VII The Magazine

Blank Piece Of Paper

Fri, 10 Feb 2012 00:00:00 +0100

As a Valentines Day gift to our loyal viewers VII The Magazine presents a special video by Ron Haviv featuring singer/songwriter Luthea Salom's "Blank Piece of Paper", an award winning single from her newly launched album "Kick In The Head". Luthea Salom's music of indie/folk songs are a mix of happy nostalgic tunes sung with her sensual and playful voice. The contagious and fun melodies have won over fans and critics alike including the Grammy Ballots for her last album. The Spanish/Canadian artist is a presence on stage where she offers a very strong, colorful, fun, feminine and slightly eccentric and humorous show.

Luthea Salom's "Kick In The Head" is available now on her website or on iTunes.

www.lutheasalom.com

Facts and Fictions

Fri, 27 Jan 2012 00:00:00 +0100

Jessica Dimmock leads the second of VII's Visual Journey seminars, with a discussion of her transition from still photojournalism to feature cinematography. Josh Siegel, Associate Curator in MoMA's Department of Film, talks to Jessica about her 2011 feature movie "Without", including discussion of how a foundation in still photography can cultivate a distinctive approach in filmmaking. Dimmock will talk about how new equipment and new attitudes allow image-makers to integrate both stills and video coherently in their productions. The discussion includes practical tips on filmmaking as well as insights about breaking into the independent movie scene.
Dimmock's 2011 feature "Without" is nominated for a prestigious Gotham Award and has already earned Jessica the Kodak Award for best cinematography at the Hamptons International Film Festival and the Independent Visions Award at the Sarasota Film Festival. In 2010 Jessica directed and shot the video for the title song of Moby's latest album "Wait For Me". Most recently Jessica has shot stills and video for HBO's four part documentary "Weight Of The Nation".

Poetry In Motion

Fri, 06 Jan 2012 00:00:00 +0100

This is the first of a new series of videos for VII The Magazine that will soon have it's own section devoted to education. Until then look for them in The Interviews. In this video Seamus Murphy talks with Brian Storm of MediaStorm.com about how his experience of shooting video in Afghanistan using a new generation DSLR has led him to a new and unexpected career opportunity in the music business. Since 2010 he has shot 12 short films for PJ Harvey, the music sensation from UK, for her album "Let England Shake". You can see these videos by going to "The Videos" on VII The Magazine. Central to this will be a discussion of his innovative approach to the project, how to work with a musician and how the project eventually turned into a creative tour de force with screenings at multiple international film festivals. Viewers will learn how to develop their vision, which in association with the right gear can transform their professional practice.

Visit MediaStorm at: http://mediastorm.com/

Visit Canon: http://learn.usa.canon.com/resources/products/eos_1d_x/eos_1d_x.shtml

#OccupyWallStreet

Mon, 12 Dec 2011 00:00:00 +0100

As the Occupy Wall Street demonstrations have mushroomed into global protests, the nucleus of the movement remained in Zuccotti Park, a small, windswept plaza a few blocks north of Wall Street.

There, since September 17, 2011, responding to a call to action from Adbuster's magazine, hundreds of people hailing from all over the U.S. have been living in the makeshift encampment. Every day they organize marches, social network, and generally attempt to act as a thorn in the side of greed, corporate influence and social and financial inequality.

The protesters have been criticized for lacking formal demands, though a unifying theme they gather under is the slogan, "We are the 99%", referring to the enormous income gap between the wealthiest 1% of and the rest of the population.

This work was (in part) assigned by The New Yorker, and ran alongside Mattathias Schwatrz's story outlining the origins and future of the movement, http://www.newyorker.com/reporting/2011/11/28/111128fa_fact_schwartz

It ran again later as a post on The New Yorker's Photo Booth blog, http://www.newyorker.com/online/blogs/photobooth/2011/11/ashley-gilbertson-occupy-wall-street.html

