During the Second World War Rodger worked with Life magazine and continued on as a staff photographer until 1947. Although his photos of concentration camps at the end of the war made him world famous, he was so traumatized that he suffered from migraines, nightmares, and severe depressions through the rest of his life. - newworldencyclopedia.org
If George had only been a war photographer or only worked in tribal Africa, or only been a photo innovator of the picture story, or only been a founder member of Magnum- any one of these would have given him a place in photo history, but all of these along with his tragic personal history makes this book essential reading for anyone studying photography. - Eve Arnold
Many of his images contribute to our collective memory: the London Blitz, Bergen-Belsen, Paris on the day after liberation.And George recorded the magnificent Nuba tribe long before Leni Riefenstahl and with infinitely more humanity. George Rodger belongs to the great tradition of gentlemen explorers and adventurers which is disappariing. His work is a moving testimony through time and space. - Henri Cartier Bresson
George Rodger (19 March 1908 – 24 July 1995) was a British photojournalist noted for his work in Africa and for photographing the mass deaths at Bergen-Belsen concentration camp at the end of the Second World War.Born in Hale, Cheshire, of Scottish descent, Rodger went to school at St. Bees School in Cumberland. He joined the British Merchant Navy and sailed around the world.
Good photography is based on truth and integrity.
I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don't like it, I don't have to print it.
You must feel an affinity for what you are photographing. You must be part of it, and yet remain sufficiently detached to see it objectively. Like watching from the audience a play you already know by heart.
had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error...
When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop.