Dhalia Khamissy in conversation

Dhalia Khamissy in conversation

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Personal research improves your photographing not only your degree.\

Father is a photographer; major of university was photography and experienced a civil war.” These gather a nature situs for phoer.

Listening to Dalia Khamissy, a female photographer from Lebanon who wants to tell stories of people.

the picture editor you should get more impact because you can argue with other photograph.

Being a photo editor to get money is the toughest time for her even she was in the war before

The photographer should tell the story of people, but not his or her own story.

Photographers should be the “window” photographer not the “mirror” photographer. Tell the story of others not self.



The abandoned spaces you photographed look the way they look because they were bombed out – and whatever aesthetic aspect there might be in a sense is completely coincidental. Some people might even argue that making things look beautiful under such circumstances is something artists should not do – because it’s war, after all. Were you worried about the aesthetic appeal of the images somewhat masking the underlying reality?

We spent our years studying the work of masters of photography and those surely became “masters” because their photographs were aesthetically different than others…

Photography, for me, is a form of art, and I see documentary photography as an art through which photographers inform on a certain situation.

The many war photographers notwithstanding, I’m always wondering whether we don’t need, in fact, if not a new then at least a different kind of war photography, one that is maybe less focused on the immediate effect of war and, instead, looks more at long-term consequences of war. When I saw your images I thought they were pointing into that direction, challenging the viewer in more ways than just one. Are you still working on related imagery, or has your focus shifted now?

My images are completely pointing into that direction. This was my main aim when I decided to quit my job at the Associated Press. I wanted to go back to taking pictures and telling the stories of people whose lives had changed forever because of the war, especially the 2006 summer one. In a way I wanted to tell my own story with the war, during which, the country was packed with local and international media covering the daily events, but then few weeks after the war ended, they all packed their stuff and went back home to rest, while I stayed at the office working, of course with other local colleagues and very few international photographers who came each for few weeks.

Jmcolberg.com, (2015). Conscientious Extended | A Conversation with Dalia Khamissy. [online] Available at: http://jmcolberg.com/weblog/extended/archives/a_conversation_with_dalia_khamissy/ [Accessed 17 Aug. 2015].

All good photographers have struggled to find ways to hold the viewer longer on the picture. This is either by such effects as Hockney’s joiners, collage, embroidery on or making holes in the picture… anything, in fact, to break up that slick surface and keep the eye held there a fraction longer. Keep the eye there long enough, and it turns out that photography is not trivial at all


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