BOJAN'S BLOG

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Posts Tagged ‘photojournalism’

What happens to women in journalism

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I was on vacation so I am late to this story, but I do want to write a few words because this is important stuff. About a week ago local reporter Tara Bradbury wrote an excellent opinion piece on what happened to her when she wrote a straight-up story previewing a feminist festival/art show/workshops event scheduled to take place in St. John’s later that week. The comments ranged from creepy to criminal misogyny.

This stuff has been happening for a long time and it needs to stop. The only good thing I can say about it is that we are finally talking about it more openly then ever before. Tara did a great job locally. Canadaland has been talking about the harassment and misogyny women have to put up with in media organizations for some time now. Whatever you think about Jesse Brown, this is the guy who broke Ghomeshi story and has been covering the situation at the Toronto Star together with other media. The world of photojournalism is no better. Colin Pantall’s blog has a couple of good posts about what happens to women in photojournalism and photography in general (here and here) and it should make you furious.

The fact that we have amazing women working in the media and in photojournalism despite the daily insults and misogyny they experience is a testament to just how committed and how good they are at what they do. So for this post, here is a bunch of links to some pioneering and contemporary female photojournalists doing stellar works. This list could go on and on, but this will do for now:

[LENS] has a story about pioneering women photographers in Mexico.

PetaPixel featured Japan’s first female photojournalist who is STILL PHOTOGRAPHING AT THE AGE OF 101!

Ruth Fremson, wrote a story about women in photojournalism for [LENS]

And for the end I want to send you to three exceptional female photographers who were among those whose work was featured in June 2015 issue of National Geographic. What was remarkable about that particular issue was that majority of the stories were photographed by women and the difference in tone, style and subject matter was noticeable. We need those voices because they tell us very different stories. Spend some time with the work of Lynn Johnson, Stephanie Sinclair (Stephanie seems to be rebuilding her website so follow her on Instagram), and Carolyn Drake – you’ll be glad you did.

Lawlessness at Sea: Journalism done right

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If you read anything today, make it this series of exceptional stories from New York Times on lawlessness on the high seas. Most of it actually occurs in connection with illegal fishery, which is an incredibly lucrative business.

You can access the whole package through the splash page here or individual pieces:

Stowaways and Crimes Aboard a Scofflaw Ship

Murder at Sea: Captured on Video, but Killers Go Free

“Sea Slaves”: The Human Misery that Feeds Pets and Livestock – on slave labour of the world’s fishing industry.

A Renegade Trawler, Hunted for 10,000 Miles by Vigilantes

All of this is followed by a piece on possible solutions, an interview with a photographer covering one of the stories, and an editorial.

This was so good that I wanted to read all of it and have actually paid digital subscription once I hit the monthly limit of free stories. I suspected all along that if you want people to pay for your digital subscriptions you have to provide unparalleled content and New York Times provided an amazing content. There is a lesson here for Canadian newspapers if there are any real ones left out there.

Middle Cove Beach last year. Perfectly legal caplin rolling.

Photography related links

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Vis on Vis island, Croatia.

Some photo links today:

Guardian has a story and interview with Stephen Shore on his exhibit in Arles.

An interesting story on women photojournalists in [LENS]. Incidentally, I believe June issue of National Geographic had all the stories but one photographed by women and you could see the difference in approach, subjects, and themes they covered.

Fantastic photographs and a very important story in New York Times Magazine on Wisconsin’s governor Scott Walker’s efforts to dismantle organized labour in America.

Of capelin and drones

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The waves hitting Middle Cove beach were alive with writhing of small silvery fish spawning and washing ashore – capelin’s last act of defiance before the inevitable death. As people, whales, and birds flocked to the cove there was a frenzied sense of joy in the air – a feast from the sea freely given to all with a belly to fill.

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Newfoundland has been our home for six years, but somehow we always missed the rolling of capelin. Not this year. We were not prepared exactly – we had no nets or buckets or even plastic bags to catch the sea’s bounty in. We came for a stroll along the beach and I only hoped that the capelin might be there as well.

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The weather was right – capelin weather – a rainy, cloudy and foggy late June day. And there they were. All over the beach, there were trampled bodies of fish and excited men and women and children – many of them Newfoundlanders born and bred, but also newcomers from every corner of the world who came to watch this small annual miracle and partake in a tradition of their new home.

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It did not matter that we were woefully unprepared because this is Newfoundland, after all, so an older couple quickly filled a plastic bag for us and there was really no way to refuse the generosity of the people and the sea. And why would you – there was plenty for all of us.

