Travel and Photographer: March 2011

Thursday, March 31, 2011

New Sponsor: PhotoShelter

Regular readers of The Travel Photographer blog may have noticed the small PhotoShelter ad on the right sidebar. Yes, PhotoShelter has become a sponsor of this blog because I believe its products are tremendously useful to photographers and photojournalists and this is reflected by its impressive list of clients....some of who are friends and acquaintances.

I, too, have now joined PhotoShelter not because I needed another website, but because I wanted an online archive and lightboxing system, and a sales mechanism for my images. I know that the many photographers and photojournalists who constitute the bulk of my readership will benefit by joining and using PhotoShelter if they haven't already.

The PhotoShelter ad will appear in the sidebar of this site, any paid signups that occur through links on The Travel Photographer will generate a commission**, and I will occasionally write a post about how and when PhotoShelter has worked for me. The site will remain editorially and fiercely independent as always.

If you’ve ever considered signing up for online archive and purchasing system, click on the link on the sidebar. It only costs $1 to get started on PhotoShelter on a 2-week trial. You will be doing your photography business a favor.

** All commissions will be donated to the Foundry Photojournalism Workshop, and aimed right back at helping emerging and aspiring photojournalists.

The Revolution Thru The Lens of Heba Khalifa, An Egyptian Photojournalist

I've started to feature the work of young Egyptian photojournalists working for the local newspapers, who not only documented the Tahrir uprisings, but who also participated in the revolution.

For why I'm doing this, you can read my earlier post The Revolution...This Time Through The Lenses Of Home-Grown Egyptian Photojournalists.

This is the second part in the series, and is the work of Heba Khalifa, an Egyptian photojournalist who started to work for Al Shorouk Al Gadeed in 2008. She holds a BA in Fine Arts from Helwan University, and worked in social programs for underprivileged children before taking photojournalism as a full time career. She's the recipient of the Mohammed Mounir Award for Visual Arts, Youth Salon, Egypt (2007), and a Scholarship to Study Graphic Art, Salzburg Summer Academy, Austria (2007), and participated in the Workshop in Visual Storytelling, Egyptian Supreme Council for Journalism (2010).

For each slideshow in the series, I chose the popular "Enta Omri" or "You Are My Life" from the repertory of the legendary Um Kulthum, the Egyptian singer who was the incomparable voice of her country. I owe the idea to a wonderful multimedia essay titled Spring by Shirin Neshat in the New York Times, who also used it as a metaphor for the revolution.

Wednesday, March 30, 2011

Giovanni Savino: Misterios

"Oral Tradition is the most valuable of our possessions and if we don't lose it, no one can take it away from us." And so says Giovanni Savino.

Giovanni Savino never got formal photographic training, but practiced photography since a child, and started to work in film and television as a teenager. He worked alongside Dan Rather, Morley Safer, Ed Bradley and many others, and this career led him to witness and record unique historical events such as the fall of the Berlin wall, the conflict in the Balkans, the war in the Persian Gulf, etc.

A few years ago, he was able concentrate more on still photography and complete several portraiture and editorial projects, such as the one I recommend you watch...Misterios, which is on his website.

I was taken by many of Giovanni's still photography in Misterios, which is a peek in the complex and mysterious world of Vudu in New York, Haiti, and the Dominican Republic. Many of his still photographs of Vudu are dark and brooding, are of rich red and blurs...the reds of animal sacrifice and the blurs of ritual motion. It was these that I thought were the most compelling. I think you will agree with me.

Tuesday, March 29, 2011

The Revolution Thru The Lens of Eman Helal, An Egyptian Photojournalist

As I wrote in my earlier post The Revolution...This Time Through The Lenses Of Home-Grown Egyptian Photojournalists, I am starting to feature the work of young Egyptian photojournalists working for the local newspapers, who not only documented the Tahrir uprisings, but who also participated in the revolution.

The series start with the work of Eman Helal, an Egyptian photojournalist who started her career at El-Shourouk (a local newspaper) a few years ago after graduating from the College of Communications. A 25-year old, she covered the daily uprisings in Tahrir square and in Cairo, showing not only talent but also determination.

I chose a popular song from the repertory of the legendary Um Kulthum, the Egyptian singer who was the incomparable voice of her country, to accompany the series. The song is "Enta Omri" or "You Are My Life". I owe the idea to a wonderful multimedia essay titled Spring by Shirin Neshat in the New York Times, who also used it as a metaphor for the revolution.

Monday, March 28, 2011

GMB Akash: Survivors

Open publication - Free publishing - More galleria

SURVIVORS: "The invincibility of human determination to struggle and survive against all odds" is a book by Galleria di Porta Pepice of the photographs by GMB Akash.

GMB Akash is an extraordinarily gifted Bangladesh photographer, and is the first Bangladeshi to be selected for the World Press Photo Joop Swart Masterclass in the Netherlands, and received numerous international and national awards. His work has been featured in over 45 major international publications including: Time, Sunday Times, Newsweek, Geo, Stern, Der Spiegel, The Guardian, Marie Claire, The Economist, The New Internationalist, Kontinente, Amnesty Journal, Courier International, PDN, Die Zeit, Days Japan,and Sunday Telegraph of London.

Sunday, March 27, 2011

The Revolution...This Time Through The Lenses Of Home-Grown Egyptian Photojournalists

Since the recent effort by BagNews's Assignment Egypt (Analyzing News Photo From the 18 Days Revolution) wasn't about featuring the work of Egyptian photojournalists, I thought I'd solicit submissions from young home-grown Egyptian photojournalists working for the local newspapers, who not only documented the Tahrir uprisings, but who also participated in the revolution...in their revolution, for this blog instead.

