I've been in Bali since Wednesday afternoon, and having been able to shrug off some of the jet-lag and its resultant disorientation, I've been quite busy in Ubud and its environs. For starters, I'm working on a feature covering a famous Wayang Kulit in Sukawati and other projects.
In the meantime, Komang (my driver and fixer) suggested that I attend a small Balinese wedding close to Ubud, which we just chanced upon it as we were driving. While the wedding itself was not a tremendously "visual" event in itself, I am always amazed at the generosity and hospitality of the Balinese who, despite of us being nothing more than wedding crashers, welcomed us with open arms, and plied us with food and beverages. This is my fourth trip to Bali, and this never ceases to amaze me.
Most of the 9 participants in the Bali: Island of Odalan Photo~Expedition will be converging at our Ubud hotel tomorrow where, after an hour of orientation, we will start the adventure. It's particularly exciting as we expect to hit the ground running since there are various temple anniversaries all through the 2 weeks of the photo~expedition/workshop.
The above photograph is an out-take of the groom after having been made up for the official wedding portraits. The hand is of the make-up artist who couldn't stop adding final touches even as I was photographing!
It's been almost a month since the wrap-up of the very successful Foundry Photojournalism Workshop (FPW) in Istanbul, which achieved an impressive degree of multi-ethnicity amongst its participants...a veritable United Nations of photojournalism.
According to Neal Jackson, FPW Istanbul was attended by about 130 photojournalists (excluding instructors) from 41 countries.
The largest contingents were from the United States (30), host country Turkey (15), India (8) and Romania (7). Notably, 8 Middle Eastern countries were represented, fielding 16 photojournalists including 1 from Palestine/Gaza.
A tremendous achievement by all concerned; its founders, its staff, its instructors and its participants....and Istanbul.
I'll shortly be on my way to Bali to lead my Island of Odalan Photo~Expedition™, which officially starts on August 1 to August 15. I'm in London for a short stop over, then on to the Thai Airways flight from Heathrow to Bangkok and onwards to Denpasar.
I'll spend a few days before the start of the photo-expedition in Ubud where I'll work on a short two-day assignment, renew my friendship with this delightful small town, and with Bintang beer.
I will be joined in Ubud by 8 photographers, but this is my last photo~expedition with such a high number of participants. Those who follow my blog know I've recently decided to limit my forthcoming trips/workshops to 5 participants, and to further enhance their photo-journalism component and multimedia story-telling.
I've tried cramming all my gear in my Lowepro backpack (a non-roller), but found it too uncomfortable to carry...not only was it very heavy, but also sort of awkward. Consequently, I will use my small Domke F-8 and the no-name messenger bag combination. This way, I'll be able to spread the gear over two bags....one for each shoulder when I need to. And this configuration is easier to get through any pedantic check-in agent. However the 70-200 2.8 will have to travel in my checked-in luggage.
It still allows me to carry a Canon 1D Mark II along with my 5D Mark II, a 28-70 2.8, a 17-40 4.0 and a 24 1.4, my Marantz audio recorder, and a couple of hard drives and my Macbook Pro 13". The rest of the electronic paraphernalia will travel in my checked-in luggage. Better that than risk a dislocated shoulder.
Oh, and no room for a Holga...but my Panasonic GF1 is trotting along with me, so we'll see how it performs in Bali as a walk-about camera.
Since internet access is ubiquitous in Bali, I will try to post some updates on the trip but there will a hiatus for a few days.
In the meantime, for those missing out on joining my photo expedition and workshop on this lovely island, I leave you with this short movie commercial for a new Sony Handycam filmed in Bali.
What does Robert Fisk of The Independent have to do with photography? Probably nothing, but he's a mensch, which in Yiddish means "a person of integrity".
And why do I think that? Well, it's about his opinion piece on Octavia Nasr of CNN (or I should say, previously of CNN) and the British ambassador to Beirut, Frances Guy (still at her post, as far as I know).
"I loved the "controversial" bit – the usual "fuck you" word for anyone you want to praise without incurring the wrath of, well, you know who. The Foreign Office itself took down poor Ms Guy's blogapop on old Fadlallah, thus proving – as Arab journalists leapt to point out this week – that while Britain proclaims the virtues of democracy and the free press to the grovelling newspaper owners and grotty emirs of the Middle East, it is the first to grovel when anything might offend you know who."
Read it. And if you're interested in the Middle East, and why we are where we are now, you may want to read his incomparable The Great War For Civilization.
I am amazed at the number of younger photojournalists/photographers who "parachute" into Iraq and Afghanistan with only a rudimentary knowledge of history, and who tell me that after having 5 cups of tea with an Afghan family, they "understand" the culture.
This book has all they need to know and will set them straight...alas, it's a thick volume, so I'm not holding my breath.
Reading and posting Stan Greene's excellent interview yesterday will probably satisfy my photojournalism interest for this week, so for a change in pace here's a lovely travel multimedia piece titled Mongolian Racer by The Guardian photographer Dan Chung, and narrated by Tania Branigan. (click the arrow).