Every face had a smile and the fires were lit on the beach. People gathered to watch the little silvery fish and the minke whales gorging themselves in the cove. It was truly a perfect moment.

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I made a few photographs. It wasn’t really difficult. People were happy to be photographed, to engage in conversation, and some even asked to look at the TLR’s ground glass.

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Unfortunately, even Newfoundland has its tactless ingrates. Standing on the beach, sporting a fluorescent vest you usually see on road workers, was a man with a drone. Until that moment, I felt pretty agnostic about camera drones and gave them little thought. Well, not any more. Whatever this is, it is not photography and it is certainly not documentary photography. It says volumes about that day that, despite the thing buzzing around our heads and swooping down on the crowds of people who were never asked, engaged or otherwise made aware of the man and his toy, nobody took a rock and knocked the bloody thing out of the air. It was invasive, rude, and if the reactions of those on that beach who came from less fortunate places in the world are anything to go by, it was also frightening. Everybody I photographed and engaged in conversation with that day frowned at the white drone and its annoying buzz. There was no escape from it and no way to say no. Once the man in the vest packed up and left, people visibly relaxed.

There is no sense in arguing against this technology. That ship has sailed and we are all going to have to learn to live with it. It is, however, disheartening that many of my former photojournalism colleagues are embracing the drones as if they are some sort of a technological breakthrough. This is not going to result in better journalism. Good photojournalism was always about storytelling. This has nothing to do with storytelling, compassion or genuine curiosity about people and places. This is pure gimmickry for talentless hacks – sort of like HDR photography, just worse.

So a fair warning: next time that thing buzzes around my head, I may or may not be as restrained as I was on that June day with the capelin miraculously rolling on Middle Cove beach.

 

Photography rant… and photos from Fair Island

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Recently, a full-time photojournalism position opened at a local daily. I considered applying. For years, that was the kind of job I really wanted. It was the only job I wanted. And then it struck me that I don’t want that job any more. Or at least, I don’t want the job that I would be asked to do. Since then, I’ve been thinking a lot about where, when and why my own view of what photojournalism should be diverged from what photojournalism is. Some of it has to do with technology, but there are other and more important things, too.

The imaging technology has changed dramatically and I am bored to death with it. I am bored with new digital cameras. I am bored with megapixels and neverending upgrade cycles. I am bored with HD video. I am particularly bored with videos that start out out of focus and then slowly bring into focus some mundane and usually irrelevant object or a generic street scene. I am bored by partially desaturated images. Entire newspapers filled with portraits bore me to tears. I am not bored, but offended by HDR – it’s just kitsch of the worst kind. I am also offended by selective colouring. I know, it was done in the 1920s as well as today. It was bad then and it’s bad now. Please let it die and please, please don’t publish it in daily newspapers. I am bored with journalists who are trying to be cool on twitter and I am bored with the publications that are forcing their writers and photographers to become celebrities. I am embarrassed to read tweets by local, national and international reporters passing themselves off as some sort of experts on one thing or another.

It’s never a good thing when a journalist becomes a story. The details are usually either sordid or horrifying and almost always a result of an unchecked ego better suited to some other professions. It’s cool to see your name in print, but a byline or a photo credit is where it should end. Just look at the two latest controversies in the world of photojournalism: the Paolo Pellegrin photo from an ill-conceived Magnum Rochester project (here, here, here) and the debate over this year’s World Press Photo winner Paul Hansen’s post-processing of the winning photograph (here and here). None of this did any good to anybody. It’s important to discuss and draw attention to, but it does no good. Somehow photojournalism stopped being about stories.

Local daily is a great example of that. At least once a week, the front page features a photo of some poor bastard dragged into or out of a courtroom. For the rest of the week we have people staring at us from the front page. I can’t figure out what that contributes to the readers’ understanding of the news the journalists and the editors obviously thought important enough to cover and print that day. It’s easy to criticize daily photojournalists. The pressures to produce something out of thin air is huge and the job is becoming more stressful than ever.  Deep down, I never was a daily photographer anyway. My heart had always been, even before I knew that, in long-form story telling both visual and narrative.

 

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Over the last few weeks, my wife dug out a set of 6×4 prints I gave her years ago. We always thought we should work on some sort of a collaborative project, but between kids, grad studies, moves and jobs there was no time for that. She pulled them out now and it is fascinating to watch these photographs come alive as poetry, essays, mini-plays and short stories. Then last Friday, I had one of those moments that reminded me what is that I love so much about photography. That story started almost two years ago.

