Being a war photographer can neither be described as a job nor as a career – that is too simplistic. What does being a war photographer mean, and feel, to you?
I don’t consider myself to be a war photographer. I am a photographer working as a photojournalist and trying to tell stories with my images. It just so happens that some of these stories have been related to conflict.
What first drew you to a danger zone, and what makes you return?
When I started my career as a photographer, the conflict in Afghanistan was in full swing. Considering that this was one of the defining stories of my generation,I wanted to be part of it. This was probably my first exposure to working in hostile environments.
When taking photos in a war zone, how aware are you that you are also in danger?
You need to take all the necessary precautions to avoid putting yourself or the others you are working with at risk. It is essential to be aware of the security situation.
Conflict and other tragic situations that I have covered, such as natural disasters, also show humanity at its kindest from time to time
Do you get used to tragedy and death, or does war still shock you?
Tragedy and death are always shocking. It is true that you build the tools to prevent shock from stopping you working, but without feeling the effects of tragedy, you cannot emphatise with your subjects.
Having your photos on the covers of Time Magazine, Newsweek and other international publications must be cause for celebration. But the photos themselves are a stark and sad reminder. How do you reconcile both feelings?
That is exactly the reason why I want them to be on the cover, to act as a stark reminder of the stories I am trying to tell.
War portrays mankind at its worst. Yet are there glimmers of hope, maybe beauty and love, in a war zone?
It certainly does. However, conflict and other tragic situations that I have covered, such as natural disasters, also show humanity at its kindest from time to time.
Nature can also be devastating. You photographed the effects of Typhoon Haiyan in Southeast Asia – how do you capture human vulnerability, but also human perseverance?
I am there as an observer and if people, as was the case, show perseverance and strength in the face of tragedy, I will do my best to capture it.
When travelling to a war zone, what do you pack?
I always try and carry as little as possible when I am travelling or working in logistically complicated situations like war zones or covering natural disasters. Other than my cameras and a few lenses, I pack my computer, satellite modem and satellite phone if I need to file daily, and a few changes of clothes.
Covering Typhoon Haiyan was tough because there was no food or water in the days after the tragedy, and nowhere to stay. We had to bring in tents and enough food and water to last us for a few weeks.
You are one of the few photographers to have take photos of North Korea. How surreal was the experience of a country in self-imposed exile?
North Korea is a fascinating place. For a photographer, it almost feels like a candy store. Everywhere you look, there are interesting things – unfortunately, most of it is off limits, so it was really a case of trying to capture what I could in the limited time I had there without upsetting my minders, who were there to keep an eye on me.
How have your experiences in Afghanistan, Burma and Pakistan changed you?
I don’t think these experiences have changed me, other than helped me develop as a photographer and storyteller.
The photographer
Adam Dean is a freelance photographer based in Beijing, China, represented by Panos Pictures. In 2011, he was selected as one of PDN’s 30 emerging photographers and was the recipient of the Sony Emerging Photographer Award. Dean has won first place prizes from Pictures of the Year International, NPPA Best of Photojournalism, Prix International de la Photographie as well as multiple awards from Days Japan Photojournalism Award, Sony, World Photography Award and the Press Photographer’s Year. His work has been exhibited worldwide.
Dean’s editorial clients include The New Yorker, Time Magazine, Newsweek, Rolling Stone Magazine, The Sunday Times Magazine and The Telegraph Magazine. His photos have appeared on the covers of Time Magazine, FT Weekend Magazine, Newsweek and Forbes Asia.
He is also a regular lecturer on the MA International Multimedia Journalism run jointly by Bolton University and Beijing Foreign Studies University.