These photojournalists are far from being "khawagas" (a colloquial nickname for non-Egyptians), they are not well-known in the Western media, they are -to borrow a word from the US military- "grunts"...hard-working people with little support except their own small local network, and who've been mistreated and distrusted by the Mubarak authorities. They've worked, and continue to work, under difficult circumstances. The foreign photojournalists who "parachuted" briefly into Egypt at the first whiff of civil disturbances did a great job documenting the revolution, but they were still "parachutists'...they were not indigenous to the revolution....sure, they documented it with a good photographic eye...sure, some of them were badly beaten by pro-regime thugs...sure, their photographs were plastered on pages of major newspapers and magazines...but they can never understand the revolution as these young local photographers did.

I know that featuring the work of these Egyptian photojournalists here may start the ball rolling, and could soon lead to larger venues where their talent can be better appreciated...I also know that generous photographers such as Eric Beecroft, John Horniblow and Michael Robinson Chavez are planning such venues. When I have all the details I'll announce them here.

In the meantime, I will feature the work of a handful of these young professionals on The Travel Photographer blog during the coming week.

Trust me...they are not marquee names, but their work is as good as that of the world-famous photojournalists.

Saturday, March 26, 2011

POV: My Name Is Mohammed....I'm A Driver

All of us who are connected to the world of photojournalism and photography were greatly relieved that Stephen Farrell, Tyler Hicks, Lynsey Addario and Anthony Shadid. were freed a couple of days ago from their ghastly ordeal at the hands of the pro-Qaddafi military.

The New York Times featured a compelling narrative written by the four individuals, and which describes in gripping details what they went through; suffering beatings, indignities, insults and more. The most personal cry from the heart came in the following:

From the pickup, Lynsey saw a body outstretched next to our car, one arm outstretched. We still don’t know whether that was Mohammed. We fear it was, though his body has yet to be found.

If he died, we will have to bear the burden for the rest of our lives that an innocent man died because of us, because of wrong choices that we made, for an article that was never worth dying for.

No article is, but we were too blind to admit that.

Mohamed was the Libyan driver who had been driving the four when captured by the pro-Qaddafi military, and there's no news of his fate.

While the great majority of the comments made on the article were extremely supportive, a few were not. However, this is the hard core reality of conflict and war. A split second decision may mean life or death...a turn to the left instead to the right may lead one to death or imprisonment...and being at the wrong place at the wrong time means being maimed or worse. The ones at fault for whatever happened to Mohammed are not Tyler Hicks' nor his companions, but whoever killed or imprisoned him.

Having said that, I wish Mohammed had a last name. Perhaps the article hasn't made it public for fear of retribution on his family...that would be understandable. Otherwise, not to mention it is doing him or his memory a disservice. Mohammed has a surname, has a family name...Tyler Hicks and his companions should have known it.

Photojournalists would be unable to do their jobs if not for the vital support of local fixers, interpreters and drivers. And yet, little recognition if any is granted to them. Perhaps it's the nature of the local fixers to remain anonymous so that they get obtain further assignments.

I don't know for sure...but what I do know is that I felt really sorry for Mohammed to only be known as Mohammed...the driver. Perhaps The New York Times and their journalists will eventually be able to compensate him and his family.

Friday, March 25, 2011

John Moore: Libya, Egypt & Bahrain

The current upheavals in the Near and Middle East are providing substantial opportunities for photojournalists and conflict photographers to report on the latest battles, revolts and revolutions.

Here's a 6 minutes video interview of photographer John Moore who has just returned from Egypt and Libya as well as Bahrain, where he witnessed the uprisings first hand. This is a must-see for all emerging photojournalists and conflict photographers.

From the PBS NewHour blog: Photographer John Moore is no stranger to combat. As a member of an Associated Press team in 2005, he shared a Pulitzer Prize for breaking news photography for coverage of the war in Iraq and he's done extended stints in Afghanistan, Pakistan, Somalia, South Africa, Mexico and Nicaragua and elsewhere in the last 20 years.

Yet despite his relative comfort with being on the frontlines, Moore told the NewsHour from his hotel room in Cairo that his latest assignment -a six-week trip that took him to the uprisings in Egypt, Bahrain and Libya - might have been his most dangerous. Moore recorded the interview for us after sneaking out of Benghazi, Libya en route back to his home in Denver.

Via A The Click Tweet

Thursday, March 24, 2011

POV: Size & Watermarks

Yesterday's post with a couple of large photographs of Holi from The Atlantic's In Focus blog prompts this short POV. I wrote that In Focus' photographs are super compelling because they are viewable either in 1280 or 1024 pixels, depending on viewers' choice.

If the 1280 option is chosen, and the images fill virtually all of one's monitor...and give the viewers an incredible sensation of proximity to the scene...and no watermark to deface them either! It's the same feeling I get when I open up a double-truck image in a glossy large format print magazine, if not more.

I'm all in favor of large images on the web...whether it's on magazines' websites or personal websites. Another recent example is my post featuring Cristina Mittermeier's work; River People of the Amazon. Cristina's personal website has a handful of full screen photographs of these Amazonian people that are just breathtaking.

I don't think many photographers disagree with the notion that larger is better. I've blogged about that a couple of times, and there's no question in my mind that large sized photographs are better received by photo editors who no longer have the patience to view small-sized portfolios.