The multimedia piece is on a horse trainer and his 10-year-old jockey who face the biggest day of their year at Mongolia's Naadam festival, which dates back to before Genghis Khan's time and celebrates the 'manly sports' of wrestling, archery and racing.
The Mongolian traditional festival of Naadam is also called in the local dialect as "the three games of men". These are Mongolian wrestling, horse racing and archery. The festival is held throughout the country during the midsummer holidays, however the largest is in Ulaanbaatar.
For the geeks, the piece was shot using Canon 1DmkIV, 5DMkII, 550D and GoPro HD camera, and a load of ancillary gear which is described in length in Dan Chung's blog DSLR News Shooter.
Apart from it being gorgeous videography, I noted the simple and clean font used for the title of the piece, and how it's placed against the dark cloud in a red sky...nice touch, that. And I also liked how the voice-over expertly blended with the ambient sound/voice.
Stanley Greene’s Redemption and Revenge on the New York Times' LENS blog is one of the most interesting (and candid) interviews with a photojournalist/photographer I've read in a long time.
Having met Stanley Greene in Mexico City, I don't think I'd be wrong in describing Stanley as an iconoclast, as someone who doesn't mince words and who doesn't imitate. His opinions and responses as expressed during this interview confirm my view. This interview is a no platitudes no bullshit zone...and may rile some "lemmings", but for those who appreciate iconoclasts, it's a must read.
Excerpts that particularly resonate with me:
"When journalists start to distort reality, then I have a real problem with it. And when everything starts to look like a cartoon, I have a problem with it."
"When we get to the point where we start digging up graves to make photographs, I think we are in trouble."
"You need to be able to communicate with people. You should know a language. But even if you don’t know a language, you should at least be decent enough to understand what you are about to photograph, instead of just going, “Pow, pow, pow.” Because when you do that, then you are a vulture, and then you are what a lot of N.G.O.’s call us: “Merchants of misery.”
"I don’t own an apartment. I don’t own a house. I don’t own a car. I don’t have any stocks and bonds. All I own are my cameras. That’s it. And some cowboy boots."
Michael Kamber has worked primarily as a conflict photographer and covered a dozen wars including Afghanistan, Somalia, Liberia, Darfur and the Congo. He photographed the war in Iraq for The New York Times between 2003 and 2010. His photos have been published in nearly every major news magazine in the USA and Europe. Michael is the winner of a 2007 World Press Photo award, the Missouri School of Journalism’s Penny Press Award, American Photo Images of the Year and an Overseas Press Club award. He has been nominated three times for the Pulitzer Prize–twice for photography and once for reporting.
As I said, one of the best interviews I've read in a while.
I've been terribly remiss in covering the Philippines on this blog, but Jacob Maentz's fine work on this Asian nation will go a long way to rectify this.
Originally from the United States, Jacob is based in the Philippines from where he does considerable amounts of travel, working on freelance assignments and shooting stock photography. His travels to Latin America whilst in college is where he discovered his passion for the camera. He was brought to the Philippines in 2003 when he joined the United States Peace Corps and has found himself repeatedly drawn back to this part of the world since then.
Most of his galleries are of the Philippines, and I chose to feature the very interesting Infanta Penitents here.
Jacob writes that "Self flagellation practices were adopted by Filipinos during their Spanish colonization almost 500 years ago. Flagellants are practitioners of an extreme form of mortification of their own flesh by whipping it with various instruments. Today, you can still see some Christians practicing flagellation in the Philippines as a form of devout worship and personal sacrifice, sometimes in addition to self-crucifixion. In the Philippine province of Quezon there are still a number of men who wear elaborate costumes while preforming their act of self flagellation."
When you've looked the Infanta Penitents, continue exploring Jacob's galleries. I did, and learned much about the cultural wealth of the Philippines.
My list of Google Followers have now grown to over 700 people. This list is distinct from my Twitter and Facebook followers and/or friends, Feed subscribers or from the subscribers to my newsletters.
To commemorate this milestone, I've decided to feature the 710th Google Follower whose screen name is Ruma2008. There not much on background information on his/her blog except that she or he is probably from Japan, likes Japanese calligraphy and landscape photography.
The Ruma2008's blog is titled Calligraphy In The Landscape, and thank you for following The Travel Photographer's blog!
PBS' Need To Know is featuring a Starved For Attention slideshow with 19 large photographs by Marcus Bleasdale, Jessica Dimmock, Ron Haviv, Antonin Kratochvil, Franco Pagetti, Stephanie Sinclair, and John Stanmeyer.
It's based on the extremely well produced multimedia campaign by Doctors Without Borders/Médecins Sans Frontières (MSF) and VII Photo which exposes the neglected and largely invisible crisis of childhood malnutrition.
As an aside, I also noticed on Need To Know an article by Kavitha Rajagopalan on the buffoonish remarks made by Palin on the plans to erect a mosque and Islamic center near Ground Zero.
All I have to say is that it is New York and its inhabitants who suffered on September 11, 2001....and it's they who have the voice in this.
