Alberto Korda

In an interview from 2018 the Canadian filmmaker talked about the lawsuit:

In September 2016 the 'Leica' camera that Korda's used for his famous photo of Che Guevara was auctioned through the online auction house Catawiki for 18,100 euros.

He was featured in a full feature documentary titled Kordavision directed by Hector Cruz Sandoval in 2006 which was selected by AMPAS 2007 documentary series.

In 2005 Bruce Labruce's producer Jürgen Brüning and Labruce himself were sued by the estate of Korda for a million dollars over the use of Korda's famous photo of Che "Guerrillero Heroico" in Labruce's movie The Raspberry Reich.

Korda suffered a fatal heart attack in Paris in 2001 while presenting an exhibition of his work. He is buried in the Colon Cemetery, Havana.

From 1968 to 1978 he concentrated on underwater photography until a Japanese exhibition in 1978 stimulated international interest in his work. He appeared briefly in the pre-title sequence of Wim Wenders' film Buena Vista Social Club in 1999, although he was uncredited.

Solo exhibitions of his works have been held in Helsinki, Finland, 1962; the Galleria H. Diafragma Canon, Milan, Italy, 1985; Galería Servando Cabrera, Havana, 1986; Roy Boyd Gallery, Chicago, 2000; COEX, Seoul, Korea, 2011.

Group exhibitions of his works include: in 1962, Museo Nacional de Bellas Artes, Havana; 1967, Expo’67, Pabellón Cubano, Montreal; 1980, Consejo Mexicano de Fotografía, Mexico City; 1980, Centro de Arte Internacional, Havana; 1983, Westbeth Gallery, New York; 1999, Centro de Desarrollo de las Artes Visuales, Havana; 2000, C. Grimaldis Gallery, Baltimore, Maryland; 2000, Royal National Theatre, London; 2002, Museum of Art, Ft. Lauderdale, Florida.

Korda was a photographer for the Cuban newspaper Revolución when he produced on March 5, 1960, the iconic image of Che Guevara that became a worldwide symbol of revolution and rebellion. He never received any royalties for the image, because Castro did not recognize the Berne Convention for the Protection of Literary and Artistic Works. In 2000, he sued Smirnoff (Lowe Lintas) over the use of the image in advertisement. Commenting on the illicit use of his photograph, the artist said, "As a supporter of the ideals for which Che Guevara died, I am not averse to its reproduction by those who wish to propagate his memory and the cause of social justice throughout the world, but I am categorically against the exploitation of Che's image for the promotion of products such as alcohol, or for any purpose that denigrates the reputation of Che." His out-of-court settlement of US $50,000 was donated to the Cuban healthcare system. He said, "If Che were still alive, he would have done the same." However, he told a BBC World Service reporter that he did approve of the 1999 Che Jesus adaptation of the image used by the Churches Advertising Network to promote church attendance in the UK. The truth is that Korda gave the picture for free to Giangiacomo Feltrinelli, an Italian publisher who had published Doctor Zhivago and went on to publish Castro's diaries.

The relationship between Fidel Castro and Korda could not be defined by one label or title. For Castro, Korda was more than an official photographer, a friend or personal photographer. They never discussed salary or title, their relationship wasn't boss and worker. Korda was very relaxed, and interested in everything and everyone. Every photo he took was a symbol of the revolution, instead of a documentary of the events of the revolution. The Cuban Revolution was the turning point in Korda's career; his career plans were completely changed with the success of the revolutionaries. In 1959 the newly established newspaper offered the largest space for photographers to display their photographs, and Korda became part of the revolutionary cause. Korda Says, "Nearing 30, I was heading toward a frivolous life when an exceptional event transformed my life: The Cuban Revolution. It was at this time that I took this photo of a little girl, who was clutching a piece of wood for a doll. I came to understand that it was worth dedicating my work to a revolution which aimed to remove these inequalities.” He got caught up in the ideals of the revolution and began photographing its leaders. As photographer of the Revolution, Korda always worked at his own photographic tempo; he wasn't pushed by the press or by any other requests. Wherever the revolution took Castro, Korda followed. One of Korda's most recognizable images was of Castro's visit to the Lincoln Memorial in Washington, D.C., in April 1959. Castro's travels took Korda all around Cuba, overseas, and the Soviet Union. In 1963 photos of Fidel and Nikita Khrushchev, taken by Korda, illustrated the differences in both men that were evident in their respective politics.

In 1959 Fidel went back to the Sierra Maestra, the remote mountain region, where the revolutionary army began its attacks on the army of the Batista Regime. Korda's style was to move to the front of whatever group Fidel was leading to get the shots he wanted. When Korda came back to his home, his daughter barely recognized him: his hair and beard were long and he hadn't showered for months. Korda took many pictures for the newspaper and called the series "Fidel Returns to the Sierra." Fidel always liked Korda's photos and never stopped him when he attempted to take his picture. He worked freely without thinking about political consequences to get what he wanted in his photos.

He was awarded the Cuban "Palma de Plata" in 1959; named Best Photoreporter of the year, Revolución Journal, Havana, 1960–1963; awarded the 5th International Award of Submarine Photografie "Maurizio Sana," Italy; awarded National Culture Distinction, Ministry of Culture, Cuba; 1994.

Alberto Díaz Gutiérrez, better known as Alberto Korda or simply Korda (September 14, 1928 – May 25, 2001), was a Cuban photographer, remembered for his famous image Guerrillero Heroico of Argentine Marxist revolutionary Che Guevara.

Korda, whose real name was Alberto Díaz Gutiérrez, was born on September 14, 1928, in Havana, Cuba. He got his first taste of photography when he took his father's Kodak 35mm and began taking pictures of his girlfriend. Korda was the son of a railway worker, and took many jobs before beginning as a photographer's assistant. Korda began his career as a photographer who shot pictures at banquets, baptisms and weddings. He would run back to his studio to develop the film, then return to the event and sell his photographs as souvenirs. The quality of Korda's work as a beginner was very poor; after a few months the image became blurry and the paper yellowed. When he opened his first studio, Korda had an opportunity to learn from his mistakes and to stop the yellowing process by using the right chemicals for the correct durations of time. In 1953, Korda opened his first studio with a photographer named Luis Pierce. Initially, Korda and Pierce took a variety of jobs ranging from fashion to advertisements.