The other issue is that of watermarking. I don't watermark, and instead embed my information in the photographs' metadata. Some photographers insist in watermarking to protect their images from being pilfered on the web, and that's their prerogative. I just think it detracts from their work being considered by legitimate buyers...and it's aesthetically unpleasant. Just look at the above photographs!

Wednesday, March 23, 2011

NYT's Special: Asia Up Close

The New York Times featured its Asia issue this past weekend, and listed 37 Asian Odysseys to this remarkable continent, ranging from Bali to Vietnam, passing through Hong Kong, Laos and India. It's easy to dismiss these features as being tourist-targetted, but I've learned that it's not always the case.

Firstly, let's talk photographs. The feature is accompanied by over 40 images by Asia-based photographers; some of which are postcard-like but others that are real gems, such as the one above of Georgetown by my friend David Hagerman, others of China by Shiho Fukada, of Vietnam by Justin Mott and of Myanmar by Kevin Maloney...so quite a lot of talent there.

Surprisingly, Bhutan is not mentioned! It is in Asia isn't it?

The other reason is this: I discovered an extraordinary (and unexplored) location in Varanasi through a New York Times article, and it launched one of my long term photographic projects. So my suggestion to travel photographers is to keep an eye on all these special features...yes, the majority will be fluff, but sometimes there'll be one that may just launch you into a new direction...and success.

Naturally, such these features also provide if not outright ideas, but inspirations for photo itineraries.

The Atlantic's In Focus: Holi Too

I predicted yesterday that there would be more submissions of this colorful festival from travel photographers and photojournalists, and featured by large photo blogs. Today, it's The Atlantic magazine's In Focus that features 36 remarkable photographs of Holi.

The photographs appearing on the In Focus photo blog are particularly compelling because the blog allows viewers to choose between 1280 or 1024 pixels, depending of their screens.

I was tempted to feature another photograph (#12) by Kevin Frayer, but I already showed one of his yesterday, so I chose others...but as you scroll down, I bet you'll stop at this particular photograph...an absolute explosion of red!!! And you'll do the same at his #36.

Both of the photographs I feature here are by Indian photographers, and were made at the Krishna's Bankey Bihari Temple in Vrindavan.

Tuesday, March 22, 2011

SacBee's The Frame: Holi Festival

The Sacramento Bee's photo blog The Frame is featuring 45 remarkable photographs of Holi, the colorful (to say the least) festival which is currently being celebrated all over India. I know we'll soon see much more from travel photographers and photojournalists who are covering this annual festival...but The Sacramento Bee's spread is the first I've seen so far.

Holi is known as the Hindu festival of colors, and is celebrated in Spring by people throwing colored powder and colored water at each other. The tradition is based on the legend of Radha and the Hindu God Krishna. The latter was envious of Radha's fair complexion and in a mischievous mood, he applied color to his beloved Radha's face.

In Vrindavan (which is the place to be during Holi), the festival is celebrated for 16 days in commemoration of the divine love of Radha for Krishna. The above photographs were made at Krishna's Bankey Bihari Temple in Vrindavan. It's the most popular Hindu temple of Krishna in the city.

It's quite evident that protection for one's cameras and lenses is mandatory to photograph Holi anywhere. Perhaps an underwater camera housing or a sturdy zip-lock bag...press the shutter and back in bag it goes?

Monday, March 21, 2011

Cristina Mittermeier: River People of the Amazon

Cristina Mittermeier grew up just outside of Mexico City, and is a photographer, a marine biologist, a writer, a world traveler, has a 20 year-long career in conservation and raised children. She is also Executive Director of the International League of Conservation Photographers (iLCP). Her passion in life is to use her photography to protect the planet’s resources.

Cristina is also a SONY Artisan of Imagery Photographer.

My favorite gallery out of Cristina's many galleries is that of the River People of the Amazon with photographs of the Kayapo people of the Amazon basin. However, before exploring Cristina's galleries, stay a moment on the main page of her website, click on Hide Menu at its bottom, and revel in her handful of glorious large photographs of the Amazon...these alone are worth the visit!

The Kayapo people are the native people of the plain lands of the Mato Grosso and Pará in Brazil, south of the Amazon Basin and along Rio Xingu and its tributaries. Their population was just over 7000 in the latest census. Interesting, they extract medicine from 650 different plants that they find in the rainforest, and have a trade agreement with Body Shop!

Sunday, March 20, 2011

My Work: The Sayid & The Banni

Although I'm more inclined to photograph in a "photojournalistic" style during my photo~expeditions and/or assignments, with the aim to merge travel photography with reportage, I also do work in travel portraiture. Not to be confused with environmental portraits, travel portraiture is a simpler style and obviously can be used for stock, travel brochures and the like.

From my just completed In Search of Sufis of Gujarat photo~expedition, I feature a couple of portraits. The one on top is of a Banni woman at the doorway of her circular mud hut in the Kutch area of Gujarat. Her expression belies her capricious attitude while being photographed. She see-sawed between being flattered that I was photographing her (she's cute, after all) and asking me for money then turning away or shooing me off. She might've had success in getting paid by tourists, who walk in her village to buy handicrafts and the like. Despite her reluctance to cooperate, I managed to position her so that one half of the frame would have a black background, and the other half would be of a mud wall...but that didn't last long.

In short...a tiresome model.