Andrea Pistolesi is a pro in the full meaning of the word...a my kind of guy...a photographer who fuses travel and editorial imagery, and who's candid enough to say that professional travel photography as it existed is now extinct, and that travel publications and ancillary glossies are a dying breed. He espouses the view -like I do- that interesting visual stories are all around us, but that we need to broaden our scope by creating new ways of distribution (think of the new VII Magazine, as an example).
Andrea was born and lives in Florence, and studied geography at the local university, evolving in a travel photographer specializing in geographic and global social reportage. He published books on exotic destinations (Indonesia, New Zealand, Morocco, South Africa, The Land of Buddha, Hinduism, Eastern Christianity), and amongst others, has recently published a book on prayers of major religions.
He was widely published in CN Traveller (Italy), Delta Sky, Departures, Elle, l'Espresso, Figaro Mag, Gente Viaggi, Geo, Gulliver, Hemispheres, Islands, LATimes Mag, National Geographic, NYT Sophisticated Traveler, Photo, Rutas del Mundo, Smithsonian Mag, Time, Travel & Leisure, and many others.
Andrea's website is a cornucopia of travel and editorial photography, which is bound to give viewers hours of enjoyment, and provide photographers immense inspiration and ideas.
I spent a while on his website, trying to decide which of his galleries to feature on this blog. It was difficult, and I changed my mind often. Finally, I chose the brilliant reportage of the Rohingya refugees in southern Bangladesh.
As Andrea describes them, the Rohingya are the unwanted of southwestern Asia. An ethnic Muslim minority, they have no rights in Burma and try to flee across the borders with Bangladesh where only a few earn a refugee status. For others, it's a life of squalid illegal camps, an unending odyssey falling prey to human traffickers, to organ traffickers, to sex rings and to pedophiles.
Also read Andrea's blog post Requiem For Travel Photography. And don't miss his work on the Nats (spirits of Mynamar) and on the Bugis Seafarers.
Here's a lovely audio-slideshow by the gifted Mervyn Leong W.Y. which you can either view on Vimeo (click above) or via his website here. The quality of the latter is better.
Mervyn attended the Foundry Photojournalism Workshop in Istanbul (he also attended last year's in Manali), and participated in Rena Effendi's Telling A Human Story Through A Compelling Portrait class. I spent time with Mervyn as he prepared to photograph inside the less-than-hospitable-for-photography interiors of the hammams, and can vouch for his meticulous planning, and how he took pains to wrap his camera, lenses and audio gear in saran-wrap (to protect them against moisture and steam).
An engineer by profession, Mervyn took photography and photojournalism more seriously a couple of years ago, and has made impressive strides in his work. He's also endowed with an encyclopedic knowledge of gastronomy, cooking and food in general.
I think that Hammams: Spreader of Warmth is a very well made audio slideshow (I particularly like the opening image of the slideshow, which is almost a painting), and the audio tracks are well sync'ed. You'll find it a delight to watch...and like the patrons enjoying the turkish bath, you may feel equally relaxed and refreshed.
The hamams in the Ottoman culture started out as annexes to mosques, and quickly evolved into institutions and eventually into monumental structural complexes in the mid 1500s. Typical hamams consist of three interconnected rooms: the sıcaklık which is the hot room; the warm room which is the intermediate room; and the soğukluk, which is the cool room.
Mugur Vărzariu is a photojournalist based in Romania who attended the Foundry Photojournalism Workshop in Istanbul, and was in Adriana Zehbrauskas' On Assignment class.
It's a testament to Mugur's intrinsic talent that he started as a photographer less than four months ago. Yes, you read that right...less than 4 months ago, and he also just won the ‘Leica for AICR’ People Photo Contest, where one can read his interview.
He tells us that his first choice for a photojournalism project was to document faith, and to stress through his imagery that, despite the difference in the names or sites of worship, people’s faith is the same. Largely self-taught, he also attended a workshop in Italy with Paolo Pellegrin.
Mugur graduated in economics, and worked in marketing strategy (or brand positioning) for 15 years, when he helped position hundreds of brands. This, he believes, has helped him position his own craft...and from what I've seen from his work at the Foundry and on his website, he has succeeded.
I predict we'll hear and see more of Mugur Vărzariu. Have a look at his website, and you'll agree with me. The above images are from his Pillars of Faith gallery.
Daniel Berehulak is based in New Delhi, working for Getty Images News Service and covering the South Asia region and beyond. He joined Getty Images in 2002 in Sydney and relocated to London as a staff news photographer in 2005. Daniel’s work is regularly published in major newspapers and magazines worldwide, including The New York Times, The Washington Post, The Los Angeles Times, The Wall Street Journal, The Guardian, The Independent, The Times, Stern, Time, Newsweek and many more.
With his image (the B&W version) of a Kashmiri girl mourning the death of teenager Zahid Farooq during his funeral on the outskirts of Srinagar, Daniel was awarded First Prize: News Folio of the Year in the Press Photographer's Year 2010, which is the only competition to showcase the best photography used exclusively by the UK media.
