Saturday, April 24, 2010

Kevin Bubriski: Nepal

Photograph © Kevin Bubriski-All Rights Reserved

Kevin Burbriski arrived in Nepal as a Peace Corps volunteer in 1975, and spent about 4 years working in remote villages. He returned in 1984 as a photographer, and with a 4” x 5” view camera, a Nepalese photographic assistant, and two porters, he traveled the length and breadth of the country for the better part of three years.

I mentioned Kevin Bubriski's work on this blog in connection with his exhibition at the Rubin Musuem in NYC, but I read (via PDN) that he was named the 2010-2011 Robert Gardner Visiting Artist Fellow at Harvard University’s Peabody Museum of Archaeology & Ethnology. The fellowship carries a $50,000 stipend and will allow the photographer-documentarian to continue his work in the northwest of Nepal.

His work is in the permanent collections of the Museum of Modern Art, The Metropolitan Museum of Art, and the International Center of Photography, all in New York; the San Francisco Museum of Modern Art; the Yale University Art Gallery, New Haven; the Center for Creative Photography, Tucson; and the Bibliotheque Nationale, Paris.

Kevin's website showcases his work from Venice, Pakistan, India, Morocco, Uzbekistan, Egypt and Nepal among other countries...but it's his work of Nepal that resonates the most with me.

Friday, April 23, 2010

Foundry Photo~Journalism Workshop: Istanbul

The Foundry Photo~Journalism Workshop 2010 is in Istanbul, and if your dream is to be coached by some of the best photographers and photojournalists available, do it now!

The roster of instructors reads like a Who's Who in the world of photojournalism: Tyler Hicks, Lynsey Addario, Jared Moosy, David Bathgate, Jon Vidar, Anastasia Taylor-Lind, Rena Effendi, Ron Haviv, Andrea Bruce, Ami Vitale, Kael Alford, Adriana Zehbrauskas, Henrik Kastenskov, Stephanie Sinclair, Guy Calaf and Tewfic El-Sawy.

The courses currently offered are FROM VISION TO LIFE: Documenting social issues outside the mediaŹ¼s agenda setting; Transitioning to the new world of Photojournalism; Formulating a Photo Essay; Photographing stories; Intimacy and Empathy in Storytelling; Capturing Cultures – Communicating Without Boundaries; The Essential Guide to Backpack Journalism; Introduction to Multimedia Storytelling, and many more.

Here's another thing...photographers like Dhiraj Singh who attended a class at the 2009 Foundry Photojournalism Workshop in India was awarded Honorable Mention (Feature Audio Slideshow) in the National Press Photographers Association's Best of Photojournalism 2010 for an audio slideshow made during that workshop.

Yes, dreams come true when you attend the Foundry...so get on it! There are still a handful of places available.

Ralph Childs: Bali

Photo © Ralph Childs-All Rights Reserved

Photo © Ralph Childs-All Rights Reserved

Although Ralph Childs participated in my photo~expedition to Bali in summer 2007, he's once again joining Bali: Island of Odalan Photo-Expedition™ which I'm organizing and leading this coming August.

Ralph is an active member of the Arlington Camera Club, and his photographs of a Balinese dancer and of a Pemangku (Balinese priest) have both won awards at this month's competition.

He has indulged in a passion for photography since the late 1960s when he took a Minolta ALs camera to France, and he has continued his passion since. Ralph has already been on four of my photo~expeditions, and this coming August will earn the fifth notch on his belt.

Thursday, April 22, 2010

Frontline: Dancing Boys of Afghanistan


On Tuesday night, I watched the harrowing Frontline: The Dancing Boys of Afghanistan which exposed an ancient practice know as as "bacha bazi" which, literally translated, means 'boys' play'.

This illegal practice exploits orphans and street boys, and has been revived by powerful warlords, businessmen and military commanders in Afghanistan. These men dress the boys in women's clothes, who are trained to sing and dance for their enjoyment. The dancing boys are also used sexually by these men.

This is outstanding journalism by Afghan journalist Najibullah Quraishi, and my hat's off to PBS and to the Frontline producers for doing such an admirable job. I was particularly impressed by Quraishi and his producers' attempts to arrange the rescue of one of the dancing boys profiled in the film, an 11-year-old boy bought from an impoverished rural family.

In contrast with other productions (see my post of yesterday, for instance) the 11-year boy's face was blurred throughout the film to preserve his anonymity and self-respect.

Homosexuality is forbidden in Islam, and yet pederasty and boy concubinage has had a long history in the Persian cultural world which includes much of Afghanistan.

WP: India In Motion


The Travel section of the Washington Post has featured a collection of short videos titled India In Motion. The videos are somewhat eclectic, and start with fast paced clips of Mumbai, then Udaipur, Jaislamer, Agra, Haridwar and Rishikesh.

The videos are by Whitney Shefte, while the design is by Kat Downs. It's unfortunate that some of the music choices chosen to accompany the videos are incongruous. For instance, I'm still scratching my head over the logic of having music which sounds it's played by a Central European zither group with a video clip featuring camels in Jaisalmer!

I realize that the Washington Post is not the National Geographic, but India In Motion is superficially researched, and seems to meander with no clear objective and purpose. It puzzles me when a project such as India In Motion, with the considerable backing and funding of one of the premier newspapers in the world, ends up being an incoherent mess like it is.

Wednesday, April 21, 2010

POV: Marco Vernaschi & Child Sacrifice



Update: 4.25.2010: See my follow-up post So Whose Judgment Lapse Is it?
Update 4.22.2010: Jon Sawyer of the Pulitzer Center responds, and within the response is this:

"Yet we also believe, and Vernaschi agrees, that it was wrong to ask that the body be exhumed. It showed disrespect for the dead, and forced a grieving family to suffer anew. It also had the effect of focusing attention on the actions of one journalist, as opposed to a horrific crime that needs to be exposed.

We regret any damage that may have been caused. We intend to continue this project, documenting the phenomenon of child sacrifice, but in so doing we we will redouble our efforts to authenticate every claim and to insure the privacy rights of individual victims.
"

Here's my original post 0f 4.21.2010:

Here's another story that is guaranteed to make your stomachs churn. It involves Marco Vernaschi an Italian photographer/photojournalist who worked on a project documenting the phenomenon of child witches, human sacrifice and organ trafficking in Africa, and the Pultizer Center For Crisis Reporting.

I have linked to various photographs, but be aware that these are highly disturbing.

It appears that the Pulitzer Center funded Vernaschi to do a story on child sacrifice in Uganda, and it published some of his hard-hitting photographs in an article titled Uganda: Babirye, The Girl from Katugwe, in which the photographer convinces a Ugandan mother to allow the exhumation of her mutilated daughter's body in order to photograph it as "visual evidence". The photograph of the corpse is then shown on both Vernaschi's website and on the Pulitzer Center's. Payment (described as "a contribution for a lawyer") was made by the photographer to the mother.

Another photograph on Vernaschi's website shows an abused boy with a catheter protruding from where his penis has been cut off. His face is clearly shown.

Vernaschi's website explains that
"Child sacrifice in Uganda is a phenomenon that has embedded itself within traditional customs but that bears no genuine relationship to local culture. The appeal to "cultural beliefs" is actually an excuse used by witchdoctors to justify their crimes, and by the Ugandan government to avoid taking action. The government tries to minimize the magnitude of the problem because politicians fear losing votes and this is a a country where witchdoctors wield surprising influence at the polls."
I'm all for documentary coverage to expose and stop this barbaric practice...there's no argument there. However, for a photojournalist to ask (and then pay) for the exhumation of a body beggars belief. Had the child died in a ritualistic murder in Italy, could Vernaschi been able to ask its family to exhume the body for a few pictures? Had he been able to photograph an Italian baby boy with a catheter sticking out of his groin? Why can't these photojournalists and publishers understand that they cannot continue to show pictures of mutilated children??

It's immoral. It's as simple and as complex as that.

As I wrote in an older post: To Vernaschi and to the Pulitzer Center's Board of Directors, Advisory Council and Staff: what if Babirye and the baby boy were your children, your niece and nephew or even just a relative...or an acquaintance? Would you still have photographed and published the photographs...or is it because they're "just" Africans?

Vernaschi is an award winning photographer....and well-experienced dealing with gruesome topics. Surely he could have photographed the story differently? Or is it about winning awards and applause from the rest of the lemmings?

