Bruno Barbey: Shanghai World Expo

Not entirely travel photography related but Magnum In Motion is featuring an audio slideshow of Bruno Barbey's photographs of the construction of Shanghai's World Expo construction site and parts of its old city.

Shanghai saw the opening of the 2010 World Expo today, starting an event to herald the Chinese financial hub's return as a major world city after the spartan industrialism following the 1949 communist revolution.

According to the news reports here in the UK, no expense was spared and like the 2008 Olympics, the World Expo will showcase China's immense economic and geopolitical importance; almost bragging its power and influence.

I haven't been to Shanghai yet, but it's quite obvious the degree by which China has developed, and is continuing to develop its main cities. It's in stark contrast with the crumbling infrastructure of many large cities in the United States.

China is spending over $4.0 billion on the Expo itself, and many billions more on other improvements for this city of 20 million people. While in the United States, we are faced with economic difficulties caused by the mismanagement of the Bush Administration, the spectacle of hypocritical Tea Baggers and a catastrophic oil spill in the Gulf of Mexico.

It's depressing.

POV: Is It "Visual Plagiarism"?

Photo © Tewfic El-Sawy-All Rights Reserved
It's rare for me to have an ambivalent view on anything, but I've stumbled across a "tweet" on my Twitter page (presumably from one of my 800+ followers addressed to another photographer) which prompts this post.

I don't want to divulge more details than is necessary, so I'll use this hypothetical example:

A travel photographer with somewhat of a distinctive style travels to a remote location and photographs its indigenous people. A year later, another travel photographer with more or less the same style travels to the same location, and photographs the same people. The latter photographer stays at the same accommodations, uses the same guide/fixer, and the subjects are the same. To my knowledge, there's no contact between the two photographers...and there's no exchange of information. However, the photographs closely resemble each other in terms of subjects and photographic style.

So the question is whether this constitutes plagiarism or inspiration. Taking the example of the Rebari shepherd in the above photograph, would it be plagiarism if another photographer traveled to Poshina in Rajasthan, stumbled on my local fixer who then somehow arranged this particular shepherd to be photographed? I don't think so.

Would it be different if the photographer, having seen the above photograph, asked the Rebari shepherd to adopt the exact same pose? Is that plagiarism or just being inspired?

Perhaps it's the degree of the imitation that resolves the question. If the photographer shot the same Rebari, and purposefully arranged the photo shoot so that he'd wear the same exact turban and tunic, against the same background? Yes, I think that's the answer. If the imitation is purposeful and premeditated, then it is plagiarism...otherwise, it's just flattery.

Yes, that's it...I think.

Foundry PJ Workshop: Instructors Line Up

What more is there to say?

Thailand: Damnoen Saduak Market

Photo © Tewfic El-Sawy-All Rights Reserved
The troubling events in the streets of Bangkok reminded me of the Damnoen Saduak Floating Market near the capital, which is a must-stop for foreign and local tourists, as well as food lovers. I've visited it almost every time I stop in Thailand, when I'm en route to Bhutan, Cambodia or Bali.

Yes, it's a tourist trap to a large degree but the food served by the women on their floating dugouts-kitchens is spectacular. I'm told that getting there very early in the morning will ensure a tourist-free experience, but I doubt it.

I'm traveling today, hence this short post.

POV: The Fact of The Matter...

The Marco Vernsachi & The Pulitzer Center "affair" seems to have somewhat calmed down after the considerable airing of divergent views, opinions and debate between photojournalists, photographers and journalists in the blogosphere.

Some of these views were expressed on Lightstalkers, which is a popular no-holds barred forum for photographers. Going through the posts, I saw one that claimed that the story (and its handling) was not only a blow to the credibility of photojournalism (which I agree), but also a blow to the credibility of some blogs (and their authors).

Huh? The Pulitzer Center was forced to formally admit (twice) its mistake in publishing an image of an exhumed corpse of a young Ugandan girl on its site, because of the bloggers' criticisms that it violated the rights of a child to dignity and privacy. If it hadn't been for the bloggers, these offensive photographs would be still on the Center's website, circulated on social networks and possibly worse.

I view this story and its results as vindication for those bloggers who had the courage of their convictions, and demand that these offensive photographs be pulled from the Pulitzer Center's website. It's hoped that the Pulitzer Centre will stand by its promise of redoubling its "efforts to authenticate every claim and to insure the privacy rights of individual victims".

The appropriate way to look at it is that the bloggers stepped in and redressed a wrong that would not have been committed had the parents of these unfortunate African children have recourse to a sophisticated legal system preventing such liberties with privacy rights.

Ian Lloyd: Asia

Ian Lloyd is an Australian photographer who has undertaken commissions for magazines such as National Geographic, Time, Fortune, Gourmet and Conde Nast Traveler and multinational companies as diverse as ExxonMobil, Pepsi, Motorola and Singapore Airlines have commissioned Ian for commercial photography assignments. He has photographed 36 books on countries and regions around Asia including large format books on Kathmandu, Bali and Singapore and a four volume series on Australian wine regions.

You'll see from the Spirit of Asia video that it's a retrospective look at 20 years of his photography in Asia. Perhaps somewhat different from most of the travel photography I have featured here on The Travel Photographer blog, but certainly of high quality that we expect from photographers who work with the National Geographic.

Diego Vergés: The Mentawai

Photo © Diego Vergés-All Rights Reserved
Photo © Diego Vergés-All Rights Reserved
Photo © Diego Vergés-All Rights Reserved

As I indicated in an earlier post on The Travel Photographer blog, Diego Vergés is back from his 4 months trip to Indonesia (and PNG) and its various islands, and is currently working feverishly on his inventory of images.

He tells me that he has so far edited and readied only one of his expected 8 or more photo essays on the various indigenous groups of Indonesia, and that's the gallery on the Mentawai. The images are spectacular, and I encourage you to view them as they provide a window into a culture which I suspect will soon vanish.

You'll notice Diego's characteristic lighting techniques from the above photographs, and which he told he learned from The Strobist. Photographing the Mentawai, he used off camera lighting, a reflector and a softbox. For cameras, Diego uses a Canon 5d and a 5d Mark II, with prime lenses (24mm f1.4 and 50mm f1.4).

The Mentawai are the native people of the Mentawai Islands, which is a chain of about seventy islands and islets off the western coast of Sumatra. They live a semi-nomadic hunter-gatherer lifestyle in the coastal and rain forest environments of the islands, and number about 64,000. They are known by their deep spirituality, body art and the tradition of sharpening their teeth for beautifying reasons.

The Mentawai practice traditional animism, and as with other indigenous cultures, are threatened by encroaching modernism.

Hans Silvester: Omo Valley Fashion

The May-June issue of American Express' Departures magazine features the work of photographer Hans Silvester, a German photographer, who documents the extraordinary body painting of the Surma and Mursi peoples of the Omo Valley in southern Ethiopia.

The Surma and Mursi tribes are body painters. They paint their bodies with natural pigments made from the earth. They paint themselves and each other in a tradition that has remained unchanged for millenia. They use their bodies as canvases, painting their skin with pigments made from powdered volcanic rock and adorning themselves with materials obtained from flowers, leaves, grasses, shells and animal horns.

Hans Silvester was born in Lorrach, Germany, and is now based in southern France. He is recognized for a wide-ranging body of work and a protracted study of his subjects, most frequently nature, animals and the environment.

As the issue of Departures isn't yet on-line, many of the Omo Valley Fashion photographs can be found on The Daily Mail issue of February 2008.

Michael Rubenstein:India

Photograph © Michael Rubenstein-All Rights Reserved
Michael Rubenstein is a photographer based in Mumbai to cover South Asia for Redux Pictures, having lived in New York City and Portland, Oregon. He has a degree in Environmental Policy and has studied at Ohio University's School of Visual Communications.

