Month: October 2013

The Kivus : Goma airport

Magnum nominee Michael Christopher Brown, who will be on a panel at the Magnum Symposium in Austin at the end of this month, recently uploaded a more extensive edit of his Congo project, “The Kivus,” to the Magnum archive. One of several essays within this Kivus project, about children playing on abandoned planes at the Goma Airport, was made during one late afternoon. At that time, due to fighting between FARDC (Congolese government Army) and M23 (rebel) forces, no security force nor the UN was stationed at the airport. The next day Michael returned, hoping for more pictures, but the door had closed and he was nearly arrested by security officers.

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CONGO. Goma. December 14, 2012. Abandoned planes are a common site at airports in Africa. At Goma Airport, in the Democratic Republic of Congo, planes left due to wars and volcanic eruptions over the past two decades have become a playground for street children, some of whom sell the parts which are made into stoves and other items to be sold on the streets of Goma.

One is generally prohibited from photographing this airport but in mid-December, 2012, after the M23 rebel force which occupied Goma left and before the FARDC (military of the D.R.C.) returned to the city, a security vacuum meant that nobody was guarding this section of the airport. Children guided me through the planes, which were later discussed by my Congolese fixer:

“In January of 2002, the volcano (Nyiragongo, just outside Goma) exploded and the lava blocked the planes. I helped move this plane after I and many of my friends living near the airport lost our homes to lava, on the first day of the eruption. On the second day, we saw the lava moving towards the planes. I and others were just watching the lava flow getting closer to the planes and we decided to move one of them, this newer one. There were at least a hundred people there pushing the plane for about 300 meters. A friend mine, who was there and whose house was also destroyed, had a childhood dream to be a pilot. But his parents were too poor and all the schools were expensive, so he could not hold onto that dream. He forgot about it, but then on that day, when we needed to move the plane, he told me to help him inside so he might steer it! We all pushed the plane as my friend waved his arm out the window, in the cockpit. We then climbed in the plane and saw the lava flowing down the volcano and into town.”


The Guitarist

More than 40 shops involves in photography services for tourist at Patenga sea beach in Chittagong.around 150 unskilled photographers take photographs with compact digital camera at 20 taka apiece for a 4×6 print.photographers and owner of those shops involved with this business are very disappointed as the business declined sharply due to cell phone camera and digital camera that most of the visitors carry.Beach photographers trying to adopt the situation and using different props for tourist to make them interested to take photographs by the beach photographers.hats,sunglasses and guitar are most popular props.almost everybody like to take photographs with guitar,so there are almost 50-60 guitar(some of it without strings) at patenga beach that every beach photographer carries to their back and approach to the tourist for take photographs




Timothy Archibald started photographing his autistic son Elijah when he was 5 years old. His aim was to document the often bizarre and incomprehensible world of his son but the project developed into much more.

Elijah has a need for repetition, loves mechanical objects and is socially withdrawn and Timothy set out to document these often annoying habits and rituals. However, over time Elijah became more involved in the process and helped setup and organise locations and poses.

“According to Timothy, his project Echolilia helped him understand the situation, his role as father, but most importantly, to accept his own son’s differences. Those habits that first drove him nuts completely changed through his photos. In Echolilia, father and son create their own visual language, thanks to which they can communicate with each other even when there are no words they both can understand. In fact, Elijah receives positive attention for his rituals, can share something with his dad, and has even started to take his own photos.” Via

Robin Hammond wins prestigious W.Eugene Smith grant

Harrowing Photos of the Mentally Ill in Sub-Saharan Africa

Robin Hammond—Panos
Severely mentally disabled men and women are shackled and locked away in Juba Central Prison for years on end. The new nation of South Sudan faces a tremendous challenge to build a modern country capable of caring for all of its citizens. Juba, Sudan. January 2011.