I recommend not only his arresting (and recent) photographs of Kashmir, but also his lovely medium format work in the gallery titled I-ncredible India....especially the photograph of the two Muslim boys reclining on some blankets in an Ahmedabad storefront.
A brief stop-over in London, then it's a grueling 16 hours aggregate flight time from Heathrow to Bangkok, and onwards to Denpasar to reach it on July 28. This will give me a couple of days for a personal project, and to meet the rest of the participants.
I am tempted to ditch my preferred combination of the Domke shoulder bag and a non-name messenger bag in favor of my older Lowepro backpack. The reason? I want to take my old workhorse of a camera: the Canon 1D Mark II along with the 5D Mark II, as well as my Panasonic GF1. Also included are my whole panoply of lenses; the 70-200 2.8 IS, the 28-70 2.8. the 17-40 4.0 and the 24 1.4, a ATR6250 Stereo Condenser mic and my Marantz audio recorder, and a couple of hard drives to keep my Macbook Pro 13" company.
And if the winds blow in the right way, I may even get a Holga to photograph some of the odalan ceremonies, emulating my friend John Stanmeyer's Island of Spirits.
That's a lot of gear, and I can't fit all that in the Domke-Messenger bag combo I often use. My shoulders will complain, my back will be sore....but I have to have that amount of gear with me. When will I have the guts to rely solely on the Panasonic GF1 with a couple of lightweight lenses? Probably when my shoulders cave in...that's when.
So over the coming week, I will try out various packing permutations to determine which one I'll use. Only then will I decide what to pack in terms of clothes...and if I don't the time for that, ah well...Bali is sarong-country!
For those who are hard-core fans of South East Asian photojournalism, OPEN-i hosted a live webinar a few months ago which featured work from photographers living and working in South East Asia, and who discussed the challenges and rewards of working in that region.
The webinar (moderated by Paul Lowe) is unusually long (about 105 minutes), and the acoustics are not great, but it offers insight into the work and working conditions of 4 photographers/photojournalists.
OPEN-i is a global online community of practice for the professional photojournalism industry where members can discuss the challenges and opportunities facing the industry in live webinars and online forums.
Amy Johansson is a Swedish photographer, who's currently about to move from her Bangladesh base to attend an international photojournalism course at the Danish School of Media and Journalism . After completing a degree in fashion design, Amy worked as a designer for several years, until moving to Dhaka as a product developer.
Upon her taking up photography, she rapidly won awards and has been represented in numerous galleries and exhibitions, such as the Taylor Wessing Photographic Portrait exhibition at the London National Portrait Gallery in 2009.
Amy attended the Foundry Photojournalism Workshop last year in Manali (India) where she won the emerging photojournalist award, and also attended it in Istanbul two weeks ago.
She recently co-produced an audio slideshow titled Lethal Leather on that industry in Bangladesh, its medieval conditions and its lethal toxic consequences on its workers. It's a joint project between her and journalist Gabrielle Jönsson.
I updated The Travel Photographer website with a new slideshow of more recent photographs made during my 2009-2010 trips, and added details of my planned In Search of Sufis Photo~Expedition™, which will be the first scheduled for 2011.
It's well on its way to being sold out, as I am restricting it to only 5 photographers.
The In Search of Sufis Photo~Expedition™ is not for first-timers to India, nor is it for photographers expecting choreographed photo-opportunities. This trip will be the quintessential fusion of travel photography and photojournalism, and aims to merge the visual with the intellectual.
It's structured for photographers interested in multimedia story-telling, interested in exploring the existing syncretism between Sufism and Hinduism, interested in documenting traditional ways of life of Gujarati tribal societies, and documenting Sufi rituals that include exorcisms and trances.
I don't think of Foreign Policy magazine as one to feature top notch photojournalism, but it unfailingly does.
Its latest feature is on the 15th anniversary (if we can call it an anniversary) of the Serbian army entering the town of Srebrenica in eastern Bosnia-Herzegovina, and in the days that followed killing 8,000 Bosniac Muslim men and boys. The Srebrenica genocide was the largest mass murder in Europe since the end of World War II, and the country is still recovering from the war that ended 15 years ago.
The Shadows of Srebrenica is a collection of black & white photographs by the incredibly talented Andy Spyra, and is a powerful reminder of that era, and also reminds us that many of those responsible for this genocide have yet to be apprehended, especially Ratko Mladić.
Amongst the many powerful images, I thought the one above was the most evocative, with the hand and the shadow on the pavement.. Its caption reads: "At the gate of the Srebrenica cemetery, Mehmedovic gestures toward a memorial marker with the number 8,372, though no one knows precisely how many Bosniaks were killed."
Andy Spyra is a freelance photographer currently based in Hagen, Germany. After school, he traveled to Central America and South East Asia where he took up photography. He subsequently studied photography at the Fachhochschule Hannover. He‘s currently pursuing personal projects in the Balkans.
