Based on the acclaimed documentary by Broadstone Films, this landmark book presents the stories of leading photographers – Alan Lewis, Paul Faith, Martin Nangle, Stanley Matchett, Trevor Dickson, Hugh Russell and Crispin Rodwell – whose images captured some of the most important events of the Troubles.
They talk, many of them for the first time, about the photographs they took – how they got the shot; what it cost them to take the photograph; and reflect on whether it was worth it.
More broadly, they talk about what it was like to be a photographer during the Troubles: how the paramilitary groups dealt with them, the ethical dilemmas they faced, and the emotional fallout they experienced.
The book includes the stories behind iconic images such as Bishop Edward Daly waving a blood-stained handkerchief on Bloody Sunday, Sean Downes being shot and killed by an RUC plastic bullet in Andersonstown in 1984, and the brutal attack of corporals Derek Wood and David Howes in March 1988.
For more information on the film the book is based on see: https://www.taskovskifilms.com/?film=shooting-the-darkness
‘The eloquence of this book lies in the images taken by a remarkable group of photographers who were in the thick of things in the darkest of times. It is a vivid reminder of what the people of Northern Ireland went through and must never go back to.’
-Martin Bell
‘You will be haunted for a long time by these harrowing, often heartbreaking images. This group of photographers bravely recorded the Troubles and, despite the death and destruction, maintained their common humanity and empathy. They were the world’s eyewitnesses to the conflict.’
-Henry McDonald
‘This fine book starkly captures the brutality of war. What shines through is the passionate humanity of the people caught up in the horror, and the photographers bearing witness.’
Chris Killip began photographing the people of Lynemouth seacoal beach in the north east of England in 1982, after nearly seven years of failed efforts to obtain their consent. During 1983 to 1984 he lived in a caravan on the seacoal camp, and documented the life, work and the struggle to survive on the beach, using his unflinching style of objective documentation.
Shooting the Darkness; Iconic Images of the Troubles
€20.00
Description
Based on the acclaimed documentary by Broadstone Films, this landmark book presents the stories of leading photographers – Alan Lewis, Paul Faith, Martin Nangle, Stanley Matchett, Trevor Dickson, Hugh Russell and Crispin Rodwell – whose images captured some of the most important events of the Troubles.
They talk, many of them for the first time, about the photographs they took – how they got the shot; what it cost them to take the photograph; and reflect on whether it was worth it.
More broadly, they talk about what it was like to be a photographer during the Troubles: how the paramilitary groups dealt with them, the ethical dilemmas they faced, and the emotional fallout they experienced.
The book includes the stories behind iconic images such as Bishop Edward Daly waving a blood-stained handkerchief on Bloody Sunday, Sean Downes being shot and killed by an RUC plastic bullet in Andersonstown in 1984, and the brutal attack of corporals Derek Wood and David Howes in March 1988.
For more information on the film the book is based on see: https://www.taskovskifilms.com/?film=shooting-the-darkness
‘The eloquence of this book lies in the images taken by a remarkable group of photographers who were in the thick of things in the darkest of times. It is a vivid reminder of what the people of Northern Ireland went through and must never go back to.’
-Martin Bell
‘You will be haunted for a long time by these harrowing, often heartbreaking images. This group of photographers bravely recorded the Troubles and, despite the death and destruction, maintained their common humanity and empathy. They were the world’s eyewitnesses to the conflict.’
-Henry McDonald
‘This fine book starkly captures the brutality of war. What shines through is the passionate humanity of the people caught up in the horror, and the photographers bearing witness.’
-Susan McCay
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