The Colour of the Earth

Wed, 07 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

I asked PJ and the band to do an impromptu rendition of 'The Colour Of The Earth'. I shot it in the middle of the road in front of the pub where we had just eaten lunch. It's near the church where the album was recorded in a remote corner of Dorset. They started to tap their feet to keep time and off they went. We had to stop once because of traffic - one car. It was freezing, so to keep the mood jovial it was all done in a hurry and I didn't fiddle with proper microphones, using the one that is in the camera. It was almost an afterthought to tack it on at the beginning of this film; we had already put together the rest of it before we thought of it. Sometimes with deadlines, and whatever else on the day editing, you sacrifice something, but it seemed a precious little piece of time and film to waste. Glad we didn't lose it. The main film features more from John Diment's farm in Dorset, the man who introduced 'Let England Shake'. These are 2 of his sons who work the farm. There's additional footage of a farm in Norfolk, dead game in Ludlow in Shropshire, the horse was shot from the loo window of a house in Lincolnshire I had visited. The owner of the house was a collector of military things and had a fighter jet parked on his front lawn, but the horse proved more exciting. The moon and the boughs was from some eerie place in the West Country, can't exactly remember where, but it still sends shivers down my spine when I think of it.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

Written on the Forehead

Tue, 06 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

When I heard the opening with its Middle-Eastern war setting, I thought of using black and white photographs I had taken in similar conflict zones. Mixing them with the scenes of quiet desperation of England came later. I didn't know that the young woman standing and crossing her feet in a crowd, or the jet trail in the sky, would end up where they do or even feature in this or any of the films. Call it random, but usually the pictures themselves suggest what works together. The music has a lot to do with the choice and a sympathy between them develops. It ended up as a way to show how different are all our lives, 'Us and Them', and a reminder that we are all connected as humans, all vulnerable with human emotions. Shooting pictures makes you observe in a detached way, whether in the West Bank, Mogadishu or London's Waterloo Station. Afterwards you try to make sense of them; they will mean something uniquely personal to everyone. The opening with PJ Harvey's lyrics spoken in Arabic was shot in a pub on the Portobello Road.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

Hanging in the Wire

Mon, 05 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

It opens with the legendary Ray Jones, bibliophile, wag and all-round West London geezer looking like Flash Harry trying to sell you a dodgy pair of nylons. He memorised the lines in seconds, making them his own. Polly loves Ray's hat. Then pictures from a small concert in a church in Dorset. The album was recorded here and it was where the new work was showcased to friends and locals. The exterior in the snow was shot earlier in the day while the band was inside rehearsing. I wanted to link the inner mechanics of a piano with the wires and tripwires of World War frontlines and No Man's Land. I thought the melancholy of Mick's piano and lightness of Jean-Marc's drumming could carry it. The birds are in Norfolk, the misty water scenes are Morden Hall Park in the early morning. The punt is Cambridge, echoes of war poets and the good life at home as war rages abroad. Mick Harvey joins the chorus and we hear John Parish's distinctive ending of the song "beating a guitar neck, laid on a chair and in A-Minor tuning". Or so I am told.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

Bitter Branches

Sun, 04 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

Starts out with Keith, the mechanic in Mitcham who has kept my car le¬gal and alive. Attack seagulls were in Sheringham, Norfolk. The crowds I shot crouched under an umbrella outside an exit of Oxford Circus tube station. Inky silhouetted branches in black and white were shot at the Thames in Westminster, beside the Houses of Parliament. The hands with roses and the man's hands comforting a woman were the fu¬neral at Wootton Bassett of a British soldier killed in Afghanistan. I had been there in the summer and noticed the grieving families putting roses on the roof of the hearse - a moment appropriate to lyrics about war widow's arms as "bitter branches spreading into the world", and could be captured without intrusion and revealing identities. The hand in the air was a street preacher in Brixton. Street scenes are in central Manchester and London. Mick Harvey and John Parish chorus the ending.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

In The Dark Places

Sat, 03 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

Opening the film is west Londoner Ro Allerton, with Trellick Tower in the background. Ro is the same age as the soldier whose lines he recites from the song. Then a montage from Edgware Road. I like the hipster who goes his own way - exiting frame right - at the end of the sequence. Birds' flying in formation is in Holkham, Norfolk, shot from the pinewoods. Nosing around the City of London one Sunday morning I saw a figure disappear through the door of a tower. I chased him up the spiralling steps to the top where he joined fellow bell ringers in the belfry of the church of St Magnus the Martyr, London Bridge. The church is mentioned in Dickens' Oliver Twist. They were just about to start ringing, and wanting to film, I explained I was shooting pictures for a musician called PJ Harvey. One of them said: "PJ Harvey's my mate. I did her kitchen". They let me shoot, the carpenter was indeed an old friend and really had done her kitchen. He joined us a few months later for one of the Troxy shows. Amongst the rest of the imagery is a view of a colour contact sheet, through a magnifying loupe, of fighters on the plains outside Kabul in Afghanistan. 9/11 had happened 2 months before and this was Novem¬ber 2001, the day before the fall of Kabul to the Northern Alliance, and the ousting of the Taliban. The apparent effortlessness of this success likely fed the thinking towards the invasion of Iraq 2 years later. Dark places. The final shot in the film was taken through a grill looking down on the bells the ringers were pulling that Sunday morning. English poet John Donne wrote in 1624 "any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee."

