Paris Match

In this global age, Paris Match has reasserted its traditional interest in international affairs, and its prime objective which is to produce strong, authentic pictures – direct, no concessions. This exhibition will take you out in the field, to the front line, close to the action, as if you were there. In Tunisia with demonstrators up against the regime’s henchmen in baton charges, you will sense the fear that reigned in the final stages of the Ben Ali dictatorship. On Tahrir Square in Cairo, now a symbol for the entire Arab world, you will camp for two weeks, and erupt in joy when Mubarak finally steps down. In Libya, in Misrata, one of the photographers working for us, the American Chris Hondros, paid with his life in his bid to get the real story, the moment that tells it all, that is news. In the 1970s it was Vietnam, in the 1980s Central America, in the 1990s Yugoslavia: photographers risked their lives to get eye-witness reports. Tracking down snipers on rooftops, protecting camera gear, changing hotel every day so as not to be targeted by hostage-takers and, most importantly, trying to avoid heavy weapons – survival means strategy. Everyone is affected in one way or another, even if the rejoicing of the crowds when the tyrants fall is a heartwarming experience. Events around the world may be recorded on millions of smartphones, but the Arab Spring has shown us a new generation of photographers emerging, one following the grand tradition of photojournalism. They all took to digital cameras many years ago, but all our reporters are true professionals. Some of the older ones “cut their teeth” in Nicaragua and Bosnia, the younger ones in Iraq and Afghanistan. They are all an interesting combination of technique and temerity. That is the magic formula behind the stories in photos which we are pleased to invite you to discover.

Olivier Royant
Editor, Paris Match