Whilst attending my Introduction To Multimedia class at the Foundry Photojournalism Workshop (Istanbul), Pierre Claquin divulged that he had been a photographer at the age of 16 through a younger brother who owned a Foca camera and let him use it. Matters progressed, and Pierre graduated to an Asahi Pentax Spotmatic, then a Nikkormat...and he stayed with Nikon ever since.
Pierre also divulged that he had produced a photographic book titled Surviving Dreams: The Struggling Circuses of Bangladesh, which documents the few remaining circuses in that country. Very few remain, struggling against bureaucracy, corruption, prejudice and financial difficulties. The book, of some 158 pages of which about 120 are black & white photographs, examines the origin and history of the circus in Bangladesh, as well as the realities of the performers' lives.
As to his choice of black & white, Pierre says" "I used black and white film for this project because, especially in the case of circuses, it is very easy to be distracted by colors."
I enjoyed the book immensely, and you can buy the book Surviving Dreams by contacting Pierre Claquin by email: lalbandor at aol dot com
On October 10th, 2010, thousands of people from every nation around the world will film their perspective and contribute their voice to one of the largest participatory media events in history. The event will result in a feature documentary and online video archive that will showcase the diversity, conflict, tragedy, and triumph that can occur in one day on earth.
The more people are involved, the more accurate and comprehensive a record of the planet that is created....so check it on One Day On Earth
Dilla Djalil-Daniel is a photographer currently living in Jakarta, and attended the Foundry Photojournalism Workshop in Istanbul.
She participated in Andrea Bruce's class, and chose me to review one of her portfolios of the Cap Go Meh celebration in Singkawang, West Kalimantan. Naturally, this captured my undivided attention on account of her colorful images of the unusual rituals and trances.
Dilla traveled around the world for her photography, especially in Asia and has a large portfolio that ought to be shown on her own personal website, which I urged her to have.
Her project in Istanbul for Andrea's class was documenting a day in the life of a traditional silversmith in Istanbul's Grand Bazaar whose name, Kennedy, is definitely nontraditional. It seems his parents named him after the US president after he was shot in Dallas. Many of the silversmiths in Istanbul are ethnic Armenians.
Here is a selection of her images which were part of the students' projects shown during the last evening of the workshop. Somewhat of a departure for Dilla, as it was shot in a photojournalistic style and in B&W.
A few days ago, I posted an opinion piece (or POV) on a renowned photographer about to engage in a project which I deemed unrelated to his travel documentary specialty.
As a consequence, I was criticized by a half dozen people in the blogosphere who, perhaps having misread the gist of my opinion, disparaged my photography, my prior career, my being Egyptian-born (as if that made me unfit to speak my mind), etc. Bah.
I was reminded of Jean-Jacques Rousseau who said: "Gratitude is a duty which ought to be paid, but which none have a right to expect" when I noticed some of the disparaging remarks on that blog were made by the very same people whose photographic work was frequently lauded, applauded and supported on my blog. Double Bah.
I don't know for sure why these people resorted to abusive ad hominem, but one of my guesses (and I have a few) is that they sought to get back at me for not being a lemming, for being an iconoclast of sorts, for not sharing their "gods", golden calves and icons, or to force me into a mold of their choosing. People simply don't like people who are not like them and don't act like they do...it's small-minded tribalism.
So move on boys and girls...I don't need you to tell me what to think and say, nor do I kneel to your golden calves. Get it?
Just so we're clear: A few expressed their disagreement with my view, but did not resort to insults. To those, I say thank you for your point of view...and let's agree to disagree.
Dede Pickering has just returned from Bhutan with a collection of new photographs, which she posted on her Bhutan Gallery. She traveled in that Himalayan country from its west to its east and trekked in the rarely visited Sakten Valley.
I chose Dede's lovely photograph of the unfurling of a thongdrel for this post. The thongdrel is a large tapestry typically depicting a seated Guru Rinpoche surrounded by holy beings, the mere viewing of which is said to cleanse the viewer of sin. During tsechus, it's unrolled before dawn and rolled up by morning.
Having retired from the corporate world, Dede became a world traveler and photographer. She has traveled to Antarctica, Mongolia, Tibet, Nepal, Bhutan, Burma, China, Cambodia, Peru, Patagonia, Kosovo, Albania, Rwanda, New Zealand, Guatemala, South East Asia and has made multiple trips to Africa and India, but her passion is the Himalayan Region.
Apart from joining the agency VII, Ed Kashi was also featured on NPR's The Picture Show in a piece titled On Photographing Pakistan. He also has more of his photographs on the National Geographic blog.
Ed Kashi's objectives were to show how the people of Punjab live, and how millions of Pakistanis just try to live their lives despite the threat of religious fundamentalism, especially as it's also home to the peaceful sect of Sufism.
I had the pleasure of meeting a number of young Pakistani women photographers at the Foundry Photojournalism Workshop in Istanbul just last week or so, and I was amazed at how they just lived their lives to the fullest, worked and crafting their impressive body of work seemingly unperturbed by the events that get reported in our mainstream media.
