Copyright © 2005, all rights reserved by the photographers

Transcription

All the contents are explained in the
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If you received an email from World
Press Photo telling you about this
edition of Enter, it is either because you
have been connected with the seminar
program in the past or you registered to
receive the email in edition one.
Land, Andrei Liankevich
Welcome to the second edition
of Enter, the online magazine of
World Press Photo’s Educational
Departmental for participants
and organizations involved in
the foundation's seminar
programs.
First of all, many thanks to all of you
who provided feedback after the
publication three months ago of edition
one.
Almost all the reaction was extremely
positive and we have done our best to
implement some of the suggestions you
made for improving Enter. Please let us
know what you think of edition two as
well. It is your magazine, after all.
And please do take advantage of some of
the interactive features in Enter.
Ask The Expert, for instance, gives you a
chance to pick the brains of some of the
leading professionals in
photojournalism so do send us a
question, and a suggestion of who might
answer it, to the email address on the
Ask The Expert main page.
Talking Point is meant to be just that. So
let us know if you agree with one of
today's leading documentary
photographers, Sebastião Salgado, who
is featured in this issue. Is, as he
suggests, the Environment one of the
most important – or perhaps the most
important – subject for a
photojournalist these days? And if you
don’t agree, then let us know why.
One of the aims of Enter is to encourage
dialogue between photojournalists so
that experiences and opinions can be
shared between professionals many
thousands of miles apart.
You do not need to register again. You
will automatically receive another email
telling you when the next edition
appears in a few months.
If you do not wish to receive that email,
please visit the Register page and then
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using the link there.
If you did not receive an email about
Enter or were recommended to come
here by a friend, you will need to register
to be alerted when each new edition of
the magazine appears. Visit the Register
page and submit your details.
And please do tell your friends, or
anyone else you think might be
interested, about Enter. Just click Tell a
friend and follow the instructions.
If you are connected to the internet
using dial-up, you may have arrived
directly at this index page, skipping the
cover which is a full-page image and
takes some time to unload. You may
wish not to click the Cover button on the
left-hand menu in future and so avoid a
wait for download. You are missing no
important information by doing so.
Visitors using a broadband connection
should be able to download the cover
without problem.
Galleries
showcase work by
photographers who’ve been
part of World Press Photo’s
educational programs. The
theme is The Elements.
Picture Power
shows how one photographer’s
work helped improve conditions
for war veterans in Bangladesh.
But the fight isn’t over.
Ask The Experts
is a chance for photographers
to put a question to an expert of
their choice. Let us have
questions for future editions
too.
Close Up
looks at a role model for young
photographers starting out on
their careers. In this issue Eduardo Masferre.
Talking Point
hears from Sebastião Salgado
why photographing unspoilt
areas of the environment is
taking up eight years of his life.
Masterclass
is where a photojournalist who
has taken part in a World Press
Photo Joop Swart Masterclass
talks about life and work – in
this issue, Nadia Benchallal
Growing Together
discovers how World Press
Photo partner organisations
promote professional standards
in the developing world.
Cool Kit
highlights some of the newest
photo equipment on the
market. In this issue – digital
image tanks.
Register
is where people new to Enter
can sign up to be told about
future editions
Credits and Thanks
For issue two of Enter, we asked
former World Press Photo
seminar participants to offer us
galleries of images with a theme –
The Elements. They depict Air,
Water, Land and Fire, though not
in all cases literally.
Air was chosen by thirty-four-year-old
Jordan Simeonov, who lives in the
Bulgarian capital Sofia and has been a staff
photographer for a daily newspaper there
since 1996.
A World Press Photo seminar attendee
four years ago, he decided to photograph
former pilots from the Bulgarian air force
who had, at some time in their careers,
bailed out of their aircraft. It is said that in
the past the Bulgarian was the only air
force in the world in which pilots bailed
out so that colleagues could use the
abandoned planes as target practice –
though this did not happen to any of the
men featured.
