robertogreco + photojournalism   31

Homelands Productions
"Homelands Productions is an independent, nonprofit journalism cooperative. Our work brings the voices of ordinary people to tens of millions of listeners, viewers, readers, students, and teachers around the world.

Since our founding in 1989, we have reported from more than 60 countries, produced nine special series for public radio and television, and won 22 national and international awards.

We work in radio, video, photography, print, and on online platforms. We also teach, speak, write books, consult, and serve as fiscal sponsor for projects that move us."
documentary  journalism  media  nonprofit  ruxandraguidi  bearguerra  radio  video  srg  photography  photojournalism  nonprofits 
september 2018 by robertogreco
The (In)Visible Project
"Objective
The (In)Visible Project is a multimedia installation that presents an intimate and dignified human portrait of San Diego’s homeless population. Through timeless photographic portraiture and first-person stories, it offers residents and visitors the opportunity to challenge their perceptions of those living on our city’s streets. This project confronts the stigma surrounding homelessness, raises awareness about the realities facing San Diego’s homeless population, and provides a space for our community to come together to learn, discuss, and take action to address the issue.

Context
There are now almost ten thousand men, women, and children in our community who carry on with their lives hidden in plain sight. We often pass by – or look away from – our homeless neighbors because we feel there’s little we can do to help.

The number of people living on San Diego’s streets is rising. Families continue to be impacted by the ongoing economic crisis, losing jobs and homes. Veterans are returning from the wars in Iraq and Afghanistan without the support they need, and many of them are ending up on the street.

For social, economic, and humanitarian reasons, we must explore new ways of addressing homelessness before it reaches epidemic proportions in our community. Many of those on the streets seek refuge on sidewalks, in doorways, in parks, and underneath highway overpasses throughout the city – in wealthy neighborhoods and poor ones alike. It is a reality that concerns us all.

We believe that challenging public perceptions about homelessness is the first step to finding real and lasting solutions to the bleak reality faced by far too many people in our city. (In)Visible reveals the faces of the individuals and families we often fail to see, and shares the stories of those we fail to hear.

For installation description, please visit the Exhibit page."
sandiego  homeless  bearguerra  photography  homelessness  photojournalism 
september 2018 by robertogreco
Roberto (Bear) Guerra
[See also: https://www.instagram.com/bearguerra/ ]

"Bear Guerra is a photographer whose work explores the human impact of globalization, development, and social and environmental justice issues in communities typically underrepresented in the media.

In addition to editorial assignments, he is consistently working on long-term projects, and collaborates with non-profit organizations working for social justice and on environmental issues. His photo essays and images have been published and exhibited widely, both in the United States and abroad.

He was a Ted Scripps Fellow in Environmental Journalism for the 2013-2014 academic year at the University of Colorado - Boulder; a 2014 Mongabay Special Reporting Initiative Fellow; as well as a 2014 International Reporting Project Health and Development Reporting Fellow. In 2012, he was chosen as a Blue Earth Alliance project photographer for his ongoing project "La Carretera: Life Along Peru's Interoceanic Highway". Other recognitions have included being selected for publication in American Photography (2005, 2015, 2016) and Latin American Fotografía (2014, 2016, 2017); an honorable mention in the 2012 Photocrati Fund competition for the same project; he was a finalist for a National Magazine Award in Photojournalism (2010).

Bear was the photographer and creative director for the (In)Visible Project - a mobile, multimedia installation that offers a human portrait of homelessness in San Diego, as well as a lead instructor at the AjA Project - a participatory photography program that works with refugee youth in San Diego.

A native of San Antonio, TX, Bear is currently based in Los Angeles, CA, USA where he lives with his wife and collaborator, journalist Ruxandra Guidi, and their daughter. Guidi and Guerra often work together under the name Fonografia Collective to produce local and international print, radio, and multimedia stories about human rights and social justice. Bear is also a board member and producer with the award-winning non-profit journalism collaborative, Homelands Productions.

During 2016-2017, Bear (and Ruxandra) completed a year-long, multi-platform collaboration with Los Angeles' KCRW public radio station. Going Gray in LA: Stories of Aging Along Broadway. The project was funded by the Eisner Foundation, and is an intimate look at the lives of elders as they confront the challenges of aging in the big city. The exhibition continues to travel throughout the Los Angeles area.



For more information, a CV, or other inquiries, please contact Bear directly.