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

England

Fri, 02 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

I focused on the sound of the song itself which has a melancholic, tragic lilt to it, like a resigned love song of acceptance. Like some of the other films' openings, I asked someone to speak the lyrics of the song. And like all the other films, the images come from observations made on the road. The archer I found in a field I was driving past, the parrot was in a great dock pub in Birkenhead - across the Mersey from Liverpool. The pubs here used to be full of parrots from sailors returning home from the tropics, and this one's party-piece was shouting "twat" in thick Scouse. Bobby Moore and the World Cup in 1966 was in a kebab place in Southend, the white haired man is a charismatic horseman from Norfolk. Shooting Polly up close physically, allowing her to move in and out of focus was something we both liked. It lent an intimate and raw feel. The ending audio of the Arab woman singing out the track was the original ending of that piece of music which was edited for the album.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

On Battleship Hill

Thu, 01 Dec 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

It opens with Franz in the Berlin house where I was staying when editing the films with Sebastian Gollek.
Franz is Sebastian's stepfather. I liked having a German reciting the opening lines to a song written from, and about, the other side of the trenches. The bingo ladies were shot on Canvey Island, near Southend in Essex. I liked connecting them with the rockabilly/skiffle sound at the beginning of the track. Maybe as young women they jived to that sound? The bingo hall might have been a dance hall in their day. Canvey Island was certainly home to Dr. Feelgood and the amazing Wilko (Johnson).

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

All and Everyone

Sun, 27 Nov 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

'All And Everyone' is the longest track on the album. Dark, formal and auspicious. It starts with epic gravitas and grandeur building to a controlled and inevitable finale, like death itself. The care-free sing-along of the refrain: "As we advancing, in the sun, singing death to all and everyone" is like soldiers meeting their end with a tune in their heads, buoyed by love of each other and accepting their lot with a jeer. Its slowed-down delivery extends time like slow motion, a deliberate heightening of mortal last moments. It demands reac¬tion and makes me think how cursory is the nature of killing and being killed during war, making it all the more worthless. It was the film I most looked forward to making, and most dreaded. I found a clue to it in Essex at Old Leigh, a place recorded in the Domesday Book of 1086 and where the River Thames meets the sea. The film starts out with some imagery from Norfolk. With the ominous change in the music comes a day of brilliant morning sunshine under the pier at Southend. Later in the day the weather turned filthy, becoming a snow blizzard and I had to spend an unplanned second night in Southend. The next morning a few miles along the coast towards London, heavy snows forced me to stop driving and I pulled in at Old Leigh. I got bored stuck in the car and headed for the seashore. The tide was out and ropes and chains of fishing boats and other craft at anchor were being covered with wet snow, the scene resembled an art-directed battlefield in the grey light. I got soaked shooting this but it was better than listening to people on the radio going on endlessly on about local councils failing to grit their roads. Where was the Dunkirk spirit? After a while I turned around and was dumb-struck by red roses delicately placed in chains on the jetty wall. Discreet enough to miss if you weren't on the shore looking back or in a boat. Were they put there for a particular victim, a memorial to all drowned fishermen, or an expression of doomed romantic love? This line of flowers, with the changing direction and speed of the falling snow gave me something to start working with to approach 'All And Everyone'. I thank the snow for making me stop. The final sequence with the boat being launched and scudding across the sea was shot looking down over Chesil Cove in Dorset. I often had the languid saxophone that ends the track in my head when shooting lengthy sequences. My fear when shooting it was the boat would stop too long or fall out of the bottom of the frame before exiting the frame on left. It slimly made it. I loved the sea, the scale, the gathering gulls following the vessel, that it goes on that little bit too long and the tiny patch of land that is forever England.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

