A new exhibition, The Storyteller, showcasing the work of acclaimed late photojournalist Tim Hetherington has opened at the Imperial War Museum in London, providing a fascinating insight into his experiences covering conflicts around the world.

The event marks the 13th anniversary of Hetherington’s tragic death. He was killed in Libya in 2011, fatally wounded by a mortar explosion while covering the country’s civil war for a project that would never be finished.

I was 12 years old when he died, still in school, and the thought of being a journalist hadn’t even entered my mind. As I attended the exhibition last week, I did so as the Tim Hetherington Fellow for Index on Censorship.

Set up by the Tim Hetherington Trust, the fellowship is a partnership between Liverpool John Moores University and Index on Censorship and allows one graduate to spend a year working on Index’s editorial team. I took up the role in September 2023 following the completion of my MA in Sports Journalism.

The Storyteller exhibition was the first chance I had to really delve into the life and work of the man responsible for the incredible opportunity I’d been granted. My interest in sport immediately drew me to Healing Sport, Hetherington’s first major project, which followed Liberian football team Millennium Stars as they toured the UK in 1999, during which he noted that “despite the social breakdown that transpired during the war, football always remained an important way to bring the youth together”.

This interest in the intersection between sport and conflict was the beginning of his exploration of the human experience of war, an interest which remained throughout his career and is clearly visible in his photo archive on display at the Imperial War Museum.

Hetherington’s biggest strength was his ability to find and capture humanity in times of violence. The exhibition states that he wished to “challenge assumptions about conflict and those caught up in it” and his photos do just that, primarily focusing on individuals rather than getting too drawn into the background context of war itself. In one striking collection called Sleeping Soldiers, he captures US soldiers at their most vulnerable: in bed, asleep.

Hetherington’s photos capture the human – many of his shots are focussed on combatants and soldiers bonding with each other rather than being actually engaged in combat. They highlight the importance of seeing the individual human beings impacted by conflict rather than getting lost in the broader actions of oppressive states.

These photographs serve as rich inspiration for up-and-coming journalists – not just in their composition and quality but in the motivations behind them. Hetherington was something of a pioneer in this sense – he questioned traditional methods of photography and preferred to spend great lengths of time with his subjects in order to document their character properly rather than parachuting in and out, as was the more common approach.

Hetherington often followed a ‘trojan horse’ method of photography whereby he focused on difficult topics such as war and conflict, which so often people are reluctant to observe or discuss, and repackaged them into a more digestible context, such as a sport. It’s a powerful idea and adds emotional weight to his projects. It’s difficult not to wonder how he would have documented modern conflicts had his life not been cut too short.

The exhibition at the Imperial War Museum does an impeccable job of placing Hetherington’s work in context by showcasing his photographs alongside a range of his personal belongings, including diary entries and camera equipment, giving a sense of the man behind the lens in a profession where they often go unnoticed.

As a Tim Hetherington Fellow, viewing his work is humbling. The commitment and determination that pushed him to the frontline in order to capture the humanity of those impacted by war was what made him such a great photojournalist, yet also cost him his life. It is up to those coming after him to take on the mantle.

Without his talents and bravery, I wouldn’t be a journalist – at least not at Index. It is strange to be in debt to someone you’ve never met, but the only way to try and repay it is by striving to produce quality journalism for a deserving cause – there’s no greater motivation for that than to do so in the name of a genuinely extraordinary photojournalist.

Storyteller: Photography by Tim Hetherington runs until 29 September 2024 at the Imperial War Museum, London.

Mirrorless cameras have revolutionised the world of photography, offering a seamless blend of portability and top-notch image quality. These cutting-edge devices capture stunning visuals without relying on the traditional mirror mechanism found in SLR cameras, instead utilising advanced electronic viewfinders or the camera’s screen to preview shots.

Featuring a compact and lightweight design, mirrorless cameras boast an array of innovative features, including superior image quality, in-body image stabilisation, touch screen live view, advanced autofocus systems, and silent shutter operation, while also granting the flexibility to use SLR lenses with an adapter.

The Rise of Mirrorless Technology

Mirrorless Cameras Gain Momentum

Mirrorless cameras such as the Panasonic Lumix S5 II have rapidly gained traction in the photography industry over the past decade, revolutionising the way we capture and immortalise moments. Initially met with scepticism due to concerns about their suitability for professional photography, such as the lack of optical viewfinders, poor autofocus performance, and limited lens selection, mirrorless cameras have undergone significant advancements to address these issues.

