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At the end of the nineteenth century, with all of the necessary technical, economic, and cultural prerequisites in place, press publishers embraced photography as their primary means for conveying visual information. In this context, the ‘reporters photographes’ (or ‘photojournalists’) emerged and proliferated, offering the newspapers series of photographs of various current events. By analyzing the war photographs of Jimmy Hare, this essay seeks to shed light on the figure of the photojournalist – this new protagonist of the journalism world – but also on the manner in which his or her images were used by American and French press publishers. For while the pairing of photography and halftone reproduction added significant value to the images reproduced in the press, it also posed problems of representation and forced editors and art directors to justify their use. They did so by emphasizing the heroic character of the photographer’s work, by taking advantage of the possibilities offered by layout, and by devising a new approach to illustration. This history of the earliest photojournalists also compels us to reconsider the phenomenon’s chronology as it is typically presented by general histories of photography.
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