The Words That Maketh Murder

Sat, 26 Nov 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

The song itself is such a riot of imagery, energy and beat that the film cascaded into existence. I liked going from studio soundtrack to acoustic audio and back, the contrast emphasising the different qualities of each. I wanted to begin with a driving motif to introduce this as a road journey through England - the hand I shot on the steering wheel is mine. The balls of light are from oncoming car headlights on a motorway outside Manchester. I became mesmerised shooting the patterns produced by throwing the lens out of focus, ending up miles beyond my exit. The young men in sharp uniforms grooming a colleague are marine cadets from Bristol preparing for the funeral at Wootton Bassett of a soldier killed in Afghanistan. The ballroom scene is from The Blackpool Tower very late in the season, had I come a day or two later I would have missed it entirely. The idea of marrying this imagery to lyrics detailing the gristly horror of war came from its jaunty hand-clapping backbeat. The couples are dancing to a bygone classic played on a Wurlitzer with expert majesty by the resident organist.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

The Glorious Land

Fri, 25 Nov 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about the videos. ENJOY!

As with the other films; I wanted to avoid a literal interpretation of the lyrics, but to try to remain true to the spirit and feel of the track. 'The Glorious Land' was the third film we edited and com¬pleted in Berlin in the cycle of the 12 films, the first was 'The Words That Maketh Murder' and the second was 'The Last Living Rose'. Both the editor, Sebastian Gollek, and I loved this track, and for me the bugle blast and where it comes in is truly a glorious thing. It has the courage to be discordant and barking mad but perfect on its own terms, surely a quality of great art?
I had noticed interesting things coming through the trees when driving around Dorset in October. Autumn colours, the sunlight streaming through, the effect of movement during driving, how things changed if I speeded up or slowed down, how the angle of the camera changed things so I started experimenting with shooting and driving. I shot through the car sunroof straight up into the sky or through the windscreen, some deliberately overexposed and out of focus to increase the abstraction. I liked the white, washed-out look of the sky and how at times there are stretches of pure white. I had originally had 'All And Everyone' in my head for these images, but knew visually it could work elsewhere. When we started editing 'The Glorious Land' it became obvious it was made for it.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

The Last Living Rose

Thu, 24 Nov 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

I set out to shoot most of the films as stills, with occasional pieces of moving footage, but the reverse happened. As the trip progressed I ended up concentrating far more on moving images. The aim was always to find a visual language that worked with the music of each song, taking its melody and beat as the guide rather than the lyrics. The stills in the film feature Norfolk a lot, which doesn't surprise me, it's an inspirational place. A picture hang¬ing on the wall of a house on the north Norfolk coast, the head of a charismatic horseman out walking his land, the hand of a farmer baffled by my request to photograph his unruly garden. On the way to knock¬ing on his door I spotted a doll on the barbecue and the pan full of leaves, which made me hesitate. After chatting with him I took a short ramble through his land, coming back to my car to find him nervously jotting down my number plate. He told me apologetically of stories he had heard of people going about the countryside getting signatures and then trying to swindle them out of land and possessions. Apocryphal perhaps, but living alone on a farm you can understand his fears.
There's the road map I used on my travels, taken early in the morning on my bed at a guesthouse in Wells, Somerset. It seemed to have emerged from dreams of travels, and probably had. That's Barry McQueen in the top hat, the great MC at the Tower Ballroom in Blackpool, proudly showing me around the Tower and showing me where they had kept the elephants and other animals when they ran circuses at the Tower in the old days. A young woman in a late night bar in Soho, London. A plastic bag outside a corner shop in Toller Lane, Bradford. A pheasant flying near Preston and a lady waiting for her bus just outside Leeds. The weary horse who would have us believe he's had a hard day's work is at Blakeney, Norfolk. It began as a still photograph of a duck pond at sunset, which had me chuckling at its kitsch 'Olde England' quality. I realised that the horse with his slow saunter might just walk the length of the path and leave the frame, and it might be something useful, so I flipped the camera to movie mode. I had no idea at the time if, or where, it might be used in the films. These films are not scripted.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

Let England Shake

Wed, 23 Nov 2011 00:00:00 +0100

Over the next twelve days we will be featuring a new music video featuring PJ Harvey by Seamus Murphy daily. The accompanying text by Seamus will give an insight into his thoughts about making the videos. ENJOY!