The lower photograph is of a buffalo herder (or grazer). A proud man, with a regal bearing, he was herding the buffaloes back to the owners' farm. In my eagerness to photograph him with his animals against the setting sun, I tripped and went diving down on the ground...belly and chest first. I have no idea how I managed to protect my camera which, in contrast to my knees, escaped unscathed.

A Muslim, who introduced himself as a Sayid, he works for a Hindu community of farmers. He was welcoming, extremely cooperative, and patient with us. However, he was very serious during the whole of the photo shoot, only relaxing when we had finished. Those of us who've photographed in India (as an example) know the drill...the subjects are relaxed when the camera is not aimed at them, but the second the lens is directed at them, they freeze and become super-serious.

Saturday, March 19, 2011

Kongkrit Sukying: The Sufis of Gujarat

A first time participant in my photo-expeditions, and in my just completed In Search of Sufis of Gujarat, Kongrit Sukying is a photographer from Bangkok, who was a marketing executive in the beverage business for over 10 years, but changed careers in 2009. He currently is a freelance commercial photographer who also specializes in wedding photography, as well as for books and magazines.

He's the fourth participant to send me samples of his work during the photo expedition.

The top photograph of the girl running down the stairs was made at one of the Islamic sites in Ahmedabad, while the second is of a pilgrim at one of the Sufi shrines who is supplicating the saint for a favor. The strings attached to the shrine's windows are left there by women as reminders of their prayers.

The lower photograph is of a Muslim woman at one of the Muslim mosques, probably in Ahmedabad.

Similar to Teerayut, the other participant from Thailand, most of Kongkrit's photographs in his external portfolio are post-processed, and while some may find these over-worked, it's a style which finds favor amongst many in Asia. In fact, Kungkrit emphasized the fact that he attended workshop at Digital Darkroom.

Friday, March 18, 2011

POV: Analyzing Photos of The Egyptian Revolution

First, let me share this anecdote from the 2010 Istanbul Foundry Photojournalism Workshop. Mohammed "Mikko" Hassan, the late young Egyptian photojournalist, told me he had to borrow a lens from a friend so he could produce the kind of imagery expected of him at the workshop. Yes, young photojournalists in Egypt who work for local newspapers have to share lenses when covering assignments because they can't afford to have their own. This is not unheard of amongst non-Western photographers.

I remembered Mikko's words when I saw BagNews Salon was hosting an online panel this coming Sunday to discuss the media’s visual framing of Egypt's revolution. I expected and hoped it would involve the work of some of the young Egyptian photojournalists who are Mikko's peers, and who covered it for the local Al Masry Al Youm, Al Shorouk newspapers to name but a few.

Regretfully, this didn't seem to be the intent of the organizers.

As Michael Shaw of BagNews writes in response to my comment on its website:

"Instead, we looked to those with particular cross-cultural media expertise (Michelle Woodward of Middle East Report is certainly that) as well as others with deep experience reading media photos with cultural sensitivity (Campbell), as well as visual academics with an eye on on visual semiotics, in general, to articulate how the (largely Western) media created its own narrative of the story."

Perhaps a bit too heavy-handed on the defensive prose there, but fair enough. On the other hand, does it seem too "clubby" to only showcase the work of photojournalists who are already reasonably internationally well-known, and not include the photographs from those who work for Egyptian newspapers, who borrow cameras and CF cards from each other because they can't afford it otherwise, and who were beaten when they covered any anti-government demonstrations......including their revolution?

To be fair once again to Mr Shaw, he took the time to explain he didn't think the event would be the optimal venue for such photographs, but suggested that the BagNewsOriginals section might be a better fit for such work. Perhaps he's right...and it's certainly his prerogative to keep the public event within the panel's Western comfort zone.

In any case, my readers can make up their owns minds by visiting BagNews Salon and The British Journal of Photography.

Having said that, I must say I'm discomfited. Not by Mr Shaw's stance, but at having received no reaction from a couple of Egyptian photojournalists whom I asked to submit work to BagNews in time for the event. If they're unwilling to stand up and make their presence known, how can they break into "the club"?

On the plus side, I hear efforts are being made by generous photojournalists like Michael Robinson Chavez (and others) to bring the work covering the revolution by young Egyptian photographers to Visa Pour l'Image in Perpignan.

I hope they grab the opportunity.

Thursday, March 17, 2011

Luis Fabini: Horsemen of the Americas

Born in Uruguay and currently based in New York city, Luis Fabini is a photographer who spends his time between South America, the United States and Europe.

Having had a camera thrust in his hands as a child, Luis hasn't felt the need formal training in photography, and initially worked as a travel guide/photographer in South America. He produced documentary films and is now a fashion and travel photographer.

He has been working on his project "Horsemen of the Americas" since 2004, which is on his website.

In the United States and Canada, these horsemen are known as cowboys; in Mexico they are called charros, in Ecuador as chagras, in Colombia and Venezuela as llaneros, in Peru as chalanes and qorilazos, in Chile they are called the huasos, Brazil has its pantaneiros and vaqueiros, and Uruguay and Argentina’s they're known as gauchos.

The above photograph is of Brazilian vaqueiros dressed in handmade protective leather clothing. Such clothing is necessary for roping cows amidst the bush's sharp thorns.

via PDN Photo of the Day.

Wednesday, March 16, 2011

New Tascam DR-05 Digital Audio Recorder

Good news for budget-minded multimedia photographers! Tascam has released the DR-05 portable audio recorder for $99.99, and is aiming straight at the comparable Zoom H1. It records WAV or MP3 files at rates up to 24-bit/96kHz to microSD or microSDHC cards, and has integrated microphones and speaker. It's powered by two AA batteries or an optional AC adapter. It sports a threaded 1/4 x 20 mount for convenient tripod mounting.