Editorial clients/publications: The New York Times, Wall Street Journal, Bloomberg BusinessWeek, Le Monde, Time.com, The Atlantic, Orion Magazine, The Boston Globe Magazine, Virginia Quarterly Review, OnEarth, Pro Publica, National Public Radio, PRI's The World, High Country News, Latino USA, California Watch, Texas Monthly, Mongabay, Blankspot, Earth Island Journal, The Epoch Times, Intercontinental Cry, O Magazine, Glamour, Ms. Magazine, NACLA Magazine, Yes! Magazine, World Vision Report, SEED Magazine, The Sun, The Walrus, Guernica, Shots, OmVarlden.

Nonprofit/NGO clients & other collaborators: International Rescue Committee, Doctors Without Borders, Lambi Fund of Haiti, Children's Environmental Health Institute, Community Water Center, Environmental Water Caucus, Collective Roots, Other Worlds Are Possible, Immigration Justice Project/American Bar Association, Fundacion Nueva Cultura del Agua (Spain), Chinatown Community for Equitable Development, St. Barnabas Senior Services, Jumpstart, Global Oneness Project, Quiet Pictures.

Grants/Support: National Endowment for the Arts, the Eisner Foundation, the Society of Environmental Journalists, the Puffin Foundation, the Pulitzer Center for Crisis Reporting, Mongabay Special Reporting Initiative, the International Reporting Project, Christensen Fund/Project Word."
bearguerra  photography  fonografiacollective  srg  photojournalism 
september 2018 by robertogreco
Fonografia Collective
[via: https://clockshop.org/project/south-of-fletcher-fonografia-collective/ ]

"Fonografia Collective believes in empathetic and culturally-sensitive documentary storytelling about everyday people around the world. We find and craft compelling stories about human rights, politics, the environment, and social issues (or any combination thereof) and share them with the general public using radio, oral histories, photography, the printed word, multimedia, public installations, gatherings and events.

Since 2005, we've been working together to advance our vision of a more inclusive and diverse approach to nonfiction storytelling, focusing on communities across the U.S. and Latin America that are often underrepresented or misunderstood by the mainstream media or the public. As consultants with a variety of institutions, nonprofits, and individuals, we strive to do the same. We also run Story Tellers, a social media platform connecting storytellers from around the world to gigs, funding, collaboration opportunities, and to one another.

We are producers and board members of Homelands Productions, a 25 year-old independent documentary journalism cooperative. Until Spring 2017, we collaborated with public radio station KCRW on a year-long multimedia storytelling series about aging called "Going Gray in LA." At present, we are developing a storytelling project about the Bowtie in conjunction with Clockshop, an arts organization in Los Angeles, and California State Parks.

*******

Bios

Ruxandra Guidi has been telling nonfiction stories for almost two decades. Her reporting for public radio, magazines, and various multimedia and multidisciplinary outlets has taken her throughout the United States, the Caribbean, South and Central America, as well as Mexico and the U.S.-Mexico border region.

After earning a Master’s degree in journalism from U.C. Berkeley in 2002, she assisted independent producers The Kitchen Sisters; then worked as a reporter, editor, and producer for NPR's Latino USA, the BBC daily news program, The World, the CPB-funded Fronteras Desk in San Diego-Tijuana, and KPCC Public Radio's Immigration and Emerging Communities beat in Los Angeles. She's also worked extensively throughout South America, having been a freelance foreign correspondent based in Bolivia (2007-2009) and in Ecuador (2014-2016). Currently, she is the president of the board of Homelands Productions, a journalism nonprofit cooperative founded in 1989. She is a contributing editor for the 48 year-old nonprofit magazine High Country News, and she also consults regularly as a writer, editor, translator and teacher for a variety of clients in the U.S. and Latin America. In 2018, she was awarded the Susan Tifft Fellowship for women in documentary and journalism by the Center for Documentary Studies at Duke University.

Throughout her career, Guidi has collaborated extensively and across different media to produce in-depth magazine features, essays, and radio documentaries for the BBC World Service, BBC Mundo, The World, National Public Radio, Marketplace, Canadian Broadcasting Corporation, Orion Magazine, The Walrus Magazine, Guernica Magazine, The Christian Science Monitor, National Geographic NewsWatch, The New York Times, The Guardian, Virginia Quarterly Review, and The Atlantic, among others. She’s a native of Caracas, Venezuela.

*

Bear Guerra is a photographer whose work explores the human impact of globalization, development, and social and environmental justice issues in communities typically underrepresented in the media.

In addition to editorial assignments, he is consistently working on long-term projects, and collaborates with media, non-profit, and arts organizations, as well as other insititutions. His photo essays and images have been published and exhibited widely, both in the United States and abroad.

