experimental short currently playing at film festivals.
Born in Liverpool, into what he described as a "normal, working-class family", Hetherington moved around the country, attending both state and private schools – including Stonyhurst college, a Catholic boarding school run on Jesuit principles, near Clitheroe, in Lancashire, before going to Oxford. He graduated from Lady Margaret Hall in classics and English in 1992, broke. But then, in a final gift to her grandson and, inadvertently to the wider world, Hetherington's grandmother left him £5,000 in her will with which to escape Britain's economic recession and travel for two years in India, China and Tibet, feeding his curiosity for the lives of others in unfamiliar circumstances. Particularly impressed by Mount Kailash, the Himalayan peak in Tibet that has religious significance for several faiths, he went on to Dharamsala, in northern India, where he met the Dalai Lama and other Tibetan exiles. Though brought up as a Catholic, Hetherington developed a Buddhist sensibility: his friend Piers Dunn recalls that, without any specific sense of mission, he took a thoughtful, considered view of everything he saw.
Of his desire to become a photographer, Hetherington wrote: "I had the epiphany when I came back [from India] and realised I wanted to make images. I then worked for three to four years, going to night school in photography before eventually going back to college." Returning to full-time education under his own steam when he was 26 to study photojournalism at Cardiff (1996-97) paid off: he found immediate employment as a staff photographer with the Big Issue, the magazine produced for sale by London's homeless. Its editor Becky Gardiner was soon impressed by the way he captured a church service for blind-deaf people, conducted by signing into each other's hands.
The Snapshot page of the magazine showcased street-based photography: Hetherington and his colleague Lena Corner wandered round London, stopping people to ask them for their photo – for which Hetherington showed real flair. Corner recalls him talking endlessly about "imagery, technology and how he had managed to rig up some sort of screen or other contraption in his flat, in his eternal search for new ways to present his pictures. He was really ahead of his time. Back then, he recognised the power of the moving image as well as the still. I remember him telling me he simply couldn't understand photographers who didn't want to capture the things they were witness to without a movie camera as well." From the Big Issue he moved to the Independent as a regular freelance photographer.
Soon a member of the photographic agency Network, he joined a small, dedicated, group of photojournalists often reporting on the world's trouble spots. In 1999 he went to Liberia – his first assignment in Africa. By 2002, he had also worked in Ivory Coast, Nigeria, Burkina Faso, Mali and Sierra Leone – developing a project about young men and political conflict in west Africa. Awards followed – including World Press photo of the year 2007 for his portrait of an exhausted US soldier in Korengal while working on assignment for Vanity Fair.
His project Healing Sport was published as part of the group project Tales from a Globalizing World (2003). Long Story Bit By Bit: Liberia Retold (2009) narrates recent history by drawing on images and interviews made over a five-year period. Infidel (2010), about a group of US soldiers in Afghanistan, continued his career-long examination of young men and conflict.
His work with the Milton Margai school for the blind in Freetown, Sierra Leone, was very important to him, and he was fascinated by the possibilities of braille photos. He was also a member of the UN panel of experts on Liberia.
Hetherington had recently moved to Brooklyn, New York. He is survived by his partner, Idil Ibrahim; his siblings, Guy and Victoria; and his parents, Alistair and Judith. The troubled corners of the world into which he shed the light of his lens are brighter because of him; the work he leaves is a candle by which those who choose to look, might see.
Timothy Alistair Hetherington, photographer and film-maker, born 5 December 1970; died 20 April 2011
His eye and ability for capturing on film some of the most disturbing events of the past decade was as relentless as it was unsurpassed. With a great sense of self-deprecation and humanity, Hetherington was driven repeatedly to explore the ragged, violent margins of society to bring back portraits of people profoundly affected by conflict.
Never an end in itself, for Hetherington the purpose of working in war was to understand better the lives of the civilians and soldiers caught up in it. Fundamentally a humanitarian, he worked not only for news organisations and magazines, but for human rights organisations, and undertook extensive projects for the US-based advocacy group Human Rights Watch.
In Misrata he wanted to record the plight of civilians. He died with them: an explosion on the town's mortally dangerous Tripoli highway – the frontline in the battle between forces loyal to the Libyan leader Muammar Gaddafi and the rebels trying to unseat him – killed him and his friend, the US photographer Chris Hondros. At least eight other civilians were killed in fighting that day, a fact Hetherington would have been at pains to ensure was not forgotten.
Careful not to be pigeonholed as a photographer or a film-maker, Hetherington worked across different, mixed visual media. His interest lay in creating diverse forms of visual communication and his work ranged from multi-screen installations, to fly-poster exhibitions, to handheld device downloads. Known for his long-term documentary work, Tim lived and worked in west Africa for eight years, reporting on social and political issues worldwide.
As a film-maker, he worked as both a cameraman and as a director and producer. Liberia: An Uncivil War (2004), the first documentary he worked on – as an assistant producer and cameraman – was also his first experience of filming warfare. Surviving repeated firefights and close-quarter combat, Hetherington captured iconic images of the Liberian rebels fighting to overthrow then-President Charles Taylor. When a rebel commander threatened to execute a doctor tending to injured rebel soldiers, suspecting him of espionage, Hetherington put himself in front of the condemned man and pleaded for his life, physically grabbing the pistol from the incensed commander. On that occasion humanity prevailed, and the doctor's life was saved.