The Tascam DR-05 can be seen on and ordered from B&H Photo-Video (which offers free shipping on this product).

More details of this new entrant in the budget handheld audio recorders can be found on its manufacturer's website.

While I'm still happy with my Marantz PMD620, I am on the lookout for a replacement that's smaller, lighter and that would take less space.

I should also note that there were some reports that the Zoom H1 had battery longevity issues.

Charlotte Rush-Bailey: Sufis of Gujarat

A second-time participant in my photo-expeditions (Tribes of Rajasthan & Gujarat, and in my just completed In Search of Sufis of Gujarat), Charlotte Rush-Bailey is a photographer who migrated to the world of photography from a corporate career that covered three decades of marketing and communications positions in a variety of global industries including energy, financial services, media, conservation, technology and professional services. This gave her opportunities to work with people all over the world, and to learn to appreciate cultural nuances and the influences of socio-political forces.

She's the third participant to send me samples of her work during the photo`expedition. The top photograph was made at a the dargah of Gayaban Shah Pir, a Sufi saint buried in Rajkot. It's of pilgrims/devotees at the shrine who, since they are women, cannot enter the actual tomb of the saint.

The middle photograph is of a mujjawir and a woman pilgrim at the dargah of the Sufi saint Hazrat Saydi Ali Mira Datar. The mujjawirs claim to be direct descendants of the saint, and therefore make it a business to bless the thousands of devotees who come to the shrine on a weekly bases.

The lower photograph is of a Jain pilgrim at the holiest Jain temple in Palitana. Charlotte knows of my preference for horizontals, but included this one amongst the rest of her submissions, expecting that I wouldn't choose it for the blog. I've proven her wrong. It's a lovely photograph.

Charlotte published two books ‘Soul Survivors', a tribute to the people of the Sahel and Kutch Classic, a collection of photographs of her first foray in the Gujarati Kutch area.

Foundry Photojournalism Workshop: 2011 Scholarships

The Foundry Photojournalism Workshop, which is scheduled for July 17-23, 2011 in Buenos Aires, Argentina has just announced the winners of this year's scholarships.

The Ricoh Scholarships for Latin American Photographers:

Miguel Andrade (Mexico), Lucia Baragli (Argentina), Juan Barrero (Colombia), Ivan Gonzales (Venezuela), Sofia Lopez (Argentina), Romina Hendlin (Venezuela), Omar Lucas (Peru), Cristobal Olivares (Chile), Leonardo Ramirez (Venezuela), Santiago Serrano (Ecuador).

Full Tuition Scholarships Provided by The Foundry Photojournalism Workshop:

Julio Aracil (Spain), Willeke Machiels (Netherlands), Mae Ryan (USA/Canada).

Congratulations to the winners!

See you in Buenos Aires!

Tuesday, March 15, 2011

Rubin Museum of Art: Thomas Kelly's Sadhus

Photo © Thomas L. Kelly- Courtesy The Rubin Museum of Himalayan Art

I readily admit to having fallen out of love with the Rubin Museum of Himalayan Art in NYC. Perhaps it was on account of its email newsletters, which for the most part are not terribly informative and are designed to bring you in to see movies and such....giving me the impression that it has lost its way and had become over-commercialized. I know, museums have to make a living, but that's how I feel.

So walking by it yesterday morning, I was glad to see its exterior panels advertising Body Language: The Yogis of India & Nepal, an exhibition of color photographs by Thomas L. Kelly. It certainly seems to be interesting event I hope to visit soon.

I had no idea who Thomas L. Kelly was, but a quick search revealed that his resume is extensive. He first came to Nepal in 1978 as a USA Peace Corps Volunteer, and has since worked as a photo-activist, documenting the struggles of marginalized people and disappearing cultural traditions all over the world. He has been recording the lives of sex workers and the traditions of prostitution across South Asia, and worked for UNICEF, Save the Children Fund (USA), Aga Khan Foundation, amongst others, while his editorial work appeared in the New York Times, Time, Newsweek, National Geographic, and The Observer.

My view on sadhus is a jaundiced one. I've met countless of these vagabond ascetics over my many photo trips to India, and I'm of the view that most of them are charlatans. They are not much better than spongers...exploiting the generosity and gullibility of people who see them as holy men, which they are not. Even those I saw and met at the gigantic Maha Kumbh Mela, and certainly those in Pashupatinah (Kathmandu), are of that ilk. I did encounter real ascetics on a few occasions. One of these occasions was in Varanasi. Not on the ghats (always a magnet for flim-flam artists scamming tourists), but rather at an ashram for elderly sadhus. Here were men who had renounced their worldly belongings, and had opted to live in complete abnegation. Some had been doctors, engineers and accountants. In contrast to the ambulant pseudo sadhus, no stimulants of any kind were used at that ashram.

From a photographer's perspective, these pseudo-sadhus are colorful, exotic and photogenic...the weirder the better...and their way of life and their ganja habits make excellent photography. Whether they are true ascetics or not is not really relevant to us photographers...however it's worth knowing that who we photograph is not really what they purport to be.

The Rubin Museum's blurb on the exhibition has this: "Sadhus renounce worldly life, earthly possessions, and social obligations in order to devote their lives entirely to religious practice and the quest for spiritual enlightenment, making them an important part of the Hindu cultures of South Asia."