He was a Ted Scripps Fellow in Environmental Journalism for the 2013-2014 academic year at the University of Colorado - Boulder; a 2014 Mongabay Special Reporting Initiative Fellow; as well as a 2014 International Reporting Project Health and Development Reporting Fellow. In 2012, he was chosen as a Blue Earth Alliance project photographer for his ongoing project "La Carretera: Life Along Peru's Interoceanic Highway". Other recognitions have included being selected for publication in American Photography (2005, 2015, 2016) and Latin American Fotografía (2014, 2016, 2017); an honorable mention in the 2012 Photocrati Fund competition for the same project. Bear has also been a finalist for a National Magazine Award in Photojournalism (2010).

A native of San Antonio, TX, Bear is currently based in Los Angeles.

For more information, a CV, or to order exhibition quality prints please contact Bear directly.

Editorial clients/publications (partial list): The New York Times, The Wall Street Journal, Bloomberg BusinessWeek, Le Monde, The Atlantic, Orion Magazine, The Boston Globe Magazine, Virginia Quarterly Review, OnEarth, ProPublica, National Public Radio, BBC's The World, California Watch, High Country News, Quiet Pictures, Texas Monthly, Time.com, Earth Island Journal, O Magazine, Glamour, Ms. Magazine, NACLA Magazine, Yes! Magazine, SEED Magazine, The Sun, The Walrus, Guernica, and others.

Nonprofit/NGO clients & other collaborators: International Rescue Committee, Doctors Without Borders, Lambi Fund of Haiti, Children's Environmental Health Institute, Community Water Center, Environmental Water Caucus, Collective Roots, Other Worlds Are Possible, Immigration Justice Project/American Bar Association, Fundacion Nueva Cultura del Agua (Spain), Chinatown Community for Equitable Development, St. Barnabas Senior Services, Jumpstart, Global Oneness Project, Quiet Pictures."
bearguerra  ruxandraguidi  radio  photography  audio  storytelling  everyday  documentary  humanrights  politics  environment  society  socialissues  print  multimedia  oralhistory  art  installation  gatherings  events  inclusion  inclusivity  diversity  nonfiction  latinamerica  us  media  losangeles  kcrw  fronterasdesk  sandiego  tijuana  kpcc  globalization  sanantonio  fonografiacollective  srg  photojournalism 
september 2018 by robertogreco
South of Fletcher Podcast – Clockshop
"This podcast explores the past, present and potential of the Bowtie parcel. Once one of Southern California’s most important rail yards, this site will soon become the next urban California State Park, joining a patchwork of other river-adjacent green spaces that are shaping the course of LA River revitalization. Through personal interviews with people who have worked, lived and otherwise made their marks at this post-industrial site, Fonografia Collective explores some of LA’s biggest challenges, and speculates about what change at this site might mean for the rest of the city.

Subscribe to Clockshop’s iTunes channel to automatically receive new episodes when they become available.

Written and co-produced by Ruxandra Guidi
Edited by Ibby Caputo
Music by Luis Guerra"

[See also: https://clockshop.org/project/bowtie-aa/south-of-fletcher/

South of Fletcher: Stories from the Bowtie
Fonografia Collective, 2018

South of Fletcher: Stories from the Bowtie is a multi-platform storytelling project by Fonografia Collective, produced by Clockshop.

Once one of Southern California’s most important rail yards, the Bowtie is now an open site overlooking a lush stretch of the Glendale Narrows, where plants sprout up from building remains, and migratory birds glide gently across the nearby river’s surface. California State Parks purchased this plot of land in 2003, and Clockshop has been producing programming at the site since 2014. But outside of these official uses, the Bowtie has a life, and a dedicated following, of its own.

Ruxandra Guidi and Bear Guerra of Fonografia Collective have been working at the Bowtie for the past year, talking to people who frequent the site, and learning more about its historic, present day, and potential uses. Through their research, they’ve uncovered that some of Los Angeles’s biggest issues — the housing crisis, lack of open space, effects of climate change, and forces of urban development — come to a head at this unique piece of land next to the LA River. South of Fletcher: Stories from the Bowtie will present their findings through a podcast series, three public discussions, and a photography exhibition.

In partnership with Oxy Arts, major themes from this project will be woven into Occidental College’s CORE Program for incoming freshmen, complementing the South of Fletcher photo exhibition that will take place at Occidental’s Weingart Gallery September 13 – November 4.

Our biweekly South of Fletcher podcast launches September 10."]
ruxandrguidi  bearguerra  losangeles  podcasts  fonografiacollective  2018  losangelesriver  lariver  bowtie  clockshop  photography  srg  photojournalism 
september 2018 by robertogreco
Tomas Munita - Photographer
"Tomás Munita (Chile, 1975) is an independent documentary photographer
with a main interest on social and environmental issues."
photography  photojournalism  chile  tomásmunita 
november 2016 by robertogreco
Dying to Tell the Story - YouTube
"This documentary studies the motivations of journalists dedicated enough to risk their lives for a story. Follow narrator Amy Eldon on a personal journey to find meaning in the death of her older brother, 22-year-old Reuters photographer and the inspiration for our organization Dan Eldon."