Freelance photographer Rana Chakraborty
from Calcutta wanted to highlight claims
that pharmaceutical companies in India
pollute water resources with effluent and
waste.
Karén Mirzoyan took Fire as his theme.
The 23-year-old has lived in Yerevan,
Armenia for the last 11 years, presently
working for armenianow.com magazine.
Karén attended a World Press Photo
seminar in 2004 and his gallery features
portraits of people who, sometime in their
lives, have seriously contemplated or
actually attempted suicide. What he
wanted to show was the “fire of life” that
was rekindled in this group, some of
whom had gone to successful careers and
lives.
Issue three of Enter is due to be published
at the end of January 2006 and the
galleries then will be on the theme of
Festivities.
It happens to be just after Christmas and
New Year (in fact, we shall be publishing
in the same week as the first day of the
Chinese New Year 2006) but
photographers should by no means
confine themselves to those. Any festivities
qualify.
If you have been a seminar attendee and
would like to submit a gallery for
consideration, please click here and
email Claudia.
His wide-ranging career includes work for
India-Today, The Times of India, The
Economic Times, The Associate Press and
BBC News Online. He visited Medok, the
neighboring district to Hyderabad, where
local people have been engaged in a fight
to prove that pharmaceutical companies
there have been poisoning water and
causing widespread health problems. His
gallery on the theme of Water tells their
story.
Andrei Liankevich focused on one of the
minority communities in Armenia - the
Yezids – for his gallery on the theme of
Land.
Twenty-four-year-old Andrei, from Minsk,
Belarus, says the Yezids have been
engaged in highland cattle breeding for
centuries and have always led a nomadic
life, governed by the rhythm of the
seasons. He photographed them during a
crucial period in the migration cycle when
the Yezids move their cattle up the slopes
of Mount Ara and prepare for a stay of five
to six months in the mountains.
The Supreme Court of India ordered companies
to produce pollution reports and certificates,
translated into the local language and supplied
to the community. On 11th April 2005, a public
hearing ordered by the court started its
proceedings - set up to hear the complaints of
local people. Some villagers from Gandugudam
arrived with samples they said were of polluted
water and soil to show the authorities. But they
weren’t allowed to do so.
Many people, says freelance
photographer Rana Chakraborty,
recall the disaster in 1984 at
Bhopal, the capital of India’s
Madhya Pradesh state, when a
Union Carbide plant leaked tons of
the toxic gas Methyl Isocyanate.
Three thousand people were reported
killed almost immedialy and estimates of
those injured rose to more than half a
million. Less known, says Rana, is the
current fight of local people in Medok
(also known at Medak), north of
Hyderabad, the state capital of Andhra
Pradesh. Once famous for more than 20
huge natural lakes the area is now
infamous for water pollution, say the
people who live there.
They claim that the large pharmaceutical
companies in the area – it is known as the
“pharma capital” of India – are poisoning
the water resources with their waste.
“Health studies done by some
international NGOs, like Greenpeace, and
some local NGOs suggest the area is a hub
of toxic poisoning,” says Rana from
Calcutta, whose wide-ranging career
includes work for national and
international newspapers, magazines and
web sites and documentary film.
Medok, the neighboring district of Hyedrabad
the state capital of Andhra Pradesh, was full of
water resources even a few years back. There
were more than twenty natural lakes like this –
Gandi Cheru lake. The majority of dwellers
here are farmers, shepherds & fishermen. All
are completely dependent on this water, for
their life and livelihood.
Local people say they were not allowed to put
their case to the public hearing on pollution and
were held back by officers of the Andhra
Pradesh Police.
Toxic waste from pharmaceutical producers
affects the ground water. The bore well serving
nearby villages is visible with a warning in
local the Telegu language: "This water is not
usable for drinking or for any physical use of
human or animal."
“Cancer in the area increased in 20 years.
Cases of miscarriages are a common event.