Innovations in Image Quality and Performance

Image Quality Advancements

Mirrorless cameras have made significant strides in image quality, rivalling and even surpassing the performance of traditional SLRs. These advancements are driven by cutting-edge sensor technology and advanced image processing algorithms. High-resolution full-frame sensors, combined with improved dynamic range and low-light capabilities, enable mirrorless cameras to capture stunning images with exceptional detail, vibrant colours, and minimal noise.

Autofocus and Burst Shooting Capabilities

One of the key advantages of mirrorless cameras is their advanced autofocus systems. Utilising on-sensor phase-detection autofocus and intelligent subject tracking, these cameras can quickly and accurately lock focus on moving subjects, making them ideal for action photography. Additionally, mirrorless cameras boast impressive burst shooting speeds, allowing photographers to capture fast-paced moments with ease.

Video Capabilities and Electronic Viewfinders

Mirrorless cameras have also revolutionised video recording capabilities, offering advanced features such as 4K and even 8K video recording, log profiles for greater dynamic range, and advanced autofocus tracking for smooth and precise focus transitions. Furthermore, the electronic viewfinders (EVFs) in mirrorless cameras provide a real-time preview of the final image, including exposure simulation and focus peaking, enabling photographers to make informed decisions before capturing the shot.

Adapting to the Mirrorless Ecosystem

Mirrorless cameras are becoming increasingly accessible for beginners, thanks to their intuitive touchscreen interfaces and compact sizes. These user-friendly features make mirrorless cameras an appealing choice for those just starting their photography journey.

Moreover, mirrorless technology is rapidly evolving, incorporating AI-powered features such as automated framing, object recognition, and real-time tracking. These advancements are poised to become more prominent in the future, further enhancing the capabilities of mirrorless cameras.

As mirrorless cameras continue to outpace traditional SLRs in areas like autofocus technology, adaptability, lens selection, and video capabilities, it’s becoming increasingly evident that SLRs are on the path to obsolescence. However, some photographers hope that future mirrorless models will still allow for manual control, ensuring that the picture-taking process remains a collaborative effort between the photographer and the camera.

To help you transition seamlessly into the mirrorless ecosystem, here are some tips:

1. Understand the key controls and features:
   • Shutter release button
   • Mode dial (P, A, S, M modes)
   • Control wheels for adjusting settings
   • Buttons for ISO, exposure compensation, and focus mode selection
   • Video recording controls
2. Master the basics:
   • Exposure triangle (shutter speed, aperture, ISO)
   • Depth of field
   • Exposure compensation for adjusting brightness
3. Explore autofocus modes:
   • Servo/continuous AF for moving subjects
   • Autofocus area modes (spot AF, flexible zone AF, etc.)
4. Lens compatibility:
   • Full-frame SLR users can use existing lenses with appropriate adapters
   • Crop-frame APS-C users may face limited native mirrorless lens options initially
5. Transition strategies:
   • Use a lens adapter to gradually switch from SLR to mirrorless lenses
   • Continue using your SLR until it no longer meets your needs, then transition fully

Conclusion

The mirrorless camera revolution has ushered in a new era of photography, offering unparalleled portability, cutting-edge image quality, and advanced features that cater to both professionals and enthusiasts alike. As technology continues to evolve, these cameras are poised to become the industry standard, leaving traditional SLRs behind.

While the transition to mirrorless systems may require some adaptation, the benefits they offer in terms of autofocus capabilities, burst shooting speeds, and video recording make the shift worthwhile. As photographers embrace this new era, the future of imaging is bound to be shaped by the endless possibilities that mirrorless cameras provide, elevating the art of capturing life’s precious moments to new heights.

The Easton-born photographer’s work provides a unique, and sometimes vividly reimagined, perspective on how our city looked during the early years of the 20th century.

An atmospheric shot of Bristol’s docks (credit: Fred Little Photography)

The year is 1875, a torrent of wind and rain attempts to bring down the banks of the old Rownham Ferry Crossing. Hours later, as the harsh gales soften to a gentle breeze, a raven-haired figure washes up on the muddy headlands of Hotwells.   

There is a charge… fishermen and passers-by jostle for position. Then, a collective rub of eyes as – right in front of them and covered in brine, eyes full of sadness and a small cleft upon its chin – a mermaid lies on the shore.  

No evidence remains to support this version of events, but it is where my imagination has taken me after viewing the unsettling photograph of ‘The Hotwells Mermaid’. It was created years later by Fredrick George Little and featured in Della Moorcroft and Neil Campbell Sharp’s 1988 book Bristol in Old Photographs – From the Fred Little Collection.   