The above photograph was made at the mosque of Badshahi in Lahore, which is the second largest mosque in South Asia and the fifth largest in the world. The way Ed Kashi photographed the scene by slightly tilting the camera seems to be giving motion to the barefooted man and his cane. Nicely thought out and it gives a different perspective to the mosque which must've been photographed countless times.
Readers and followers of this blog know that I am always interested in religious rituals of all sorts because it's during these rites, festivals and traditional events that devotees are devoid of day-to-day artificiality.
The WSJ Photo Journal recently posted the above photograph of devotees praying at the Sayyida Zeinab shrine in old Cairo commemorating her birthday. Zeinab was the daughter of Ali and the grand-daughter of the Prophet Muhammad. There's a disagreement as to whether she was interred in Damascus in a shrine bearing her name, or in Cairo.
Al Sayyida Zeinab is the patron saint of Cairo, and her shrine is located in mosque that bears her name. It was renovated and rebuilt many times since her death. The mosque is typical of the Mameluke style, and the cenotaph (seen in the photograph) is enclosed within a finely worked bronze grille.
This commemoration has now been added to my list of events to photograph. Hopefully next year in Cairo!
I've just announced my first photo~expedition™ of 2011, and it'll be once again in Gujarat, but much different in context and objectives than the one I led earlier this year. As I always do, its details are shared to those who subscribe to my newsletter, and after a week or so, I make them public.
It will involve photographing tribal life in western Gujarat, the hijras at the famed Bahucharji temple, document the syncretism between Sufi Islam and Hinduism in various shrines and sacred sites in Gujarat's southern peninsula, and the African Indian Mystics of Gujarat, with their distinctive music and rituals.
This photo~expedition™ is limited to a maximum of 5 photographers, and its details have now been sent to my newsletter recipients.
It promises to be another exciting experience especially as it involves so many off-the-beaten-path documentary opportunities...Sufi and Hindu syncretism, eunuchs, the Indian Sufi mystics, and Gujarat's tribals! Not the faint of heart or for first-timers to India, it's a visual and intellectual itinerary which will offer immense opportunities to self-starters interested in documenting the complexities of conflicting traditions and ways of life in one of the most interesting countries of the world.
Nirja Desai is a follower of my blog, and suggested that I take a look at Saleem Ahmed's photographs. I did and immediately agreed with her that his work would be shown on this blog which is one of the platforms for emerging photographers to get some additional exposure.
Saleem is an undergraduate student (photojournalism major) at Temple University, and has a passion to do something for the world and tell stories. He traveled to a number of countries to include the Bahamas, Egypt, Japan, Saudi Arabia, Morocco, UAE, Switzerland, Spain, Syria, the UK, Iraq and India.
There's a multitude of gallery choices on Saleem's website, and I was especially attracted to his Japanese travel work. Kyoto, Yokohama, Miyajima, and Hiroshima are all galleries of his travels in Japan that I recommend you look at. His photography is a combination of street, lifestyle, and environmental portraits.
I hope Saleem's work gets seen by magazine photo editors, and gets them published.
I can only guess that Dani Salva is a Spanish (possibly Catalan) photographer from his website, but there's no biography that I could find. It's a pity because I am sure that photo editors would like his work (they probably do already) but, except through his blog, he doesn't make it easy to know a little bit of him.
He has quite a few galleries and projects on his website, and while all of them are visually interesting, I can strongly recommend the one on Tibet's Kham, and the one in Bolivia...the Potosi Mines is also another gallery you want to drop by and see how the miners work in this nightmarish environment.
As is evident from the above image from Dani's Tibet's gallery, he's enamored with shadows, and likes contrast. I also liked his Tibetan vertical portraits...simple and effective.
Dani also features a number of photo essays and projects on his website, dealing with wines, olives, pork slaughtering, rice and shepherds.
This is an expression of unbridled gratitude to the half-baker's dozen who dismissed my posts as rants and "pontifications". As promised, I've changed the banner of this blog to include this lovely descriptive word, which suits my blog and posts just perfectly.
I regret not having thought of it first, but a banker-turned-photographer is not necessarily a wordsmith.
My post on McCurry's taking a celebrity photography project was criticized on another blog by a handful of readers as being misplaced, rude and judgmental...which puzzled me since I specifically wished him the best of luck with his new project, and described him as a pioneer and an inspiration to many.
The thrust of my post was not about McCurry or his future but to stress the need for all of us to diversify by learning and using multimedia, FCB and Soundslides...and not remain stale and repetitive. In fact, here's a quote from the post which encapsulates my point of view:
"McCurry is one of the pioneers of travel photography and is an inspiration to many who follow his style....and to read of this new project is an uncomfortable reminder that things are changing in this industry, and that photographers (whether involved in travel, documentary and editorial) need to be sharp, varied and inventive."
So to these half dozen readers I make no apologies nor do I need to rethink/reword a single syllable of my post. Not only did you misunderstand my post's intention, but dismissed it as a rant (my POVs always are), denigrated my photography (I do that all the time so get in line and get a number), sneered at my having been a banker in my previous life (many people have more than one career, so I don't understand your point unless, God forbid, you're envious) and so on. Heck, even my country of birth was mentioned...what does it have to do with my blog posts unless it's a jingoistic innuendo? Yes, the mind boggles.