An assistant producer and cameraman on the BBC's Violent Coast series (2004), about west Africa, cameraman on The Devil Came On Horseback (2007), about attacks across the border with Chad by Sudanese militia, and a producer/director on Channel 4's Unreported World – Nigeria: Fire in the Delta (2006), he made his debut as director of a documentary feature film with Restrepo (2010) – a cinematic release made with his fellow director Sebastian Junger about a platoon of forward-deployed US soldiers over the course of a year in Afghanistan's isolated Korengal Valley.
At times almost constantly in combat, and deeply affected by his time in Afghanistan, Hetherington said of his experience there: "When I'm filming, I'm very focused … You don't really have time to start examining your emotions when you're in the middle of this kind of situation. You kind of push them to a deeper place in your mind and examine them later. But war is traumatic. I've seen a lot of traumatic things happen in the Korengal Valley when we were there … I was with people who got killed and that was a very sad and upsetting thing to go through."
Awarded the Rory Peck award for features (2008) and the grand jury prize at the 2010 Sundance film festival, Restrepo was subsequently nominated for an Academy award. The film gave an unprecedented insight into the lives of US soldiers fighting and dying on that war's least reported frontline. Originally conceived as a short news piece for ABC News Nightline, it ultimately served, perhaps more than any other film from Afghanistan, to create an enduring connection between the US public and the experience of the US soldier. His most recent film, Diary, is a highly personal experimental short currently playing at film festivals.
Born in Liverpool, into what he described as a "normal, working-class family", Hetherington moved around the country, attending both state and private schools – including Stonyhurst college, a Catholic boarding school run on Jesuit principles, near Clitheroe, in Lancashire, before going to Oxford. He graduated from Lady Margaret Hall in classics and English in 1992, broke. But then, in a final gift to her grandson and, inadvertently to the wider world, Hetherington's grandmother left him £5,000 in her will with which to escape Britain's economic recession and travel for two years in India, China and Tibet, feeding his curiosity for the lives of others in unfamiliar circumstances. Particularly impressed by Mount Kailash, the Himalayan peak in Tibet that has religious significance for several faiths, he went on to Dharamsala, in northern India, where he met the Dalai Lama and other Tibetan exiles. Though brought up as a Catholic, Hetherington developed a Buddhist sensibility: his friend Piers Dunn recalls that, without any specific sense of mission, he took a thoughtful, considered view of everything he saw.
Of his desire to become a photographer, Hetherington wrote: "I had the epiphany when I came back [from India] and realised I wanted to make images. I then worked for three to four years, going to night school in photography before eventually going back to college." Returning to full-time education under his own steam when he was 26 to study photojournalism at Cardiff (1996-97) paid off: he found immediate employment as a staff photographer with the Big Issue, the magazine produced for sale by London's homeless. Its editor Becky Gardiner was soon impressed by the way he captured a church service for blind-deaf people, conducted by signing into each other's hands.
The Snapshot page of the magazine showcased street-based photography: Hetherington and his colleague Lena Corner wandered round London, stopping people to ask them for their photo – for which Hetherington showed real flair. Corner recalls him talking endlessly about "imagery, technology and how he had managed to rig up some sort of screen or other contraption in his flat, in his eternal search for new ways to present his pictures. He was really ahead of his time. Back then, he recognised the power of the moving image as well as the still. I remember him telling me he simply couldn't understand photographers who didn't want to capture the things they were witness to without a movie camera as well." From the Big Issue he moved to the Independent as a regular freelance photographer.
Soon a member of the photographic agency Network, he joined a small, dedicated, group of photojournalists often reporting on the world's trouble spots. In 1999 he went to Liberia – his first assignment in Africa. By 2002, he had also worked in Ivory Coast, Nigeria, Burkina Faso, Mali and Sierra Leone – developing a project about young men and political conflict in west Africa. Awards followed – including World Press photo of the year 2007 for his portrait of an exhausted US soldier in Korengal while working on assignment for Vanity Fair.
His project Healing Sport was published as part of the group project Tales from a Globalizing World (2003). Long Story Bit By Bit: Liberia Retold (2009) narrates recent history by drawing on images and interviews made over a five-year period. Infidel (2010), about a group of US soldiers in Afghanistan, continued his career-long examination of young men and conflict.
His work with the Milton Margai school for the blind in Freetown, Sierra Leone, was very important to him, and he was fascinated by the possibilities of braille photos. He was also a member of the UN panel of experts on Liberia.
Hetherington had recently moved to Brooklyn, New York. He is survived by his partner, Idil Ibrahim; his siblings, Guy and Victoria; and his parents, Alistair and Judith. The troubled corners of the world into which he shed the light of his lens are brighter because of him; the work he leaves is a candle by which those who choose to look, might see.
Timothy Alistair Hetherington, photographer and film-maker, born 5 December 1970; died 20 April 2011
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