Update: For a more detailed and comprehensive opinion, along with some responses from the Pulitzer Center, check A Developing Story.

Tuesday, April 20, 2010

Canon's Digital Photo Professional

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

Although I have a couple of international trips in the interim, my mind is increasingly getting focused on my forthcoming Bali: Island of Odalan Photo-Expedition™ in August, and to refresh my memory, I've been revisiting my RAW images files of my 2007 photo-expedition, and even processing some of them.

As is usual when I revisit images files after a while, I uncovered some images that I missed during my initial edits on my return from the 2007 trip, and some that are worth a second look. I viewed these with my Canon's Digital Photo Professional software (version 3.7.3) which, while admittedly somewhat clunky, still does a reasonable job as a viewer and RAW converter.

I also used DPP's built-in image processor, and edited the images you see in this post entirely with it. I didn't use CS or LR at all. I'm not suggesting that DPP replaces any of those, but I was surprised that it did such a reasonable job in adjusting the exposure, de-saturating the colors and sharpening the images of the Legong dancers.

Ashok Sinha: Kashgar

Photo © Ashok Sinha-All Rights Reserved

Here's another photo gallery of Kashgar and the Uyghurs by photographer Ashok Sinha, who traveled in China and was touched by their plight, which prompted him to document their disappearing ways of life. The photo essay is part of a larger project that is titled Life in Balance: The Human Condition in Xinjiang.

Kashgar is a city of 3.4 million surrounded by mountains and desert, and is located at Xinjiang's westernmost tip. It is closer to Baghdad than to Beijing. As a minority, the Uyghurs see their 2000 year-old culture and heritage being erased by the Chinese authorities, with much of Kashgar's old town being demolished. This was justified by the Chinese for safeguarding the population from the collapse of the old buildings in the event of an earthquake, and that the demolition is necessary to the “modernization” of the Uyghur people.

The old city is considered to be one of Central Asia's best preserved sites of Islamic architecture.

The New York Times has featured an audio slideshow on Kahsgar just under a year ago titled A City, and People, at Crossroads that explains the situation.

Monday, April 19, 2010

Terri Gold: Still Points in a Turning World

Photo © Terri Gold-All Rights Reserved

Terri Gold's artistic creativity and energy were patently obvious during my Tribes of South Rajasthan & Kutch Photo~Expedition™ , as she moved from one photo shoot in a village to the next photographing with her two cameras; one "normal" like those used by the rest of us, and the second professionally modified to shoot infrared.

She is an award-winning photographer and artist based in New York City, and built an impressive reputation for her rituals, rites of passage, festivals, celebrations and portraits from all over the world.

Her infrared photographs of Rajasthan and Gujarat as an audio slideshow have now been added to her ongoing personal project “Still Points in a Turning World” which focuses on Asia’s vanishing tribal heritage.

With her acknowledged expertise in infrared photography and its intricate post-processing, Terri provides personalized hands-on tutorship to photographers who are interested in the craft. So visit her website, and email her to learn this exciting photographic technique that is growing in popularity.

A previous post on Terri's photography is here.

Sunday, April 18, 2010

Stephen JB Kelly: Qi Lihe

Photo © Stephen JB Kelly-All Rights Reserved

Stephen JB Kelly is an English photographer, currently based in Hong Kong. He obtained a diploma in Photography from the London College of Communication, which was followed by a degree in Documentary Photography from the University of Wales, Newport.

Aside from winning a number of awards for his photography, Stephen has been published in various magazines including The Independent Magazine, The Observer Magazine, D La Repubblica delle Donne, IL Magazine and The FADER Magazine.

One of his portfolios is of Qi Lihe, on the outskirts of Lanzhou which is the most destitute area of this heavily polluted industrial city in northwest China. During the recent years, there has been an influx of migrant Hui and Dongxiang Muslim minorities into these urban centers. The main cause of the influx is the desertification of their land, forcing these farmers and families to seek a better existence in Lanzhou.

The Hui’s ancestors were Silk Road traders, largely of Arab and Persian descent, who first came to China in the 7th Century. The Dongxiang are closely related to the Mongolians and as an independent ethnic group they arose through contact with Central Asians who converted them to Sunni Islam in the 13th century.