His clients include: Time Magazine, Newsweek, The New York Times, The Wall Street Journal, The New York Times Magazine, The Oregonian, The Chicago Tribune, The Financial Times, Complex Magazine, The Paris Match, Bloomberg News Service and W+K.

Some of his work on Andheri, a Mumbai suburb being transformed into a hip neighborhood appeared in the NY Times. And it's interesting to see the stylistic difference between this photo sideshow and his India gallery on his website.

POV: So Whose Lapse In Judgment Is It?

Update evening of 4.25.2010: Both Marco Vernaschi and the Pulitzer Center For Crisis Reporting responded to the critics.

I was pleased to read this final paragraph of the response (my emphasis):

We do not suggest that the decisions involved in this reporting project are anything but difficult, as we hope was apparent in our statement accepting responsibility for what we believe was a mistaken decision to exhume the body of Babirye and to publish the image on our site. It is our hope that these issues can be discussed without malice, distortions and groundless attacks on the personal motivations of others.-- Jon Sawyer, Pulitzer Center Executive Director

My morning's post follows:

Along with many others, I wrote a post a few days ago on a story being discussed in photojournalism circles and blogs, involving 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. The story as it evolved during the past week hinged on the veracity of Vernaschi as to the circumstances behind the exhumation of a Ugandan girl, and the Pultizer Center's publication of the photograph(s) and its subsequent apologies for doing so.

I am listing the links to these blogs/websites all through this post.

Asim Rafiqui in his always insightful (and frequently provocative) blog The Spinning Head asks:

"Why did Marco Vernaschi do it?"

An important and pertinent question, but mine is different. I don't really care why Vernaschi did it. Perhaps he rationalized that exhuming a child's corpse and photographing it was the right thing to do...that it would bring this issue to the West's "consciousness" (as if we really would and could do something about it)...that it would win him more photojournalism awards...that it would make him the best photojournalist in the world...that it would justify his grant from the Pulitzer Center...that it would put bread on his table or pay his mortgage or pay his children's school fees...whatever. I believe he was wrong, and that's the end of it.

I ask the same question but of The Pulitzer Center For Crisis Reporting's Executive Director and his staff . It was The Pulitzer Center which published Vernaschi's photographs and his essays. So here's the real nub of the matter: why did they do it and why didn't they check the details' veracity before publishing? Had they done what in banking circles is called "due diligence", they may have realized what the incomparable Benjamin Chesterton of A Developing Story did. Had they investigated the story a little more seriously, they may have realized what the courageous Anne Holmes of The Vigilante Journalist did.

As I expressed in my POV: And The Outrage Continues involving the publication of a photo essay on a young girl in Kurdistan being circumcised, photographers and photojournalists operate under intense competition and pressure to submit cutting-edge work, and frequently lose sight of what is right. Exhuming the body of a young girl for a photograph is beyond the pale, but the decision for its publication wasn't Vernaschi's...it's the Pulitzer Center's. I'm not at all exonerating the photographer for what he did, but I'm more critical of those who agreed to publish these photographs.


Let's get real. If most publishers (especially those of Pulitzer's repute) refused to publish photographic tripe of dubious ethical provenance, photographers would toe the line....but because sensationalism has pervaded our media, they cut corners and lose sight of what is right..especially when it involves poverty-stricken Africans or Arabs, who have no or little legal recourse to protect their privacy rights.

Let's all remember how aghast we were when photographer Adnan Hajj was accused to have digitally manipulated photographs (ie cloning thicker plumes of smoke from IDF missiles already raining on Beirut), and we kept tut-tutting about it until Reuters fired Hajj and a photo editor, and subsequently issued new policy guidelines for its photographers. Adding some smoke plumes or exhuming a body for a photograph...which is worse?

Yes, the Pulitzer Center apologized, and promised to "redouble (its) efforts to authenticate every claim and to insure the privacy rights of individual victims."

Is that enough? I don't believe so.

Other links:

To stage or not to stage? by Jørn Stjerneklar.

Conscientious by Jörg M. Colberg.