[See also: http://journeysinfilm.org/films/dying-to-tell-the-story/

"Dying to Tell the Story is about a journalist, Dan Eldon, a 22-year-old photographer who was killed in Somalia in 1993. Born in London and raised largely in Kenya, he cared passionately about travel and visited 46 countries during his all-too-short lifetime. He was an activist who, even as a teenager, ran fundraisers for charities that were important to him, including raising money to pay for a needed heart operation for a friend. He joined his mother on her travels as a journalist and took photographs to accompany her stories from the age of twelve. He was deeply engaged in art as well, creating journal after journal filled with his photographs, drawings, and selected bits of text. Dan went to Somalia in 1992 and took powerful photographs of the famine and war in that country. Called by Somalis in 1993 to witness the deaths of 70 people as a result of a U.S. raid, Dan and four other journalists went to the site, where they were attacked by outraged Somalis; four of the journalists including Dan were killed and only one wounded reporter escaped.

Dan’s sister Amy, in trying to understand both his life and his death, traveled to Somalia and other places he had visited, and she interviewed journalists and photographers like Martin Bell and Christiane Amanpour who were taking the same kind of risks that he had. The film that resulted, Dying to Tell the Story, not only gives the viewer a portrait of this extraordinary young man, but also explains why journalists’ coverage of international conflicts is so crucial that reporters would risk their lives to do it.

To learn more about Dan Eldon, visit the website www.daneldon.org. You can learn about his biography, see pages from his journals, and find out about Dan’s legacy that inspires activists and artists today. You may also want to visit http://www.creativevisions.org, the website of the Creative Visions Foundation that carries on his work."]
daneldon  photojournalism  amyeldon  1998  creativevisions  martinbell  christianeamanpour  documentary  film  photography  journalism  conflict  somalia 
july 2016 by robertogreco
To The City And People of San Francisco — SF Homeless Project
[project pages: http://www.sfgate.com/homeless/
https://sfhomelessproject.com/young-homeless-san-francisco-5f9d450e4fc2#.tgqs2hleu
http://www.motherjones.com/politics/2016/06/san-francisco-homeless-project-mother-jones
https://twitter.com/bayareahomeless
https://www.facebook.com/sfhomelessproject ]

"To The City And People of San Francisco:

Like you, we are frustrated, confused and dismayed by the seemingly intractable problem of homelessness in our city. Like you, we want answers — and change.

We see the misery around us — the 6,600 or more people who live on the streets of San Francisco — and we sense it is worsening. We feel for the people who live in doorways and under freeways, and for the countless others who teeter on the edge of eviction. We empathize with the EMTs, the nurses and doctors, the social workers and the police. They are on the front lines of this ongoing human catastrophe.

Numerous noble, well-intentioned efforts by both public and private entities have surfaced over the decades, yet the problem persists. It is a situation that would disgrace the government of any city. But in the technological and progressive capital of the nation, it is unconscionable.

So beginning today, more than 70 media organizations are taking the unprecedented step of working together to focus attention on this crucial issue.

We will pool our resources — reporting, data analysis, photojournalism, video, websites — and starting Wednesday, June 29, will publish, broadcast and share a series of stories across all of our outlets. We intend to explore possible solutions, their costs and viability.

Though this is a united effort, we do not claim to speak with one voice. There are many lenses through which the issue of homelessness can be viewed. However, we do not intend to let a desire for the perfect solution become the enemy of the good. We want to inspire and incite each other as much as we want to prod city and civic leaders.

Fundamentally, we are driven by the desire to stop calling what we see on our streets the new normal. Frustration and resignation are not a healthy psyche for a city.

Our aim is to provide you with the necessary information and potential options to put San Francisco on a better path. Then it will be up to all of us — citizens, activists, public and private agencies, politicians — to work together to get there.