Let me also say that one of my readers also misunderstood what I meant, and had the courtesy of emailing me expressing his viewpoint, and asking for clarification. I responded, and we ended up agreeing on certain issues and disagreeing on others.
As for my pontificating, as a couple have described my post(s), that's exactly what I do here on this blog. That's what this blog is about and will continue to be. You don't have to pay any attention to it. If it aggravates you, just improve your life and remove it from your reading list, because the mission of this blog is to pontificate and to support emerging talent...period. If you don't like it, just don't read my "rants" and "pontifications"...it's really that easy. I'm only a banker-turned-photographer after all...remember?
However, I'm so enamored by the term that I will soon change the sub title of this blog to include it...perhaps like acerbic pontification...or acerbic soap boxing...thank you for the unintended suggestion!!
New Note: I have to thank all of those who emailed me expressing their support and sharing their unbridled puzzlement at the criticisms, and to those new friends who, as a consequence of all this, have now joined my newsletter mailing list! No new post today...i want to keep this one up for a while.
Travis Dove interned on the photo staffs of several American newspapers including The Boston Globe and The Charlotte Observer, and was named the 2007 College Photographer of the Year by the Missouri School of Journalism. He also completed a prestigious photo internship at National Geographic Magazine.
His work has been awarded by World Press Photo, POYi, PDN, the NPPA, and the WHNPA, among others. In the fall of 2008, and appeared in the National Geographic, The New York Times, and the Wall Street Journal, amongst many others.
I loved his photo essay The Holy Mountain made amongst the monks in Mount Athos, the spiritual center of the Eastern Orthodox Church. Mount Athos is a mountain on the peninsula of the same name in Macedonia, of northern Greece. It was established more than 1,000 years ago. Though land-linked, it's only accessible by boat. It's also home to communities of Christian hermits who follow a monastic rule, allowing them to worship in comparative solitude, while also affording them a level of mutual practical support and security.
Stijn Pieters is a self taught freelance photographer based in Gent, Belgium whose work focuses on under-reported social, political and environmental issues. He completed projects in Nepal, Kashmir, Palestine, Northern Ireland, Swaziland, Yemen, Morocco, Iran, Vietnam, The Philippines, India and Bangladesh; most of which tackle diverse issues, from HIV/aids in Swaziland to the pervasive gun culture in Yemen, from Agent Orange victims in Vietnam to stateless people in Bangladesh.
For his projects in Yemen in 2006 and Morocco in 2007, Stijn received respectively grants from the Pascal Decroos Foundation and the King Baudouin Foundation. His work has been published in Belgian magazines like MO*, Vrede, Menzo, Tertio, Vacature, Varen and Isel Magazine.
The above slideshow is on the Durga Puja in Bangladesh, and is very nice work by Stijn. It's an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. You can click on it for a full screen experience.
The most celebrated Durga Puja is in Calcutta where more than 2000 pandals (temporary structures...like thrones) are set up for the populace to venerate. Durga Puja in Calcutta is often referred to as the Rio Carnival of the Eastern Hemisphere.
I was privileged to teach a class titled Introduction To Multimedia for the third straight year at this year's Foundry Photojournalism Workshop which was held in Istanbul June20-26.
As a couple of my class attendees are in the process of shopping their projects to publishers, I'm unable to publish them until they're made public by their creators. However, I am able to show an image from each project along with a description.
The attendees were Brenda Bravo, Pierre Claquin, Yagmar Dolkun, Pedro Gomes, David Hagerman, Jeroen de Kluiver, and Roubina Margossian.
Brenda's project documented an underground puppetry group in Kadikoy, from applying their make-up to walking in the streets performing to crowds. Apart from recording ambient sound of the performances, and of the street, Brenda also narrated the piece which was titled Kadikoy's Underground Puppetry. Her subjects attended the final show wearing the same make-up they use during their walk-abouts in Kadikoy.
Pierre's project was titled Leaves of Tolerance, and documented Nick Merdeyan (the self described Lord of the Leaves) who, from a small store in Istanbul's Grand Bazaar, produced artistic masterpieces of Islamic calligraphy on leaves, dried according to a proprietary process, and sold all over the world. Merdeyan, an Armenian Turk, narrated the piece showing his Islamic, Christian and Judaic motifs using Qur'anic script, underlining the similarity of the three Abrahamic traditions.
Yagmar's project was on CNN-Turk, which took us into the back room of the television station before going live with a sports program. Yagmar chose to produce the piece in black & white without any narration, leaving the images tell the story, and relying on a mesmerizing music loop. The project can be seen by clicking here.
Pedro's project documented Esmeray, a transgendered actor, a sex worker, a feminist, a Kurd and a home-keeper. Inspired by the NY Times' series One In 8 Million, Pedro interviewed Esmeray, and followed her through the day. He photographed during her theater perfromances, at a feminist meeting and later on at her home. Pedro's wife, Asli Maci, provided the excellent voice-over narration.