Some girls cannot find marriage partners
because the locality is known for sterile
women,” continues Rana.
In April this year, Rana visited a public
hearing in the village of Jinnaram being
held on the direction of India’s Supreme
Court to allow local people to put their
case. The images he took there and in the
surrounding area make up his gallery on
the theme of water. “But the hearing was a
farce,” says Rana, as villagers tried
unsuccessfully to present what they said
were samples of polluted soil and water
from the area.
Vithal Reddy, an activist of the Patancheru
anti-pollution committee, is showing the now
dangerously toxic Nakkavagu stream, into
which pharmaceutical waste has been dumped.
The material seeps through the soil to poison
the ground water and make once-fertile
agricultural land useless. Gandigudam, Medak
district, Andhra Pradesh.
Mangali Mallaiah of Sultanpur, is a barber by
profession. He says that he used to cross the
Gandigudam lake to get to neighbouring
villages to work but chemicals polluting the
lake caused wounds on his leg. Sultanpur,
Medak district, Andhra Pradesh.
Rana says a local farmer Syed Akbartold
him: “I have five acres of land. It is
impossible to produce even grass at my
land, due to toxic poisoning. I have to go
other villages and cities for work.I lost
everything and thus I am not afraid of
anything - not even the government or the
police, in raising my voice against these
industries”.
Sankapally Kavita, a 13-year-old girl from
Pocharam village, is. say the locals, a victim of
industrial pollution. There are many such cases
of mentally-retarded children in villages
around the industrial estates making
pharmaceuticals, adjoining Hyderabad. The
local people argue that only a full scale medical
and public health investigation can reveal the
extent of damage done by pollution which they
believe has poisoned the lives of thousands of
villagers and killed many others. Pocharam,
Medok district, Andhra Pradesh
A farming family from Gandigudam village
says the pharmaceutical companies are
responsible for dying tomato plants. They
planted different varieties of vegetables and
grain in their land, hoping that at least one
would survive. But, everything that grows on
the lands adjoining Hyderabad has a slow,
certain death. Gandigudam, Medak district,
Andhra Pradesh.
Syed Akbar is a young village dweller whose
eight acres of land beside the Khajapally Lake
has, he says, been turned into a toxic wasteland
by pharmaceutical poisoning. He points out
what he says are tell-tale signs of white toxic
residue on the dry lake-bed. Khajapally, Medak
district, Andhra Pradesh.
Of her portfolio of images of
Jordan Simeonov was fascinated
by the men who, as pilots in the
Bulgarian Air Force, had to bail
out of their aircraft in
emergencies. His gallery, showing
some of them, is on the theme of
Air.
“The pilots are interesting because they
have experience of dangerous situations,”
says Jordan, a thirty-four-year-old staff
photographer for a daily newspaper in the
Bulgarian capital Sofia and a WPPh
seminar attendee four years ago.
“They are ready to pay with their lives.
Not everybody has this courage.”
“This is an extremely dangerous and risky
procedure. The overloading when the seat
is launched means the pilot goes out at
very high speed - he is 20 times his own
weight - and there is the very real
possibility of technical failure,” continues
Jordan.
In the subsequent investigation Angel decided
to blame himself. Later on he had a successful
career as a military pilot and then graduated in
medicine and worked in civil aviation.
During a training flight, bombs hanging on the
wings of Hristo Petrinski’s plane exploded
prematurely. With the cockpit on fire, he
decided that the then cold war had suddenly
turned hot.
Launched out of the aircraft, his parachute got
stuck to his seat and he thought he was going to
die. Happily, he managed to fix the problem.
However, then Hristo saw another burning
plane in a dive, which further convinced him
the third world war had begun. In fact, a
colleague's aircraft had suffered the same fate
because of exploding bombs. After landing
himself Hristo made a tragic discovery - his
friend’s dead body.