At its most elemental, photojournalism documents conflict — conflict between individuals, between nations, between ideologies, between humanity and nature. Literally and figuratively, photographers capture conflagrations large and small. Some burn strong and fast; others — often the more frightening, and more destructive — burn more slowly. They smolder.

Tonight, Robin Hammond, a New Zealand-born photojournalist, received the $30,000 W. Eugene Smith Grant in Humanistic Photography for his attention to one of the sub-Saharan Africa’s slowly burning fires: the plight of the mentally ill.

“Where there is war, famine, displacement, it is always the most vulnerable who suffer the greatest” says Hammond. The mentally ill, he notes, are a “voiceless minority condemned to lives of quiet misery.”

Based in South Africa, Hammond traveled for two years to regions of severe crisis — eastern Congo, Mogadishu, northern Uganda, Liberia and South Sudan — photographing in stark detail the barbaric conditions endured by tens of thousands of Africa’s mentally ill. Broken, largely forgotten, the mentally ill suffer abominable degradations, literally chained and caged throughout their days.

Time and time again while working on his project, Hammond found himself at a loss for words in the face of the unspeakable.

“I discovered a entire section of communities abandoned by their governments, forgotten by the aid community, neglected and abused by entire societies,” he said.

Hammond will use the $30,000 grant to finish the project. A book of the winning work, titled Condemned, is now available through FotoEvidence.

Javier Arcenillas, a Spanish photographer and clinical psychologist, received a $5000 runner-up award from the W. Eugene Smith Memorial Fund for his project, Red Note: Violence in Latin America. Documenting some of Latin America’s most violent communities — cities like Mexico City, San Salvador and San Pedro Sula — Arcenillas photographed the perpetrators of violence and their victims.

All Hail Sachin Tendulkar: Indian Hero, Global Icon

To one-sixth of the world, he is the greatest sportsman of all time.
All Hail Sachin Tendulkar: Indian Hero, Global Icon

To one-sixth of the world, href=””>Sachin Tendulkare greatest sportsman of all time.

Sachin Tendulkar, photographed in Mumbai in April 2012.

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It’s difficult to explain Sachin Tendulkar to Americans. Cricket, the world sport he has dominated for over two decades, is impenetrable to most of the U.S., which clings to its guns and baseball, lamentably insensible to the epic narratives of a five-day Test match and the heroism of a budding centurion at the crease. Elsewhere, Tendulkar, a global icon, needs little introduction. In his native India, he is the “master blaster,” the “god of cricket,” a hero to over a billion people desperately lacking in sporting idols. And, on Oct. 10, following the announcement that he would retire next month after playing in his 200th test match at the age of 40, the tributes poured in from Australia to the U.K.

(MORE: TIME’s 2012 Sachin Tendulkar cover story—”The God of Cricket”)

Tendulkar’s career stats are peerless. As a batsman, he has broken almost all the records there are to break. In the history of the sport, no one has racked up more runs in both international Tests and one-day matches. He achieved the unprecedented feat of hitting 100 centuries in international competition: a century is when a batsman scores a hundred runs in one innings. Hitting just one is a mark of prowess; hitting 100 of them seemed unfathomable, or it did until Tendulkar did it. Not for nothing did the Australian Shane Warne, a legendary cricketer in his own right, laud Tendulkar as “the best player without a doubt.” After him, said Warne, there was only “daylight.”

Tendulkar’s greatness, like that of all famed athletes in any sport, is the product of both genius and application, a natural talent honed by a dogged work ethic and hunger for success. When observing his batting, cricket analysts struggled to single out a signature stroke—he was so complete, so skillful, so balanced, so precise in his movement, that every shot he played carried with it its own majesty. His commitment to the game led to an international career spanning 24 years, starting in 1989 on enemy territory in Karachi, Pakistan, when he was just a 16-year-old kid.