While the blurb is perhaps theoretically correct, only a fraction of sadhus really observe that sort of renunciation...but it makes for good reading.

Monday, March 14, 2011

POV: No Auto Focus Is Killing Me!

Having decided to re-learn photography and rely less on my Canons' computerized wizardry, I strolled into NYC's Chinatown yesterday to try my hand at self-focus on a Leica M9 fitted with a Elmarit 28mm f2.8.

The verdict? To keep it simple and to the point...self-focusing is a bitch. The M9's handling is great, color rendition is great, controls are fine and intuitive...but the focusing is really tough, and it's frustrating. Using it yesterday in virtually ideal conditions (cloud cover, etc) reminded me of when learning how to windsurf years ago. I kept falling every other second, until I finally managed to stand up for a few minutes then it was back in the water...and so on, until I finally understood the wind direction, and found my balance.

I have yet to find my balance in having no auto-focus. It's early days and I'll eventually get it. My frustration level will ebb and flow with every shutter click...but if the ebb is more than the flow, then I'll get there.

I hope.

Scott Woodward: Thunder Dragon

I realized it's been a while since I featured Bhutan on this blog. It's one of my favorite destinations to photograph, and having chanced upon Scott Woodward's portfolio of Bhutan, I thought his lovely toned photographs would fill that gap very nicely.

Scott Woodward worked for American Express in Singapore, and switched careers in 2003 to become a freelance photographer. He specializes in making editorial and commercial photography, all enhanced with Adobe Photoshop Lightroom 3 software.

He favors shooting location-based narratives, where it’s just him and his camera. He spent 28 days on the Mekong River traveling through Vietnam, Cambodia, Laos, and Thailand, during which he made 12,000 images. His work is people oriented, and he seeks to discover new and remarkable photographic opportunities throughout Asia, where he lives and works.

Sunday, March 13, 2011

Is My Choice In The NYT's Magazine?

I had a jolt yesterday morning when leafing through The New York Times' Magazine. The double truck on pages 46-47 was Paolo Pellegrin's photograph of Egyptian migrants waiting to leave Libya at the Tunisian borders.

The jolt was because I had chosen it as the most powerful photograph in Pellegrin's photo essay that had appeared on the NYT's website on March 10...a few days before its publication in the hard copy of the magazine! As I wrote in my blog post of that day:

"I chose Pellegrin's above photograph to feature along this post because, in my view, it's the most powerful of the lot. Perhaps it's the sight of the Egyptian passport in the hand of the migrant that influenced me. After all, I had one just like that years ago."

It's most certainly coincidental that this particular photograph impressed the magazine photo editor(s) as much as it me, but it's still an awesome confluence of minds!

Paolo Pellegrin's Scenes From the Libyan Exodus.

Saturday, March 12, 2011

Sandy Chandler: The Sufis of Gujarat

A fourth-time participant in my photo-expeditions (The Gnawa in Morocco, Tribes of Rajasthan & Gujarat, Bali Island of Odalan and in my just completed In Search of Sufis of Gujarat), Sandra Chandler is a photographer and interior designer based in San Francisco. She tells us that color, smells and sounds drew her to world travel. Her city's Asian culture first enticed her to China in 1978 when the People’s Republic first opened. She then continued her exploration of Asia by traveling to Bhutan, India, Japan, Singapore, Nepal, Thailand, Tibet, and on to South America and Europe.

She's the second participant to send me samples of her work during the photo`expedition. The top photograph was made at a the dargah of Sayid Mira Datar, a Sufi saint martyred in a battle with a Bhil warlord in the 1400s, and who's reputed to heal and exorcise evil spirits from visiting supplicants. It's of pilgrims/devotees inhaling the special sacred incense to purge tevil spirits from their bodies.

The middle photograph is of niqab-wearing Muslim women in Sarkhej at the dargah of the Sufi saint Hazrat Ghatu Ganj Ahmed Shah. I think these women are members of the Tabligh sect; an orthodox Muslim sect. As much as I tried to cajole these women (and they spoke English perfectly), they would not allow me to photograph them.

The lower photograph is a candid portrait of a sadhu; a Hindu self proclaimed holy man. It was made during a photo shoot at the foothills of Junagardh's Girnar mountain. He had probably just woken up.

Sandy also published two books ‘Carnevale, Fantasy of Venice' of her beautiful photographs of Venice and its magical Carnevale, and Calling The Soul, a collection of photographs of the intricate Balinese cremations.

Friday, March 11, 2011

BJP Does The FujiFilm X100

The British Journal of Photography has just featured a hands-on review (not an in-depth one yet) of the FujiFilm X100.

It appears that the FujiFilm X100 is extremely well designed, handles well (although a bit on the lightweight side according to the photographer using it), with good image performance, and very easy to use.

On the negative side, there's a shutter lag which may or may not spoil the "decisive moment" street photographers lust for, and while it may be part of a pro photographer's kit...it would not be his/her main camera.

It's really expensive in Britain, and moderately expensive in the US....and as I wrote in my earlier posts, I don't think the price is justified at all. I've looked at the initial image samples (via BJP's website) and I'm not too impressed. As I said before, I believe the Panasonic GF1 (which I have and use) beats it hands down in terms of image quality, price and lens interchangeability.

Magdalena Sole: Burma

Magdalena Sole is a Spanish photographer based in New York City, with a MFA from Columbia University and a 20-year background in visual arts. Her work spans graphic design, film and photography, and a client base ranging from Fortune 500 corporates to private collectors.

