Conflict journalist Christian Poveda killed

Journalism lost one of its most courageous members earlier this month (via Lightstalkers): Photojournalist-turned-filmmaker Christian Poveda was murdered in El Salvador last week, possibly by the same gang he famously documented in last year's "La Vida Loca."

Poveda was found dead with gunshots to the head on the outskirts of San Salvador, near a slum where he'd infiltrated and documented the Mara 18, chief rivals to the Mara "MS-13" Salvatrucha down in the homeland. True, he could have chosen a more original name, and yes, the work covers fairly predictable (albeit wholly fascinating) fare -- gnarly facial tats, drug use and distribution, hookers, ultra-violent children. But Poveda succeeded where some had failed and many more had feared to venture in the first place. Born in Algeria to Spanish parents who raised him in France, Poveda gained his first exposure to El Salvador as a photographer covering the devastating civil war for Time in the early 1980s (a 12-year conflict whose atrocities were exacerbated by a little good ole covert Amurrican intervention and whose destabilizing effect helped bring about the emergence of the Maras and other powerful, barrio-governing gangs). He returned a decade later with a video camera and no obligation to present his work sans motif.

It's trite to revert to the "died doing what he loved" platitude, but in this case, it's absolutely applicable: Poveda was returning from shooting more gangland footage when he was slain. Regardless of whether his killers were Mara 18 members unhappy with their portrayal, MS-13 guys unhappy with their chief rival's increased exposure, government operatives in need of a martyr to force the politicians to provide more anti-crime funding, or the proverbial Man on the Grassy Knoll, Poveda lived his passion, his life's cause, to the end. And for that he deserves our greatest respect and, sadly now, our remembrance.

On a side note, Poveda's self-styled brand of photojournalism -- entrenching himself in communities on the periphery of acceptable society for long stretches, befriending fringe characters, and generally pissing off assigning editors under pressure to keep down costs -- is nicely summarized by a former collaborator here.