Petko Karamitev bailed out even before
becoming a pilot. As a cadet he flew with his
instructor in "sparka” - a special training
aircraft with two seats for the pilots, one
behind the other.
In an emergency, the senior officer ordered
him several times to bail out but Petko did not
manage it. Petko survived but his instructor
died, trying to save his cadet.
Petko’s feelings at the time are unknown but he
subsequently overcame them to qualify as pilot.
The accident made him very careful in his
subsequent career.
“It is an experience on the verge of life and
death and a lot of pilots are injured or die."
Dinyo Petkov’s plane went into a spin and his
attempts to stop rotation of the aircraft had no
effect. He continued trying until the very last
moment and then bailed out, very close to the
ground.
He landed close to his burning plane. According
to Dinyo, most pilots get blamed in the case of
bail out and usually their commanding officers
do not believe that the best option had been
chosen. Now Dinyo Petkov sells tomatoes in the
market place.
" Some of those who have gone through
this ordeal refuse to repeat it, even when
given the order to do so”. Jordan has not
yet finished his portfolio of pilots and
when he has, he intends to publish it as a
book.
Stefan Sinev stopped flying after being injured
bailing out. He would hang his watch up on
board his aircraft and refer to it rather than the
timepiece in the panel of the plane.
After the accident which followed his bail-out,
investigators found the watch intact but it had
stopped at the moment of the crash. It was
returned to him.
Many of the pilots who have bailed out keep
some little part of the plane as a souvenir.
Angel Kibarski bailed out when he was a young
pilot. Performing a figure called drill, when the
aircraft is rotating around its axis, Angel could
not pull out and – with the aircraft falling at
very high speed - it was not clear whether he
had done something wrong or there had been a
technical failure.
Karanfil Stamenkov shows a picture of himself
and his brothers – all of them pilots. Karanfil
has turned his house into an aviation museum.
He never bailed out.
Georgi Stoyanov says his catapult didn’t work
so he managed to leave his MiG 19 aircraft
without using the special mechanism.
Everybody claims this is impossible.
Zdravko Velichkov says that when he was 15years-old, his mother passed away. It was her
face he saw as he bailed out.
Tatevik Yeganyan from Yerevan in Armenia,
attempted suicide on her eighteenth birthday in
June 2003, in Spain.
Karén Mirzoyan chose to
photograph people in Armenia,
where he lives, who had seriously
considered or unsuccessfully
attempted suicide.
He noticed that within his subjects, a fire
had been rekindled when they failed to kill
themselves.
“Something or someone prevented them
from committing suicide at the last
moment. These are people who have been
very close to death by their own hand,”
says Karen, who currently works for the
armenianow.com online magazine in
Armenia after four years as a
photojournalist with a number of
publications in the country.
Now twenty, Tatevik had been having
problems with her adopted parents, which is
why she was sent to Spain. When her mother
failed to ring her on her birthday, Tatevik
considered throwing herself out of a window on
the second floor. However, imagining herself
after the suicide lying on the ground she
changed her mind. Tatevik thought relations
with her parents would change when she
returned home but they didn’t.
Tatevik did make an unsuccessful attempt by
cutting her veins after her return to Armenia
hoping, she says, to draw her parents’ attention
to her and the treatment she was receiving
from her mother.
Twenty four-tear-old Christian Silvestrov
attempted suicide as a teenager. He was having
family problems. When he was four, his father
was sent to prison. His mother was a drug
addict and he always had problems
communicating with her. Christian frequently
ran away from home in his early teens. Then
his mother died when he was fourteen, living
him alone in the world.
A year or two after – he can’t remember when
exactly - Christian decided to throw himself out
of a tall building. But he became frightened and
changed his mind. Eventually, he became
interested in electronic music and recently
traveled from St. Petersburg, where is a now a
DJ, to Yerevan to be shot for the cover of his
first CD.
He has also exhibited in Armenia and
undertaken a number of photographic
projects. Karen lives in Yerevan and
attended a World Press Photo seminar
there in 2004.