Her biography tells us she prefers to work with a Leica, and works in color because it expresses culture best.

Her travel portfolio has galleries from Brazil, Kamagasaki, Japan, Mexico and Vencie, however I chose to feature her photographs from Burma. Her photographs are mostly street and urban scenes...tableaux as I prefer to call them.

Thursday, March 10, 2011

Teerayut Chaisarn : The Sufis of Gujarat

Teerayut Chaisarn is a young emerging photojournalist/photographer and Photoshop artist from Chiang Mai in Thailand. He was one of the 6 participants in my In Search of the Sufis of Gujarat Photo Expedition™ a few weeks ago, and featured a number of galleries on his personal website. Some of the photographs in his The Religion of Islamic Sufis In Gujarat gallery are toned, while others are not. The photographs are also less portrait-biased than those in his first gallery, which he titled Faces of India.

You'll find some brilliant images in Teerayut's galleries...I haven't put it in this post, but the one of the elderly man in a mosque with the sun filtering through the intricately-worked jalis is a beauty...so look it up. I'm sure you'll agree.

Teerayut started photographing about 4 years ago, and is largely self-taught. He started work as a photographer on the magazine staff of his hometown, but preferred to become a freelance photographer. He also applied his Photoshop post processing expertise to assist various Thai professional photographers, and processes their portfolios. He worked on various occasions with Steve McCurry in Thailand.

Most of his galleries in his portfolio are post-processed, and while some may find these over-worked, it's a style which finds favor amongst many in Asia.

NYT: Paolo Pellegrin's The Exodus From Libya

The New York Times just featured a photo essay titled Scenes From The Libyan Exodus of Paolo Pellegrin's splendid black & white photographs made in Ras Ajdir of immigrant workers fleeing the erupting violence in Libya, and streaming into Tunisia. This is one the best photo essays I've seen out of Libya.

It reports that some 75,000 migrant workers, mostly male Egyptians, were trying to pass through the checkpoints that separate Libya and Tunisia, overwhelming the latter country's meager infrastructure.

I chose Pellegrin's above photograph to feature along this post because, in my view, it's the most powerful of the lot. Perhaps it's the sight of the Egyptian passport in the hand of the migrant that influenced me. After all, I had one just like that years ago.

Pellegrin's is quoted as saying that while Ras Ajdir is desperate, it “isn’t a panic in the terms of what we saw in Kosovo or the scenes of Congo, with women and children. These are all able men.”

Thankfully for these men, that's entirely true, but let's not lose sight that each of these migrants supports an extended family in Egypt where the current situation is difficult...and returning home to a long period of non-existent employment will cause significant difficulties for them and for their country.

Wednesday, March 9, 2011

Eric Beecroft: Sufis & Saints

Eric Beecroft is the visionary co-founder of the hugely successful Foundry Photojournalism Workshop which is entering its fourth year, after being held in Mexico City, Manali (India), Istanbul and which will be held in Buenos Aires this coming July.

Eric teaches photography, photojournalism/documentary photography, history, geo-politics and anthropology at the Walden School, a public charter school in Utah. He spends a few months a year traveling and leading photo expeditions of high school students and adults. His photography is mostly documentary work, photojournalism, and adventure/outdoors photography.

He recently updated his website with photographs of Delhi's Nizzam Uddin Dargah in Delhi; an area which we share an interest in, and of Rishikesh in the Indian Himalayas.

The top photograph is of a Muslim woman in the throes of "hajri" or trance at the shrine of the Sufi saint, while the lower photograph is from Eric's Ganga Ma: Rishikesh, and which I particularly like.

Tuesday, March 8, 2011

Frances Schwabenland: "The Photographer of Jaipur"

Frances Schwabenland is a photographer and a videographer whose work was featured on The Travel Channel, The Discovery Channel, The History Channel and in Popular Photography Magazine. She's a multifaceted professional involved in travel, architectural, documentary, landscape and portrait photography.

Currently in the process of updating her website, Frances nevertheless featured a lovely video story of her special encounter with Mr Chand, a street photographer in Jaipur, who uses an ancient wooden camera weighing no less than 50 lbs to make photographs of passer-bys. She tells us in her blog that "he recreated for me that magic that drew me in years ago when I first started with a darkroom in my basement."

The tripod-mounted wooden box camera may well be a 1860 Carl Zeiss, which I've also seen in use in Pushkar and Havana. Photographers who still use these cameras are in a sense choreographers...perhaps even magicians, since they have to expose the negative by uncovering the lens cap for a fraction of a second with a deft flip of the wrist, then develop the sensitive paper to produce the negative...then the process is repeated to photograph the negative to produce the final positive image!

A far cry from all the digital hoopla we are now accustomed to!

FujiFilm FinePix X100: New Promotional Clip

As many of us may already know, Fujifilm has started shipping the FinePix X100 in Japan, and it should begin arriving elsewhere soon. The X100 is a large-sensor compact camera aimed at most photographers, whether professionals or otherwise.

Its sensor is based on a 12Mp APS-C CMOS sensor, Fuji EXR processor and 23mm F2 Fujinon lens, and the body features traditional analogue controls for shutter speed, aperture and exposure compensation. The buzz is around its new 'hybrid' viewfinder system which allows the user to switch between an optical and electronic viewfinder.