Signed,

The SF Homeless Project"
sanfrancisco  2016  homeless  homelessness  photojournalism  dataanalysis 
june 2016 by robertogreco
Against Neutrality - The New York Times
"The camera is an instrument of transformation. It can make what it sees more beautiful, more gruesome, milder, darker, all the while insisting on the plain reality of its depiction. This is what Brecht meant in 1931 when he wrote, “The camera is just as capable of lying as the typewriter.” What then are we to do with this devious tool? One option is to resist the depiction of violence, to side with the reader who protests an unpleasant photograph and defends the bounds of good taste. But another — and to me, better — option is to understand that the problem is not one of too many unsettling images but of too few. When the tragedy or suffering of only certain people in certain places is made visible, the boundaries of good taste are not really transgressed at all. ‘‘We all have strength enough to bear the misfortunes of others,’’ La Rochefoucauld wrote. What is hard is being vividly immersed in our own pain. We ought to see what actually happens to American bodies in situations of war or mass violence, whether at the moment they happen, as Broomberg and Chanarin show us, or in the wake of the violence, as presented in van Agtmael’s book. We must not turn away from what that kind of suffering looks like when visited on ‘‘us.’’ Photojournalism relating to war, prejudice, hatred and violence pursues a blinkered neutrality at the expense of real fairness. All too often in our media, the words take us all the way there, but the photographs, habituated to a certain safety, hold back."
art  culture  ethics  photography  journalism  tejucole  2016  photojournalism 
january 2016 by robertogreco
Life After Death : NPR
“The world is starting to forget about Ebola. The village of Barkedu can’t.”



"At first glance, things were looking up. The weekly market had just reopened.

The health clinic, too.

Hunters were heading back into the forest. This hunter said he still avoids monkeys and bats, animals that are considered reservoirs for Ebola.

Large gatherings were safe again. Life seemed as if it were returning to normal.

But the more we talked to people, the more we realized the story wasn’t that simple. Ebola caused trauma and disruption that will stay with Barkedu for a long time to come.

We talked to farmers who can’t feed their families. Students who have missed school. A doctor who was nearly run out of town. And the woman who was left to care for many of the village’s Ebola orphans."
ebola  africa  libera  sierraleon  guinea  2015  death  disease  trauma  aftermath  storytelling  photojournalism  multimedia  barkeu  loss  photography 
february 2015 by robertogreco
In Photos: The Epidemic of Military Sexual Assault - Esquire
"Some 26,000 women are sexually assaulted in the military every year. Photojournalist Mary Calvert documented some of their stories."
us  military  gender  violence  assault  2014  marycalvert  photography  photojournalism  abuse  sexualassault  via:maxfenton 
august 2014 by robertogreco
In praise of the terrible live stream — The Message — Medium
"Still images — and here I’m thinking particularly of the work of great photojournalists — can be a lot of things: honest, striking, darkly beautiful. They can act as primary documents — evidence — and they can also become symbols: powerful shorthand in communication and argumentation.

However, there’s one thing they can’t provide.

Photojournalists compose. They crop. Most crucially, they select. From a pile of hundreds of images, sometimes thousands, they choose one or two. Why? Because they convey something essential about a scene, certainly — but also because they are striking and/or darkly beautiful. Photojournalists choose the images that will please their employers and impress their peers. This is totally normal. It’s what professionals do.

But precisely because they are so carefully composed, so stingily selected, these images do not — cannot — convey the real lived experience of a scene.

Maybe someday in the far future, there will exist a device that can override your senses and put you, convincingly, in another place, with all its sights and sounds and smells, free to follow your own gaze. Maybe someday before that, we’ll have a kind of 3D telepresence delivered through VR goggles.

Until then, this is our telepresence, and it’s a precious thing.

The terrible live stream is precious because, of all the formats available to us now, it selects least. It resists the narrative compression of “news.” It shows a scene that, for all its intensity, is mostly slow-moving and confusing. It forces us to sit through the in-between minutes that an editor would cut. The live stream, uniquely among formats, is free to be muddled and boring, with no clear storyline and no assurance that This Is All Going Somewhere.

Just like life."

[See also (via CaseyGollan):
"In Defense of the Poor Image"
http://www.e-flux.com/journal/in-defense-of-the-poor-image/ ]
2014  robinsloan  livestreams  livestreaming  presence  multisensory  journalism  filtering  communication  photography  video  photojournalism  ferguson 
august 2014 by robertogreco
Urbes Mutantes: Latin American Photography 1944–2013 | International Center of Photography
"Urbes Mutantes: Latin American Photography 1944–2013 is a major survey of photographic movements in Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Venezuela. Taking the "mutant," morphing, and occasionally chaotic Latin American city as its focus, the exhibition draws particularly on street photography's depictions of the city during decades of political and social upheaval. It is divided into sections that explore public space as a platform for protest, popular street culture, the public face of poverty, and other characteristics of the city as described in photographs. Dispensing with arbitrary distinctions between genres of photography—art photography, photojournalism, documentary—Urbes Mutantes points to the depth and richness of the extensive photographic history of the region.

Drawn from the collection of Leticia and Stanislas Poniatowski, the exhibition was first shown at the Museo de Arte del Banco de la República in Bogota in 2013. It was co-curated by Alexis Fabry and María Wills, and is accompanied by a bilingual catalogue published by Toluca Editions."