Little was a Bristolian photographer, publisher and creator of handmade photographic postcards. Born in Easton in 1874, his work has appeared in most visual histories of early 20th-century Bristol.  

Underneath the picture in Moorcroft and Campbell’s book, a caption reads: “The mermaid who according to the photographer, was captured at Rownham Ferry Hotwells in November 1875. She was supposedly washed up the River Avon with floods which resulted after heavy storms and gales in the area.”  

Unfortunately, the Cable was unable to contact either author to clarify this story and local papers from the 1870s listed on the British Newspaper archive, contain no mention of a mermaid being found in Bristol. So, perhaps the mystery of the Hotwells mermaid is destined to remain unsolved.  

Documenting – and embellishing – an era

But Gavin Roberts, who set up the Fred Little website nine years ago to catalogue the photographer’s distinctive work, offers a pretty convincing explanation. 

“Victorians loved sticking things together,” he explains, before highlighting how the mermaid was probably an example of creative taxidermy, comprising the parts of two animals that had been sewn together.   

A quick search on the internet offers several examples of the age where supposed sirens were made with the upper torso of a shaved monkey and the tail of a salmon. Gavin’s view seems even more plausible after he highlights how Little’s brother Arthur owned an antiques shop. Gavin speculates that Arthur Little may have even specialised in curious and macabre antiques such as the ‘Hotwells Mermaid’.  

What we know for sure is that Fred Little was adept at capturing – and at times embellishing – the buildings, streets and significant events of Bristol around the turn of the 20th Century.   

Little used glass-plate negatives that were exposed to light and transferred to photographic paper, in order to create postcards which he sold from his shop on Castle Mill Street.  

“It [was] quite labour intensive” as he was creating each postcard almost individually,” says Gavin. As a result, “there would be a limit as to how many he would produce in a day”.  

Gavin has collected what he believes “must be getting on to 1000” of Little’s pictures, but imagines that the photographer probably produced tens of thousands of postcards, between around 1901 and the early 1920s.  

At a time when horses and carts skirted the streets, and before newspapers contained photographs, Little’s postcards were often the closest thing to actual visual evidence of a celebration, crime or significant event that Bristolians could find in their city.  

‘Almost like tabloid journalism’

In one of his most striking postcards, a captured German submarine takes pride of place in Bristol Harbour. In another haunting image the conditions of a Victorian era women’s prison cell are shown unedited.  

However, in many of Little’s images he would paint fire, rainwater or even, on occasion, a blimp over the glass photographic plates. Gavin tells the Cable the photographer “seemed to realise that by adding more flames and smoke, you would sell more postcards”.    

“It’s almost a form of tabloid journalism,” he says. Yet, the postcards also possess an unmistakable artistic flair and elegance. They also show us that Fred Little was a man with a sense of humour who wanted his postcards to entertain as well as inform.   

Gavin explains how a lot of Edwardian photographers were solely interested in documentation and history, but thinks that Little “must have sensed things were changing in Bristol”. Many of his postcards showcase the construction and demolition of buildings.  

One image even resonates almost eerily with climate concerns today – a postcard in which Little paints a rowing boat and water over Stokes Croft’s High Street. It is captioned: “What Stokes Croft will look like if we get much more rain.”

Sadly, after the First World War postcards fell out of fashion and it is believed Little had to sell photographic equipment and antiques to make a living until 1937, when he retired. He spent the remaining 16 years of his life in the village of Failand, where his grave still stands.   

Over a hundred years after Little was photographing the streets of Bristol, it is not known whether any of his relatives are alive or are aware of his work. But thankfully many of his postcards have survived – with a fresh trove being discovered in a Bristol camera shop just a few years ago.    

The images reveal a city that was changing rapidly, and evoke an imaginative photographer who had the ability to amuse, inform and confuse all those who bought his work. 

Gavin Roberts runs the Fred Little website as a historical resource rather than for any commercial benefit. He is keen for more people to contact him if they have any of Fred’s postcards or have any information about Fred Little’s life.

Detail of Joseph Cornell, New York, 1933

A correspondent for Vogue during the second world war, Miller was among only a handful of female combat photographers; her fierce subversiveness, exemplified by the iconic image of Hitler’s bathtub, challenged conventional forms of coverage, casting aside the illusory ideal of journalistic objectivity

Photograph: Lee Miller Archives/courtesy CLAIRbyKahn