My MA thesis supervisor invited me and the family to come with her and her husband to a small reunion held on Fair Island, a resettled island community off the east coast of the main island of Newfoundland. Her husband’s family were Fair Islanders. It was August, but the weather was miserable. Nonetheless, we went and we had great time. I made some photographs and posted one of them here. The photograph I liked the most was the one at the top of this post. Context is important here. The photograph (in my mind anyway) is called “A pipefitter and a gaming executive make fish in a resettled community.” What you see here are not two fishermen, although I suspect both of them would be happier if they were fishermen. What you see is two people with roots deep in a community that does not exist any more engaged in an activity that is crucial to their identity, but it is meaningless economically. For me, this is in many ways a quintessential Newfoundland small island photograph. Except, this past Friday I found out that this is not the most interesting or the most important photograph I made that day.

Sometime last year, I got a call from the Research Centre for Music, Media and Place at the university I work at asking if I would allow them to use the Fair Island photo they found on my blog. A few folks working at the centre were taking a beginners documentary film making class and they were producing a short doc on Stan Pickett, an accordion player originally from Fair Island. You can hear and see Stan play in the video bellow.


I said sure and told them that I had a few more photos and that they are free to chose any of them. They picked three. Last Friday, the class got together and screened the three shorts they made to a very small audience of their classmates and a few other people who in some way helped with their projects. I was invited as a courtesy and came out of curiosity. Stan Picket was in the audience, too.

The films were quite good. In fact, given that they were made in 14 weeks by people who never made a film before, they were great. After the screening, I was introduced to Stan and we got chatting. I pulled out my laptop and showed him a couple of other photos from Fair Island. His eyes glanced over the fish-making photo, but the little pond, the pillars of the old church and the photo of stages and stores at the end of a wharf caught his attention. He became animated and happy, in fact so happy that his excitement was contagious.

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It turns out that the little pond known as ‘the rink’ sitting in ‘the meesh’ (marsh) was not just a place to play a game of hockey, but also a major social space. There were bonfires on the neighbouring hills and games and midnight runs with torches between the hills. Stan could just spin one story after another and I kept wishing I had a recorder rolling. The photo below brought the memories of “old-year-out-new-year-in-day” and downhill races in an old wooden punt that would end at the bottom of the gulch and, sometimes, in the ocean. And the church pillars? Well it was his dad who started the church and… It was magical.

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FairIsland17And that’s what photographs should do. They should tell stories, make us tell stories, and make us imagine stories. Today’s newspaper photography fails at all of it most of the time and I am not naïve enough to think that I could somehow change that even if I could get that job in what is bound to be an insanely intense competition. So, I’ll keep doing it my way and, thanks to Stan, I have a great idea for a project.

EDITED FOR TYPOS AND CLARITY.

On photojournalism

There is a really important debate going on over at duckrabbit’s about conflict photography and the glamorization of war photographers by the media. Duckrabbit being duckrabbit has no need to mince words:

“Isn’t there something really screwed about the fact that the people in the pictures, what’s happening to them in a conflict, now seems to be of significantly less interest then what happens to the person taking the picture?”

I agree and this has been flaring up occasionally over the years. The most recent flareup was probably the interview with Christopher Anderson shortly after the publication of his book Capitolio when he said:

“The death of journalism is bad for society, but we’ll be better off with less photojournalism. I won’t miss the self-important, self-congratulatory, hypocritical part of photojournalism at all. The industry has been a fraud for some time. We created an industry where photography is like big-game hunting. […] We end up with cartoons and concerned photographer myths…”

All true to a large extent and the backlash to both duckrabbit’s and Anderson’s manure disturbing was expected and understandable given that there are people who truly believe in and practice responsible and deeply concerned photojournalism. I recently wrote a comment on David Campbell’s blog arguing that a lot of the blame should be laid at the feet of editors  at the major media who without fail choose the stories that allow them to create celebrities out of their own staff and colleagues over actual, real journalism.

The trend is unmistakable and plays directly into the hands of various power agents who prefer it that way – they often carry guns as David Levi Strauss points out in his essay “Photography and Belief” where he discusses the dramatic change in the conflict coverage during the first Gulf War:

“… the Vietnam-era generals in charge of Desert Storm recognized from the beginning that modern communication technologies make it impossible to wage war in the open. Today, war must be hidden behind the impenetrable propaganda curtain–no images of death and destruction, no fields bloody with carnage, no dismembered corpses; no orphans, or gangrene, or naked napalmed little girls; and no body count. The surprise was how readily, and how completely, the American public acquiesced.”