[See also:
http://www.theguardian.com/artanddesign/2014/may/20/urbes-mutantes-latin-american-photography-review
http://www.latimes.com/entertainment/arts/miranda/la-et-cam-urbes-mutantes-photo-exhibition-story-of-latin-american-cities-20140718-column.html
and http://online.wsj.com/news/articles/SB10001424052702303409004579563922780642490 ]
photography  via:tejucole  latinamerica  argentina  brazil  brasil  chile  colombia  cuba  exico  perú  venezuela  streetculture  art  photojournalism  documentary  protest  streetphotography 
june 2014 by robertogreco
Hidden World of South Sudan: An Interview with Photojournalist Camille Lepage
"PetaPixel: First Camille, when did you become interested in photography, and what most inspired you about it?

Camille Lepage: I’ve always enjoyed taking pictures, but never thought about taking it to a professional level until 2011, as I was traveling around different countries for my journalism degree. I had my camera with me, and probably took more care of taking well composed pictures to go with the stories I was covering than the actual writing. Then, a few months later as I was in my last year of University, I got to think about what I really wanted to do, and realized that photography took the biggest part of my heart.

I decided to go for it and give myself five years to see if I could become good at it, and make a living out of it. What fascinates me about photography is its universal language. Unlike other media, anyone can understand a picture, feel it, it speaks to the viewers. I probably say that as I’m a photographer but I feel that picture you love lives in you, you can think about it and they get you where the photographer was, which is amazing.

PP: Soon after finishing school, you left home to photograph in South Sudan. Tell us about this decision: What drove you to go to South Sudan? Why not someplace else?

CL: Since I was very little, I’ve always wanted to go and live in a place where no one else wants to go, and cover in-depth conflict related stories. I followed thoroughly the independence process of South Sudan and was shocked by the little coverage it got… plus all the pessimism around it really annoyed me.

Then, while doing research, I discovered the conflict in the Nuba Mountains. I became even more outraged by the fact that, except from a few media, no one talked about it. It became an obvious choice, I had to go and report from there. Yet, as a first experience in Africa, it seemed like a dangerous one. So I was trying to find alternatives.

I thought about moving to Uganda and going back and forth between the two countries. Then I realized I could probably get a job in a local paper and start within a structure instead of throwing myself out there with no contact, no portfolio and above all very little experience. So that’s what I did.

PP: You have described yourself as being most interested in “forgotten” people and causes, to whom no one pays attention. What makes these types of subjects so important to you?

CL: Throughout my journalism degree at Southampton Solent University in the UK, we studied a lot of journalism’s ethics. I became very keen on the duty of a journalist to tell stories and make them accessible to a broad audience.

I also realized what the media agenda was, and how so many serious stories were missing from the headlines simply because they don’t fit within that agenda, or the advertising company’s interests. I can’t accept that people’s tragedies are silenced simply because no one can make money out of them. I decided to do it myself, and bring some light to them no matter what.

PP: The images you’ve made there so far are consistently engaging, both in compositional style and through the sheer intimacy you portray. Talk briefly about your photographic goals in this country, what do you want your viewers to take away from your pictures?

CL: I want the viewers to feel what the people are going through, I’d like them to empathize with them as human beings, rather than seeing them as another bunch of Africans suffering from war somewhere in this dark continent. I wish they think “why on earth are those people in living hell, why don’t we know about it and why is no one doing anything?” I would like the viewers to be ashamed of their government for knowing about it without doing anything to make it end.

The killings of civilians in the Nuba, Blue Nile and Darfur have been going on for 30 years, and yet all the governments are still turning a blind eye on them. I don’t understand what makes it okay for Omar Al-Bashir to kill thousands of innocent people with no one saying anything!



PP: Your Vanishing Youth series takes a look at a group of young men who are both killers, and victims of their circumstances. Tell us more about the story here, and about the challenges in photographing such an emotionally charged story.

CL: The series was shot in two parts. The first part was shot in a hospital in Bor. At first I remember that I was taking pictures like those young men were patients suffering from diseases. At some point I stood back and realized that they were all killers, but they all looked so weaken, almost fragile below their strong and warrior-looking bodies, it didn’t make sense. I decided to continue shooting at the hospital for 5 more days. I was hoping to get them to take me along to follow their story longer but it didn’t happen.

The second part was shot in Yuai, when the rest of the youth who hadn’t been wounded came back to their village. Again, it was mixed feelings: happy to be home, shocked and weaken by the war, and sad to have lost some of their brothers.

