Roger LeMoyne studied film and Music at Concordia University in Montreal, toured Canada with a band and worked in film and music before turning to photography. Since the 1990’s, he has been documenting the human condition, conflict, human rights issues and international aid in the Middle East, Africa and Eastern Europe.
His work has appeared in publications ranging from the magazines Paris Match, Life, Time, Macleans Magazine, Border Crossings, Canadian Art, COLORS, Geo, l' Actualité to other venues such as Unicef annual reports, the International Conference on War-Affected Children, Visa pour l’Image, Contact (Toronto) and Gijon (Spain) photography festivals. His first book, “Details Obscurs” --a look at the effects of contemporary conflict on civilians-- was published in 2005 and won prizes in France, the USA and Canada.
His images have garnered more than 50 awards internationally, including National Magazine Award 2014, the Michener-Deacon Fellowship (2013), A Canada Council for the Arts Grant in 2013, a Quebec Arts Council grant in 2009, the Dorothea Lange-Paul Taylor Prize (Duke University) in 2007, the “World Understanding Award” from POYi (Missouri School of Journalism) 2006, The Prix Bayeux-Calvados in 2006, the Alexia Grant in 2004, World Press Photo in 1999. His work has been nominated for 15 National Magazine Awards and has appeared in Communication Arts Photography Annual 7 times.
He has been a judge on the National Magazine Awards, Pictures of the Year International, le Prix Antoine Desilets, the News Photographers Association of Canada awards and is currently a nominator for the World Press Photo Education's Joop Swart Masterclass.
A freelancer his entire career, his pictures are distributed by Getty Images and Redux Pictures of New York.
He lives in Montreal with his wife, a physician, and their two children.
“I don’t care to have a singular style or way of working, style can very quickly become a trap. I prefer to explore the medium of photography and seek out new ways of seeing. I believe it is the process of change within work that separates the artist from the craftsman. But one thing I am always looking for in my photographs is a kind of cross-current. I never want the photograph to be just one thing, one mood, one idea. Rather, it should be a place where multiple, often contradictory, impressions overlap” - RL