And there you have it in a nutshell. Give us celebrities and heroes and don’t bother us with the complicated stuff. Glamorization of conflict photographers is a logical extension of that particular story line. It works for the military and the politicians, it works for the public and it sells. The painful irony of the whole thing would be side-splitting funny if it weren’t so deeply sad.

I’ll give the last word to Abbas who addresses some of this at about 5:08. The first part of that interview is here.

Statue of Bishop Gregory in Split. The legend has it that rubbing the statue’s big toe brings good luck. That is probably the only thing the tourists remember anyway.

Croatian word of the day: propaganda propaganda [step enee tze]

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Srebrenica links

I meant to post this on the day of the arrest of the former Yugoslav Army general Ratko Mladić who was responsible for the massacre of some 7,000 men in Bosnian town of Srebrenica, but somehow didn’t. It doesn’t matter because Srebrenica is one of those stories whose horror is of such magnitude that it becomes a timeless warning to all of us of just what a human being is capable of doing to another human being.

Damir Šagolj, a Bosnian photojournalist working for Reuters, in his post Srebrenica: The story that will never end said it better than I ever could.

Also, check out the work of Dijana Muminović, another Bosnian photojournalist working on a long-term project dealing with the post-conflict issues of closure in Bosnia. You can (and should) support her work through her IndieGoGo campaign.

David Campbell also has a post looking at media coverage of Srebrenica massacre that is worth reading.

In the photo is old Irish cemetery in Tilting, Fogo Island.

Croatian word of the day: smrt death

 

Photo links and a corner store

I have this long post I have been trying to write, but am too exhausted to finish. Little Miss F is killing us by means of sleep deprivation. The only thing I don’t understand is why the hell is she so full of energy.

Photo links:

Alex Webb has photographed a fascinating story for National Geographic on a railway connecting Caspian and Black seas. The story is just as fascinating as the photographs. NPR has a preview of the story and National Geographic has an extended on-line gallery.

Alain Keler from the French agency Myop has a sad and haunting set of photographs of Roma people currently persecuted quite mercilessly in France. Even some of the members of the right wing UMP are appalled by the deportations. BBC story is here.

Check out NYT’s Lens blog and the work of George Georgiou on modern Turkey.

The photograph is of Long’s Hill Convenience in my new neighbourhood.

Croatian word of the day: san sleep

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Another photo from yesterday’s shoot. Dr. Duncan McIlroy is showing a rock sample to Senator Fabian Manning with Dr. Ray Gosine, VP Research (Pro tempore), in the back.

Here is a weekend collection of photo links:

Time Magazine has a nice slideshow of Bruce Davidson’s photos. His new book Outside Inside sounds fascinating – a three volume collection of some 800 photographs. The book is available for pre-order from Magnum for $250 US.

David Rochkind is the winner of this year’s WHO’s Images to Stop TB. You can read more about it and see his work at dispatches website.

There is a really nice collection of Dorothea Lange’s photographs at The Selvedge Yard.

The Walrus magazine has a feature by Canadian photographer Donald Weber called Dark Element (text and photos). Weber has won everythign from World Press to Guggenheim for his work in Ukraine and Russia.

Here is an amusing look at the world’s bureaucrats – a selection of photos by Jan Banning. Unfortunately, Banning’s site uses Flash so I can’t send you directly to it. Click on ‘photo series’ in the menu and then choose ‘Bureaucratics.’ (h/t Quipsologies)

Croatian word of the day: birokracija bureaucracy [biro kra tz i ya]

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Change Islands, HCB at MoMA, Lane Turner on photojournalism, FSA colour work

I should be heading to Change Islands next week for a few days. I can’t imagine what the islands look like in winter. This is a photo from this past summer.

I haven’t posted links in a while so here we go:

A friend forwarded to me a fabulous piece of photographic history. We all know the iconic images Dorothea Lange, Walker Evans, Gordon Parks and the rest of the Farm Security Administration photographers made during the 1930s and 1940s across the United States. That still remains the most extensive visual record of the Great Depression and probably the most extensive visual record ever deliberately created. What is not well known is that FSA photographers made a small number of colour photographs as well as the iconic black and white images. You can see some of them on the PDN blog.

If you are in New York or if you are going to be in New York between April 11 and June 28, you should visit MoMA and what looks like a fabulous Henri Cartier-Bresson exhibit.