This is probably the film I had most sketched out in my head before shooting. The dark, slightly hysterical lilt of the melody made me think of a fairground run by Alfred Hitchcock on a bender. I thought a carousel with riderless horses could work well and filed it away as something to look out for. I was driving along the motorway one night and saw a Ferris wheel lit up and turning in the distance. I'd had a frustrating day shooting in Liverpool, so I was pretty reluctant when I took the exit to investigate. It was a Christmas fair in Chester, and as I walked in . . . there was my carousel, turning away without a customer in sight. The Ferris wheel appears at the end of the film for 'On Battleship Hill'. Punch and Judy also suggested themselves for this track, a suitably dark children's entertainment with overtones of domestic violence. It is seen in England as being very English, which being typically English has its roots elsewhere, tracing back to the 16th-century Italian commedia dell'arte. Mark Poulton of Poulton's Puppets at Paignton (Punch couldn't have said it better) makes the puppets himself and was generous enough to perform off-season.
The fairground scene which opens the film is on Canvey Island in Essex, shot on a bright freezing day in December. Earlier that day I had shot two tankers in a shipping collision off Southend, which appears in the film. This catastrophe didn't make the front page, the BP oil spill in the Gulf of Mexico did. That was a joke. The film that opens with farmer John Diment of Dorset is one of the films where I had someone speak the first few lines of the song that follows. I wanted these vignettes to be a record of the characters one could meet on travels around England. It also focuses attention on the lyrics, which can sound strange and beautiful without the music. Polly researched deeply for this album, delving into books and archives, reading letters from young soldiers who wrote and expressed themselves in very personal ways. She manages to capture this in the songs and I was hoping the lyrics spoken by a non-actor could reinforce that intimacy.

PJ Harvey Web Site

www.pjharvey.net

England Photo Essay by Seamus Murphy

http://www.viiphoto.com/showstory.php?nID=1230

Looking Home

Sat, 12 Nov 2011 00:00:00 +0100

In these poignant portraits by Adam Ferguson we get an intimate glimpse at U.S. Troops stationed in Afghanistan as they use social networking websites and programs such as Skype to communicate with friends and family at home.

Seven Billion

Fri, 04 Nov 2011 00:00:00 +0100

As the Obama administration is trying to quell furor over religious groups and the conservative right about a new administration rule that would require health insurerence plans, including those offered by Roman Catholic hospitals, universities and charities, to offer free birth control to female employees we thought it would be interesting to look again at Seven Billion. The United Nations estimated the world's population reached seven billion on October 341, 2011. VII The Magazine commemorates this milestone with our own little look at babies, birth and the world.

The National Womb

Thu, 27 Oct 2011 00:00:00 +0100

On the 2nd of September this year, Nagorno Karabakh celebrated 20 years of independence, yet remains unrecognized by the international community. Life is not easy in the republic. There is high unemployment, low salaries, few opportunities and the young continue to leave in search of better futures abroad.

To combat this Nagorno Karabakh's de facto government introduced the "birth encouragement program" which distributes cash payments to newlyweds for each baby born, with the aim of repopulating the region after the devastating 1991-1994 war in which Nagorno Karabakh's ethnic Armenians went to war with Azerbaijan, backed by neighboring Armenia. The war left 65,000 ethnic Armenians and a further 40,000 ethnic Azeris displaced.

In this video Anastasia Taylor-Lind gives us a look at the program and the people of this little know republic.

Dear Obama

Tue, 25 Oct 2011 00:00:00 +0100

Since September 2008, at least 2,000 civilians have been killed and nearly 3,000 others have been abducted during attacks by the Lord's Resistance Army (LRA). The LRA, a Ugandan rebel group, operates in the border region between northern Congo, the Central African Republic and south Sudan. Many of the victims, including children, were beaten to death, had their skulls crushed or their heads sliced with machetes. Abducted children are forced to kill their family members. Joseph Kony and the LRA has been operating like this in the area for over 25 years.

On May 24, 2010, President Obama signed into law legislation committing the U.S. government to develop within 180 days a comprehensive, multilateral strategy to protect civilians in central Africa from LRA attacks, and take steps to permanently stop the violence. By November 24, 2010 the Obama administration is due to publish the options for this new strategy.

Three of the LRA's leaders - Joseph Kony, Okot Odhiambo, and Dominic Ongwen - are sought by the International Criminal Court under arrest warrants issued in July 2005 for war crimes committed in northern Uganda. All three remain at large and continue to commit atrocities.

Victims of this rebel group call upon US President Barack Obama for urgent and decisive action to neutralize the LRA.

View the full campaign, including photos and an appeal from photographer Marcus Bleasdale, at:

http://www.hrw.org/en/node/94226