“The subject is very topical in Armenia
where the number of suicides grows,” he
continues. During 2004, three hundred
and fifty five people took their own lives.
During the first four months of 2005
another 131 people are dead.”
“But these are just statistics. I am very
interested about the thoughts a person has
during his or her last seconds, what makes
them take the step.”
The people who agreed to be
photographed do not show the faces they
had at the time of their unsuccessful
attempts, says Karen. Indeed, many of
them now laughingly look back on a
difficult period of their life.
Vika Harutyunyan, from Yerevan, Armenia,
attempted suicide when she was 14 during a
period when she was in constant conflict with
her parents. She swallowed several packages of
various medicines of which there was an
abundance at home. Her parents are doctors.
Vika became afraid as she swallowed the drugs
and told her brother, who took her to hospital.
After she recovered and next day left the
hospital, her life changed. She says the reason
is that her parents never spoke about the
attempt, which positively influenced Vika’s
relations with them. Vika has finished school
and is taking admission exams.
Davit Khanjyan – Dave - attempted suicide in
the winter of 2002. He swallowed medicine
used to treat insomnia. Beforehand, he had
asked a friend to give him a stronger variety of
the medicine but, when the friend failed to do
so, Dave swallowed what he had.
Although he knew the tabs were not strong
enough, he still hoped they would affect him.
Despite falling deeply asleep, he woke up when
he heard someone entering his home. Eighteenyear-old Dave, who was born in Beirut, said he
had been having difficulty in communicating
with young people in Armenia after he moved
in there in 2001. Being alone, he developed an
inferiority complex. His life has changed
dramatically since. Dave now is a DJ at one of
the most popular disco clubs in Yerevan.
Twenty-five year old Garni Tovmasyan
attempted to kill himself in 1999. Serving with
the Iranian army, he was sent to deal with a
street protest even though he agreed with the
protesters and what they were demonstrating
about.
Faced with this dilemma, Garni decided to
commit suicide a week later but was discovered
at the last moment by a military commander, a
G-3 gun to his head. Garni was put into
isolation for a period but later returned to
service, though without the right to hold a
weapon.
Narek Kozmoyan – Tantal – attempted suicide
at 15.
Now 19, he drank Potassium Hydroxide (KOH),
mixed with coffee. He went to sleep but was
surprised when he woke up in the morning.
Tantal, from Yerevan in Armenia, says that
after being told from early childhood by his
parents and others that he was unique in
everything, he later discovered that other
people also had talents no less than his own
and he became disappointed in himself.
At present he works as a programmer.
He recovered when he learnt that a friend,
Mustafa, had also attempted suicide – this time
successfully.
Garni now lives in Yerevan and, at the time the
photograph was taken, was planning to open a
small café in the center of the city.
Twenty five-year-old Samvel Yavaryan – Sam
– made his suicide attempt in the summer of
1997 in Sochi, Russia.
He swallowed 15 tabs of the medicine Cyclodol.
Someone called Yu Puzikova found him at the
worst moment of the drug’s effect and helped
him survive.
Twenty six-year-old Gegham Avetisyan – Greg
– attempted suicide in summer 2000. He
swallowed a package of the medicine Dimidrol,
mixed with alcohol.
Sam is a dedicated fan of a music group and
was influenced by the fact that its leader,
named Yanka, died at the beginning of the 90s
as a result of suicide.
The next morning he found himself in a field
with Molokans (members of an ethnic Russian
minority in Armenia). He says the reasons for
the attempt were unhappy love and the
discrimination against sexual minorities in
Armenia. Greg is moving to Saint Petersburg in
search of a better life.
Sam now works as a graphic designer and is
engaged in extreme sports.
A wolfhound sleeps near a tent with a sheep’s
pen in the background in Shepherd’s Camp (4
km. away from Michim Shamiram, Armenia).