That kid is now India’s most beloved star, a champion with a World Cup to his name and myriad other trophies. A whole generation of Indians—roughly half of the country’s over 1.2 billion population is under 25—only knows the Age of Sachin, an era that began with the country mired in stagnation and economic crisis. As Tendulkar’s career powered forward, so did India’s liberalizing reforms, its growth rate galloping ahead. Decades-old anti-colonial resentments and inferiority complexes faded in the face of a newfound confidence, embodied, it seemed, in Tendulkar—all five feet and five inches of him, an Indian colossus on the world stage.

In terms of public regard, Tendulkar rises well above the glitzy celebrity of Bollywood and the tawdry muck of Indian politics. His persona is humble, honest, kind. He didn’t date a string of supermodels (or at least, not that we know); his wife is a pediatrician, shielded from the public eye. He speaks in a thin, slightly high-pitched voice, not unlike that of English soccer icon David Beckham—though it’s unimaginable Tendulkar would ever be subject to the sort of derision, cynicism and scandal heaped on the latter.

Still, there is not a single athlete, perhaps in the history of all sport, who has had to shoulder a greater burden of expectation. Cricket is all in India — a nation, which despite its enormous size, is a minnow in most other sports — and Tendulkar was the Chosen One. For each Indian setback, he has had to bear a billion cries of disappointment. But in the last decade or so, as Tendulkar starred, cricket’s gravitational axis swung definitively away from its twee upper-class origins in the U.K. to the hurly burly of India’s slums, streets and cricket grounds. A flashy, lucrative league sees the world’s best players line-up every year for franchises in Indian cities—the former colony now the seat of the empire.

A new, brasher generation of players entered the Indian team and led to the country’s cricketing apogee in 2011, when it won the World Cup in Mumbai, Tendulkar’s home city. At the end of the game, though the “Little Master” may not have been the top player on the night, he was scooped up on the backs of his teammates and paraded around on a lap of honor. “He has carried the burden of a nation for 21 years,” said one emerging star of the team then. “It is time we carried him on our shoulders.” That’s a moment any sports fan, anywhere, must rise and cheer.

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World Press Photo Change contest rules

World Press Photo to change contest rules following post-processing controversy


World Press Photo, who has selected VII Photo co-founder Gary Knight as chair of its 2014 contest, has announced a change of rules regarding “the permissible levels in post-processing of image files” submitted following this year’s intense debate about manipulation in photojournalism

Earlier this year, World Press Photo was forced to re-evaluate the integrity of its winning image following false allegations of forgery leveraged against photographer Paul Hansen. While a panel of forensic analysts found that the image had not been digitally manipulated, it concluded that the image had gone through “a fair amount of post-production, in the sense that some areas [had] been made lighter and others darker,” wrote Eduard de Kam, a digital photography expert at the Dutch Institute for Digital Photography.

The allegations were at the centre of an intense debate about the increasing post-production practice in photojournalism, as discussed in a BJP article published last May.

Now, World Press Photo has confirmed that it will introduce new rules for its 2014 contest. “There has been a lot of discussion and widespread speculation regarding the permissible levels in post-processing of image files in the contest,” Michiel Munneke, World Press Photo’s managing director. “We have evaluated the contest rules and protocols and examined how to create more transparency, and we have changed the procedures for examining the files during the judging.”

He continues: “We will announce further details when the 2014 Photo Contest opens for entries later this year, but the bottom line is that we will need to be able to rely on the integrity and professionalism of the participating photographers.”

The contest will be calling for entries in December with a 15 January 2014 deadline. The winners will be selected by a jury chaired by VII Photo’s co-founder Gary Knight.

“The World Press Photo contest evolves every year as it seeks to adapt to the rapid changes in the media landscape,” says Knight in a press statement. “The very definition of what constitutes the press or what is a photograph has transformed since the Award was instituted. World Press Photo takes its role as the world’s most prestigious and multi-genre global photojournalism award very seriously and, as I look forward to chairing the jury again, there are new categories and a more diverse demographic of jurors to adapt to this changing topography.”

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