David chose to document the ferry boats of Istanbul as a symbol of this city. The ferries are part of the daily life for many Istanbullu, and beyond providing a commute alternative, also provide an escape from the daily tribulations of the city. A travelogue of sorts, David used ambient sound recorded on the ferries, the sound of their motors, the din of the passengers and a couple of short interviews.... one with a young man who claimed that "girls are like grains of sand".
Jeroen documented the Alevi in black & white project. The Alevi are a religious sub-ethnic and cultural community in Turkey. Its tradition is related to Shi'a Islam and Bektasi Sufism, and its worship takes place in assembly houses rather than mosques. Jeroen photographed and recorded a ceremony known as cem, which features music and dance and during which both women and men participate.
7. Roubina Margossian: Symbolism In Religious Tradition
Roubina is one of the recipients of a scholarship to attend the Foundry Photojournalism Workshop. She produced an audio slideshow titled Symbolism in Religious Tradition, focusing on a religious service in an Armenian church. Narrated by Father John of the church, Roubina's fondness for photographs of reflections is evident in the project!
Toby Morris is a photographer based in Los Angeles and New York. Having attended the Art Institute of Chicago and the University of Texas at Austin, he worked for various newspapers in Chicago, New York, New Hampshire and Connecticut.
I liked his environmental portraits of animal charmers in India. These are mostly of snake (cobra) handlers, as well as monkeys. Snake charming probably originated in India, especially that Hinduism holds snakes to be sacred. Indians also considered snake charmers to be holy men and traditional healers.
In India, the Kalbelia and Sapera are nomadic tribes nomadic that specialize in snake charming, and are clustered in the Thar Desert of Rajasthan.
As for monkeys, one of the most popular Hindu gods is Hanuman, who is said to be an incarnation of Shiva, and revered for his bravery, strength, loyalty, devotion, and dedication to justice. The monkey handlers are called "madaris", and are frequently seen at festivals and on the Indian roads.
I am repulsed by the exploitation of animals, but I also realize that snake charming and having monkeys perform silly tricks are activities that support many families in countries like India.
I was saddened by reading an interview with Steve McCurry recently published in The Guardian in which he shares the news that he's preparing a project in which he would be taking portraits of 30 celebrities in their home cities: Robert De Niro and Martin Scorsese in New York, Amitabh Bachan in Mumbai. A sort of project that Annie Leibowitz would do...but Steve McCurry? C'mon!
I was also saddened to read that McCurry would be setting the shots, and choreographing the image-taking...the Leibowitz's style. While I'm told by various participants on his photo trips that he frequently stages scenes during his workshops, photographing celebrities requires a different type of discipline, and a different type of mind-set....and is not one hard core travel photographers would be stylistically and intellectually willing to do. Maybe I'm too idealistic?
Naturally, this project will be financially rewarding for McCurry and I wish him the best of luck with it....however, I can't help but feel a twinge of regret (and sadness, as I said twice already) that we are witnessing the dimming of a star.
After all, McCurry is one of the pioneers of travel photography and is an inspiration to many who follow his style....and to read of this new project is an uncomfortable reminder that things are changing in this industry, and that photographers (whether involved in travel, documentary and editorial) need to be sharp, varied and inventive. Resting on one's laurels is always a fatal mistake, and this is especially true in this tumultuous industry.
A photojournalist presented a body of work during the Foundry Workshop in Istanbul, but the consensus was that it was old and passe...and not relevant to the present day and age...photographers or photojournalists clinging to their past are like people breathlessly running after a Third World public bus on a pot-holed road, with young passengers hanging like a bunch of grapes from its doors and windows....and no available toe-holds in sight.
So let's be smart....let's learn multimedia, Final Cut, Adobe Premiere, Soundslides...audio techniques...learn DSLR videography....let's use Twitter & Facebook intelligently...do anything to find a toe-hold. If not, we'll be left inhaling exhaust fumes and waiting for celebrities to show up (if we're lucky).
Jon Bertelli is an international photographer, who currently resides in Vancouver, British Columbia, but was raised in Florence and academically trained in the visual arts there and in Oslo.
He lived in Mexico in the late nineties, and documented the last surviving Zapatista fighters; the veterans of the 1910-20 Mexican Revolution of the South, led by the famed (and feared) Emiliano Zapata. While Pancho Villa's revolution was concentrated in the north of the country, Zapata and his insurgents represented the south.
Jon photographed the surviving insurgents; most of which were over 100 years old. These were idealistic men and women who sacrificed their well-being and lives to follow Zapata. Many were decorated as war heroes by the Mexican government, and some have been recognized internationally for their bravery.
You have the choice of seeing Jon's The Last of the Zapatistas on his website, or on FOTO8 where his portraits have been made into an audio-sideshow.
The audio track used is La Soldadera by Garcia-Pujol and Jimenez. While it's a beautiful and appropriately evocative piece, imagine if the audio of the elderly Zapatistas' voices, telling us a bit of their exploits, was also included!!
.JPG)
.JPG)