Shepherds drive a flock of sheep to Mount Ara
with Mount Ararat in the background (about
40 km from Yerevan, Armenia).
Yezidis men inspect a soviet navy car on the
way to Shepherd’s camp on Mount Ara
(Michim Shamiram, Armenia).
Women carry buckets with water on yokes
from a stream in Shepherd’s camp on Mount
Ara (about 40 km from Yerevan, Armenia).
Andrei Liankevich from Minsk in
Belarus said that for his theme of
Land he was attracted to
photographing the Yezids, one of
the minority communities in
Armenia, because they are a
closed and isolated society with
their own special traditions.
“The Yezids worship the sun and their
most important deity created the world
while looking at the beauty of a peacock,”
says Andrei, who attended a World Press
Photo seminar at the Caucasus Media
Institute in Armenia. “There are three
castes and the roles of men and women are
strictly defined”
“For instance, a bride in Yezid society
cannot talk to the oldest man in her
husband’s family or eat in his presence
before the marriage. Then, the groom
throws an apple at the bride's head and the
more pieces it splits into, the better.”
Andrei, who graduated in economics but
has worked as a photographer for leading
Belarusian newspapers, photographed the
nomadic Yezids, who’ve been highland
cattle breeders since anyone can
remember, during the most crucial period
in their migration cycle.
Yezidis women celebrate New Year at a
cemetery (Zevyni, 7 km from Yerevan,
Armenia).
Shepherd tends a flock of sheep on Mounting
Ara (about 40 km from Yerevan, Armenia).
A month before they move their cattle up
the slopes of Mount Ara the shepherds and
their families prepare themselves for a
stay of between five and six months in the
mountains.
Chinar and Rustam tend flocks of sheep near a
stream (Michim Shamiram, Armenia).
Moving up to the meadows of Mount Ara
takes one or two days. Then they shift
their camp every couple of weeks, grazing
and living on mountain slopes at up to
three thousand meters.
Finally, the camp will arrive in to Alpine
meadows where a large variety of herbs
and plants will be available for the herds.
Gulia Ozmanajan sews up a tent in the
shepherd’s camp on Mount Ara (about 40 km
from Yerevan, Armenia).
Nodar Alijan jumps over dung blocks, which
are used as fuel for fires in the absence of wood.
Mijin Shamiram, Armenia.
Although he was very small at the
time, Abir Abdullah remembers
vividly when his father was taken
away in the middle of the night
during Bangladesh’s war of
independence.
As Abir was to learn later, his father was
lined up with two others to be shot by a
Pakistani army firing squad.
“The first two persons were gunned down
and my father was praying to God and
counting his time. But suddenly the army
people opened his eyes and told him that
they wouldn’t kill him because he was a
doctor and did good service to the sick
people.”
Abir says his father had been protesting
about killings and rape by the Pakistani
army. “After three months of beatings and
torture, my father was eventually freed at
the war’s end,” he remembers.
Not surprisingly, although now grown up
and a successful photo-journalist in
Bangladesh, Abir Abdullah’s thoughts
have rarely been far from the war in 1971.
And he wondered how the veterans of that
war were being treated in their home
country.
Thirty-four-year-old Abir, who has won
many awards for photography and is the
Bangladesh representative of the
European Press Photo Agency, hoped his
images would help end what he sees as the
terrible state in which these men exist.
“What I have seen personally is that, as a
result, some of the freedom fighters have
been given better shelter and the
Government has increased the monthly
honorium (money). I certainly believe that
my exhibition created impact with officials
and the general public,” says Abir, who
was one of the first participants in a World
Press Photo Seminar in Bangladesh and
completed a three year project supported
by the organization.
“But I am far from satisfied. I can see
some positive changes over the last three
or four years but it needs a long time to
change the whole situation. We have, after
all, been independent 34 years.”
Still, only a minority of the war veterans
receive sufficient financial support from
the government, says Abir, and outside the
capital many have homes which are not fit
to live in.