Its price point in the US is $1,199, and is available for pre-order from Adorama, as an example. B&H Photo doesn't seem to do pre-orders, and will only list it when it's in stock.

It's certainly a beautiful camera, but I've lost interest in the FujiFilm FinePix X100 for a bunch of reasons; the first is that I am very satisfied with the capability of my Panasonic GF1 and its 20mm f1.7 lens, the second is that I am not impressed by the X100's price which I think is too high, the third is that it's a fixed lens camera (in contrast to the GF1), and the fourth (intentionally cryptic) is because of a dot.

Monday, March 7, 2011

POV: Egypt's Iconic Revolutionaries

The Independent newspaper has featured the photographs of some of the young Egyptian revolutionaries who, against all odds, overturned a despised regime in a matter of days. It is these young people who made history, not only their own country's, but of the world's.

These are the young men and women who led a populist uprising against Mubarak and his repulsive henchmen and sycophants...these are the young men and women who took the West's proclaimed democratic values as their own, and fought for them...not only paying lip service, not mouthing bromides...but with real action, risking their lives and futures. These are the young men and women who are the future of Egypt, and who'll take it to where it deserves to be...these are the young men and women who will accept no foreign influences...these are the young men and women who scoffed at the naysayers who described them as nothing more than errant juveniles, and who give the finger to the sclerotic and biased Western pundits who see Islamist bogeymen everywhere...these are the young men and women who have shown us that the people of the Middle East want democracy...their own democracy, not one imposed by others...these are the young people who must be immensely proud to be Egyptians.

I was also amazed by reading this, from The New York Times (March 6, 2011):

Egypt’s popular revolution was the work of men and women, bringing together housewives and fruit sellers, businesswomen and students. At its height, roughly one quarter of the million protesters who poured into the square each day were women. Veiled and unveiled women shouted, fought and slept in the streets alongside men, upending traditional expectations of their behavior.

Jonathan Owen's in his accompanying article calls these photographs "Portraits of Courage", and indeed they are.

Finally, about the photographer. Kim Badawi, a 30-year-old documentary photographer of French-Egyptian descent, endured beatings, bullets and tear gas to find out what these young revolutionaries went through, and these portraits are his work.

Sunday, March 6, 2011

My Work: Chandrika, A Hijra of Becharaji

One of our photo-shoots on the itinerary of the In Search of the Sufis of Gujarat Photo Expedition™ involved the eunuchs of Becharaji. This required one of the longest pre-photo shoot negotiations of the trip, since eunuchs (or hijras, as they're known in the sub-continent) are usually reticent about being photographed.

The history of the hijras is rooted both in ancient Hinduism, where eunuchs are mentioned in a variety of texts, including the epic Mahabharata, and in Islam, where eunuchs served in the harems of the Mogul rulers. Hijra is considered a derogatory term, and I was told by Rehman, our fixer, that they preferred being addressed as 'masi'. Be it what it may, the word "hijra" is an Arabic word which found its way into Urdu, and it means "migrant"...for someone who has left his or her tribe.

I chose Becharaji as a photo shoot site because of its Hindu temple, devoted to the mother goddess Bahuchara Mata. Hijras are usually devotees of Bahuchara Mata. She is considered as a patroness of their community, and is devoutly worshiped. In fact, I witnessed many Hindu pilgrims arriving to the temple, and asking for the blessings of a group of hijras, almost as if they were recognized as being especially close to the goddess.

There are many books that deal with the culture of hijras, and apart from The Invisibles by Zia Jaffrey, I found many pages about them in City of Djinns by my favorite author William Dalrymple. He writes:

"Yet despite their frequent appearances in public, very little is actually known about the Indian eunuchs. They are fiercely secretive and of their own choice inhabit a dim world of ambiguity and half-truths. They trust no one, and hate being questioned about their lives."

We were allowed to visit Chandrika at her home (which she shares with other hijras), not far from the temple itself, and where the bottom two photographs were made (the top one was made at the temple), and the house was spotless, comfortable and well-tended to. An older transgender, introduced as her guru, was there, who gave permission before we could come in. Hearing and seeing the commotion, many neighbors eventually dropped by for some tea, and it ended up being a sort of a social event.

Chandrika is an extrovert, and she reveled in the attention from this handful of foreign photographers. It was difficult to photograph her in the setting of our choice, especially as she also wanted her friends and neighbors to be in the pictures. She also seemed to have a short attention span, and a mercurial temperament...so we had to make do with what we had.

Saturday, March 5, 2011

Human Planet: Trailer

I've featured Tim Allen's Human Planet quite a number of times, but the BBC's latest trailer is a a treat and a must see. Narrated by Tim, it features a number of his phenomenal still photographs made during the production of the series.

As the BBC describes it: "From the icy Arctic to Africa's dense jungles - and the mountain tops of Mongolia to the deep waters of the Pacific - the BBC series Human Planet has explored mankind's incredible relationship with nature."

One photographer, 4 teams and 40 countries...and almost 2 years for Tim to shadow BBC film crews during the production of the landmark television series. This is what it took to produce this stunning series. Human Planet was featured on BBC One on Thursday 3 March and is viewable on its BBC iViewer, but this is not available in the United States.

I'm very pleased to be listed on Tim's favorite links. He describes my blog as "Not much from the culture of traveling photographers slips past the watchful eye of Tewfic El-Sawy in this, his highly informative blog for those of us who travel and photograph." Nice.

My thanks to readers Jonny of www.shimmerimages.co.uk and Jonas Bendik for letting me know of this trailer.