Another thing you should not miss is this well-written and honest piece by Boston Globe photographer Lane Turner:

Slowly, over time, all those experiences exposed a bigger flaw: Too often I chose to photograph instead of actually live. I was rigidly defining myself as an observer and missing the fulfillment of the participant. I’d often wondered why my pictures weren’t better at capturing many of those small but profound moments in people’s lives; it was because I wasn’t enjoying enough of those moments myself.

I’m still learning. Turns out, my camera can parse meaning from the chaos of life. I just didn’t realize the chaos would be my own.

Croatian word of the day: boja colour [boy a]

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[Old Blog] Gilles Peress, L’Agence Vu’, 52 in Saint John, film, and Lens

Another weekend that I will spend working. Not exactly thrilled about it. Here is a bunch of photo related links.

I found this Gilles Peress interview more or less by accident. He has some very interesting things to say worth listening. However, I do have to warn you that the interviewer is annoying beyond belief. Every time he says ‘I see,’ you know that he has no clue what is that Peress is talking about. Even Peress himself makes fun about it at the end. (Peress’s photos are here. Here is another good read on Peress.)

For some bizarre reason I never linked to L’Agence Vu’ so now I am correcting that particular oversight.

You should also keep an eye out on an interesting project that Saint John photographer Dan Culberson has undertaken. It’s called 52 in Saint John and it will eventually feature a collection of 52 portraits.

Two links to websites promoting film usage: The International Analogue Photographic Society and Analogue Masters. Most of the photos are not necessarily my cup of tea, but it’s nice to see what else is out there.

And the last two links are both located on NYT’s Lens: Cowboys and Photojournalists is a fun piece and the interview with Todd Heisler, the photgrapher behind One in 8 Million NYT feature is well worth a read.

Old cemetery on Change Islands, Newfoundland.

Croatian word of the day: portret portrait

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[Old Blog] Storytelling, on photography being easy and difficult, My Best Shot, Stephen Mayes, Jean François Leroy, mapping media coverage…

Matthew Howse had no intentions of telling a story that night, but his friends talked him into it. He did well for a first-timer. He told a story about the greatest basketball game in Newfoundland and why his father, who carried that game, had trouble sitting down for three days after his high school team’s historic win.

As I am preparing some grant/award/just-give-me-some-damn-money applications for a project I am very keen on, I have been paying more attention than usual to various things related to photography – well… to proposal writing really, but there were some interesting gems that came up anyway:

Paul Graham has a short but sweet piece on why is photography so easy and so difficult at the same time.

It’s so easy it’s ridiculous. It’s so easy that I can’t even begin – I just don’t know where to start. After all, it’s just looking at things. We all do that. It’s simply a way of recording what you see – point the camera at it, and press a button. How hard is that? […] It’s so difficult because it’s everywhere, every place, all the time, even right now… Drift your consciousness up and out of this text and see: it’s right there, across the room – there… and there. Then it’s gone. You didn’t photograph it, because you didn’t think it was worth it. And now it’s too late…


The Guardian’s Art and Design section (imagine that – Art and Design section in a daily newspaper) has a feature called My Best Shot that is worth checking out.

The following two texts go hand in hand. Stephen Mayes, World Press Photo Secretary, gave a keynote address earlier this year that caused quite a bit of trouble in the photojournalism community, which is fine as far as it goes so kudos to him.

Every year, the jury is astonished by the repetition of subjects and the lack of variety in the coverage. From the infinity of human experience the list of subjects covered by the entrants would fill a single page, and… could be reduced even to three lines:

– The disposed and the powerless
– The exotic
– Anywhere but home


Jean-François Leroy, the founder of Visa pour l’Image, unleashed his wrath on photo agencies and buyers:

Many agencies now have flat-rate schemes offering attractive prospects for magazines and newspapers run by people whose only goal is profit… By offering these subscription schemes, they are digging this profesion’s tomb… This year, I can count less than a dozen photographers who have gone on a magazine assignment to do a real news report, allowing the photographer to make a living from his work and pay his bills at the end of the month.

L’Observatoire des Média has a perfect visual demonstration of what Leroy and Mayes are talking about.

Croatian word of the day: kratkovidnost shortsightedness [kra tko vid nost]

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[Old Blog] Quidi Vidi village, kinetic sculptures, photo links

There is a lot I’d like to post, but over the last couple of weeks I have been so busy with so many different things (work, freelancing, grad studies) that at one point I thought I might develop multiple personality disorder of some sort. For now, here is a photo from this weekend’s stroll through Quidi Vidi village and around Cuckold’s Cove. and a whole bunch of links.