I’m trying to show how they don’t have a choice, and how at such a young ages, they’re already ravaged by violence. They don’t have any way to escape, they can’t go to school as there is none because of the war. Their only option is to go and fight to protect their cattle, it’s important to understand that they really don’t have a choice, they must go and fight. It’s sad because behind their scary looks and heavy guns, they’re nice guys…

PP: I’m very interested in how close you seem to your subjects. What were the challenges of gaining the trust of the people and groups you photographed? How did you come to be accepted as not only a foreigner but as a photographer as well?

CL: The fact that I live in South Sudan for a while really helps. I live in a local house in local neighborhood, with no electricity and little comfort, so I don’t see myself as being very different from them. At first it was challenging to gain the trust to take pictures anywhere. South Sudanese aren’t very keen on being photographed; at the beginning people would shout at me or be even violent sometimes.

Now I don’t struggle anymore, I think I’ve learned the codes: it’s important to be polite, make jokes, feel the physical distance you should have and, above all, accept when they don’t want to be photographed.

After living so many years at war, South Sudanese and Sudanese can read into someone’s eyes very quickly and clearly. I’m convinced by what I’m doing, so perhaps that’s why they feel that they can trust me.

PP: What lessons have you taken away from your experiences in South Sudan to this point? What personal experiences have been sticking with you?

CL: Since I’ve moved to South Sudan, I’ve probably changed a lot as a person, become more mature I suppose and more aware of and open to others. The whole moving to South Sudan is an experience by itself, I’ve realized that we don’t need much to live or be happy, simplicity is often more than enough. One important thing is to keep an open heart towards others and what I might not understand — I’m not one to judge, and the best I can do is to learn from each other’s differences. Differences are what makes each of us unique and fascinating.

PP: Talk about the joys of your career as a photojournalist. What about the pitfalls?

CL: Not sure I can talk about my ‘career’ just yet, I’m still just getting started! I find it amazing to be able to travel probably to some of the most remote areas, meet wonderful people everywhere and being able to document them.

I also like seeing people respond to my pictures. I had my first exhibition in September, and the curators Les Tisseurs d’Images organized a conference where some people from Sudan congratulated me afterwards. One of them was so moved that tears were rolling on his cheeks while holding my hands thanking me for my work and saying it showed exactly how it is there. So I started sobbing too, happy that he appreciated it, but sad that the situation hasn’t changed since he left Sudan years ago…

What’s truly frustrating is that the media is indeed not interested! I was secretly hoping to make things change, but quickly realized it’s going to take longer than I thought. I sincerely hope that once the stories are complete, it would be easier to get them out, if not through media, through books, or perhaps exhibitions."
2013  camillelepage  photography  communication  photojournalism  journalism  interviews  sudan  centralafricanrepublic  storytelling  africa 
may 2014 by robertogreco
Narratively: Local stories, courageously told.
"Narratively is a platform devoted to original, true and in-depth stories. We launched in New York in September 2012 and began our expansion to additional cities in February 2013.

Narratively slows down the news cycle. We don’t care about the breaking news or the next big headline; we’re devoted exclusively to sharing a city’s untold stories—the rich, intricate narratives that get at the heart of what a place is all about.

Each week, we explore a different theme and publish a series of stories—just one a day—told in the most appropriate medium for each piece. We might feature a longform article on a Monday, followed by an animated documentary on Tuesday, then a photo essay, an audio piece or a short documentary film. Every story gets the space and time it needs to have an impact—an approach we like to call “slow storytelling” or “slow journalism.”

We also have a platform for shorter content, fittingly called Narratively Shorts. There, you’ll find original short stories and series, essays written by you and others in our community, and you’ll get behind the scenes through interviews with our contributors and subjects. Additionally, we’ll post observations and reflections on the state of media and storytelling.

Our writers, editors, photographers, artists, designers and filmmakers have worked regularly for top media outlets like the New York Times, New York magazine, CNN, NPR, MediaStorm, the New Yorker and the BBC, among other innovative and experimental publications. And we’ve subsequently gotten press from leading outlets like Forbes, PBS, Yahoo! Finance and others."
culture  journalism  nyc  storytelling  narratively  local  photojournalism  photoessays  documentary  slowjournalism  slow  slowstorytelling  news 
march 2013 by robertogreco
Emphas.is
"On Emphas.is photojournalists pitch their projects directly to the public. By agreeing to back a story, for a minimum contribution of $10, you are making sure that the issues you care about receive the in-depth coverage they deserve. In exchange you are invited along on the journey.