First of all, thanks to my brother, here is the incredible work of Theo Jansen, a Dutch sculptor, or as he would say, kinetic sculptor.

And some random photo links:

New York Times has what looks like an amazing section of their website called Lens, which I am looking forward to exploring.

CBC recently published a short interview with Canadian photographer Donald Weber. A slideshow of his recent work in Russia accompanies the audio.

Croatian Press Photo 2009 winners have been announced and you can see the photos here. Great to see some familiar names winning.

Scientists at Cornell University mapped some 35 million Flickr photos and found out that, for example, Apple store in NYC is more often photographed than Statue of Liberty – consumer society indeed.

Here are some of the very first colour photographs ever (h/t to Andrew Sullivan)

And last, but not least, visit Visura Magazine. Some beautiful photography over there…

Croatian word of the day: kipar sculptor

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Wedding, photojournalism

I am on my way to Ottawa and this flight seems like the first time in a while that I feel comfortable taking the time to write a blog post. This photograph is from the second wedding I agreed to photograph this year. Anne and David are the most fun people you can imagine and they love to share that with others. We had a great time at their wedding.

Here is something I meant to write for a while:

Recently, James Nachtwey completed a project on extremely drug resistant TB. The success of the project hinged on a clever marketing campaign that attempted to harness social networking as a way to spread the word and link to the multimedia piece Nachtwey produced. Some in the photojournalism community cried foul for employing, essentially, a marketing technique to spread a news story. I will concede that it is possible to make a viable argument that in this particular case the ethic bounderies might have been pushed. Personally, I have no problem with the way Nachtwey used the opportunity to highlight an issue he saw as important. That is the other thing – many have pointed out that there are more important or just as important issues that he could have used the TED money to explore and bring to our attention. Of course there are – and if he picked any other issue, there would have been those complaining about it. He picked one he felt strongly about. We live in a pretty messed up world. There is, unfortunately, plenty of issues for all of us to work on.

The criticism of Nachtwey’s work that I find the most interesting concerns something else. A blog post on J.M. Colberg’s blog questioned the effectiveness of photojournalism employing traditional language of black and white photography. The idea is that we need new visual language that is not as stale and that will grab our audiences by now desensitized to the visual language employed since 1920s. Colberg conveniently does not allow comments on his blog, but, luckily, Magnum blog picked up the discussion. Here is what I think. Complaining about James Nachtwey shooting like James Nacthwey and not like Simon NorfolkMikhael SubotzkyMartin Parr or Jonas Bendiksen is silly. He IS James Nachtwey. Why would he pretend to be somebody else? I am not the greatest fan of Nachtwey, there is coldness and surgical precision to his photographs that never resonated with me. But they resonate with plenty of other people, so let Nachtwey be Nachtwey.

There is a recent interview with Martin Parr where he calls for photojournalism to get on with the times and modernize its approach and language. I don’t see anything wrong with photojournalism. There is plenty of fantastic staff out there if you know where to look. There are bigger problems with the media and publishing industry, but that’s a subject for another post.

I opted for an earlier flight this morning so that I can catch an exhibit at the National Gallery of Canada featuring the work of André Kertesz, one of the photographers who pioneered photojournalistic approach to photography. Many a photojournalist owes debt to Kertesz even if they are not aware of it. I was going through some of the books I have with his work and his photographs are still surprising and sweet and revealing. In terms of visual language deployed today, we have come a long way from Kertesz, but like any language, many of the roots will lead to his attempts to portray the world around him. I don’t believe that we have to somehow drag photojournalism into the 21st century kicking and screaming. I think that, as we go forward, new dialects and new branches will grow from the tree that at its roots has the work of people like Hine, Kertesz, Cartier-BressonLangeMcCullin and W. Eugene Smith.

Croatian word of the day: evolucija evolution [ea vo loo tz ia]

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Cape Spear, The Story Breaks, James Nachtwey

Cape Spear. I am sorry for the lack of updates. It’s not for the lack of material, but rather lack of time. We are still settling in and things are pretty chaotic.

I had a long debate with myself whether or not to actually promote the “The Story Breaks” event. I deslike the marketing aspect of it, but I have enormous respect for Mr. Nachtwey and his undeniable skill as a photojournalist. The similar debate is going on at the Lightstalkers forum. At the end, I came to a conclusion that it would be naïve to believe that photojournalism can somehow rise above a marketing gimmick in this age of crassness. I am excited to see what Mr. Nachtwey is going to reveal tomorrow.

Croatian word of the day: integritet integrity

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