NEW: The Emphas.is Book Collection

In 2012 we are taking the Emphas.is concept one step further by introducing Emphas.is Books. You can now help make a photography book project see the light simply by pre-ordering a copy. Your copy will be a signed and numbered collector's edition accompanied by a print."
film  documentaries  books  emphas.is  crowdsourcing  funding  photojournalism  photography  journalism  crowdfunding  from delicious
april 2012 by robertogreco
Warco: An FPS Where You Hold a Camera Instead of a Gun | GameLife | Wired.com
"Warco is a first-person game where players shoot footage instead of a gun. A work in progress at Brisbane, Australia-based studio Defiant Development, the game is a collaboration of sorts; Defiant is working with both a journalist and a filmmaker to create a game that puts you in the role of a journalist embedded in a warzone. Ars spoke with Defiant’s Morgan Jaffit to learn more about this political game disguised as an FPS…

“It’s also about navigating through a morally gray world and making decisions that have human impact,” he explained. “It’s about finding the story you want to tell, as each of our environments is filled with different story elements you can film and combine in your own ways. It’s both a storytelling engine and an action adventure with a new perspective.”"
warco  videogames  photojournalism  journalism  fps  defiantdevelopment  war  storytelling  2011  grayarea  from delicious
september 2011 by robertogreco
Newseum's Photos | Facebook
"One of the most famous photographs from the Battle of Gettysburg is also the most controversial.The photographer moved the body for a better composition. In the Newseum's Ethics Center we ask "Should he have moved the body?" What do you think?"
ethics  photography  photojournalism  journalism  medialiteracy  classideas  storytelling  history  us  civilwar  gettysburg  newseum  from delicious
july 2011 by robertogreco
Diary (2010) on Vimeo
"'Diary' is a highly personal and experimental film that expresses the subjective experience of my work, and was made as an attempt to locate myself after ten years of reporting. It's a kaleidoscope of images that link our western reality to the seemingly distant worlds we see in the media."
timhetherington  2010  video  history  war  africa  experimental  film  journalism  photography  photojournalism  experience  storytelling  classideas  westafrica  sierraleone  liberia  nigeria  restrepo  afghanistan  libya  from delicious
april 2011 by robertogreco
Flavorwire » Daily Dose Pick: Where Children Sleep
"Photographer James Mollison’s Where Children Sleep documents the personal spaces of kids around the world, from the middle-class and prosperous to the strikingly impoverished.

Over the course of four years, Mollison captured more than a hundred images of children and their bedrooms, with support from independent organization Save the Children. Born in Kenya and raised in England, the artist lives and works in Italy, with his own multicultural upbringing inspiring this moving collection of photos spanning countries as diverse as Senegal, Lesotho, Nepal, China, India, Brazil, and the United States.

Visit the Mollison’s website, read a review of Where Children Sleep, learn more about Save the Children, and buy a copy of the book."
children  culture  photography  photojournalism  world  international  poverty  wealth  comparison  from delicious
november 2010 by robertogreco
The Inauguration of President Barack Obama - The Big Picture - Boston.com
"Yesterday was a historic day. On January 20th, 2009, Barack H. Obama was sworn in as the 44th President of the United States of America - the first African-American ever to hold the office of U.S. Commander-in-Chief. The event was witnessed by well over one million attendees in chilly Washington D.C., and by many millions more through coverage on television and the Internet. Collected here are photographs of the event, the participants, and some of the witnesses around the world."
inauguration  2009  barackobama  bigpicture  photography  photojournalism  us  politics  history 
january 2009 by robertogreco
The next President of the United States - The Big Picture - Boston.com
"In a vote of historic proportions yesterday, Senator Barack Obama became President-Elect of the United States of America with a 52% majority in the popular vote, and more than 349 electoral votes. Over two years of campaigning was resolved with a record voter turnout, as the Republican candidate John McCain conceded graciously at 11:20 pm eastern last night. With such a high level of interest and attention, there have been millions of words written and photographs taken of the candidates over the past year. Here is a collection of some of the best photos of President-Elect Barack Obama over the past several months."
barackobama  photography  photojournalism  bigpicture  2008  us  history  elections  politics 
november 2008 by robertogreco
Yubari: Ghost town [Monocle]
"Japanese coal city that lost 90 per cent of its residents after its mines closed and the city councillors went on a disastrous spending spree."
architecture  cities  culture  economics  energy  photojournalism  history  japan 
april 2008 by robertogreco
Noisy Decent Graphics: Do all the best creative organisations end with an M?
"necessary staff would exist to support not direct...structured around partners, each runs autonomous team...no managers, strategists, account people...not a formal organisation at all - barely even a movement, just partly-shared sensibilities"
photography  photojournalism  journalism  design  architecture  magnum  pentagram  archigram  management  administration  leadership  creativity  danhill  process  organizations  lcproject  structure  schooldesign  gamechanging  collaborative  collaboration  hierarchy  psychology  strategy  team 
february 2008 by robertogreco

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