Fareed Mian is carried to his wheel chair by his
wife. Everyday he relies on his wife when he
wants to move. His ultimate sadness is when
someone calls his son "langrar cheley" or "son
of a limp".
Which is why he says he will continue to
campaign – through the power of pictures
– to help those still alive.
What he discovered shocked him.
“During the nine months of war in 1971,
after which Bangladesh separated from
Pakistan, many people lost their lives.
Thousands of soldiers and civilians lost
arms and legs. The injured and disabled
freedom fighters have still not been
properly rehabilitated. They are ignored by
the nation at large and hidden away from
mainstream society, their lives stretching
ahead — friendless, jobless, and lonely.”
Shaheed Ali, shot in the leg during battle, now
uses a special shoe for walking.
After what he says was much official
indifference and hostility, Abir finally
managed to start visiting the wounded
from the war, some of whom pass their
time at a rest house near College Gate at
Mohammadpur in the capital Dhaka.
The images Abir captured there went to
make up an exhibition in 2000 which was
widely visited and covered by the media in
Bangladesh.
Mogai was a driver during the war and used to
carry the wounded to safety. One day, his
vehicle turned upside down during a raid by
the Pakistani army. Both his legs were lost
from the waist down. Now most of his time is
spent on his wheel chair or lying in bed.
Madhu roams around in his trusted wheelchair
during the day but spends sleepless nights.
A freedom fighter in a wheel chair smokes
while another prays during lunch time at the
centre where they spend their time.
Manik, who lost his vision and a hand
unloading mines, is pictured with his daughters
in the corridor of his house.
A freedom fighter arrives in Dhaka from
Pirojpur for treatment after becoming
paralyzed. He receives three hundred taka
(approx. 5.45 US$) per month from the local
government office.
Mondol and his wife Lata share moments
together. Both are heavily affected by the
aftermath of war. Mondol is paralyzed after
being shot in the head, abdomen and legs. Lata
was pregnant when he went to war and gave
birth to a dead child afterwards.
Abu Sufian, both his legs lost in the war, sits in
a bus and looks on as his wheel chair is loaded
on the roof.
Each issue, Enter offers a chance
for aspiring photojournalists to
put a question to someone who is
a leader in the field.
There is no substitute, it is said, for
experience and our experts are only too
pleased to pass on some of theirs to people
just starting out on their careers.
Michael Machellah, who has recently been
taking part in a World Press Photo
seminar in Tanzania, wants to know how
best to identify himself when he first
travels to a conflict zone.
He puts the question to Alexandra Boulat,
co-founder of the VII photo agency, whose
news and features stories can be seen in
various international magazines including
the National Geographic and Paris-Match.
Ng Swanti, who comes from Indonesia, is
wondering how best to sell her pictures
and would like to know what advantages
there are in signing up with an agency.
Working in conflict zones tests the courage
of any photojournalist. But lack of
experience can be the most dangerous
aspect of any assignment. Michael
Machellah wants to know how to cut down
the risks but properly identifying himself
as a journalist. Alexandra Boulat tells him
how.
So – you’re capturing excellent images.
But how do you sell them to all those
picture editors who’ve never heard of you.
Ng Swanti asks is it worth joining an
agency? Panos Pictures boss Adrian Evans
provides the answer.
The answer is provided by Adrian Evans,
Director of Panos Pictures.
Aware just how easy it is to change digital
images in Photoshop, Sriyantha Walpola, a
former World Press Photo seminar
attendee from Sri Lanka, asks just how
much photo manipulation is permissible
and are there any leading publications
which ban it altogether?
Just how many changes can you make in
your image in Photoshop and is the whole
process frowned upon by picture editors?
The question is posed by Sriyantha
Walpola and a picture editor-in-chief Per
Folkver comes up with the answer.
The answer is provided by Per Folkver,
picture editor-in-chief of the Danish
newspaper Politiken.
Would you like to put a question to an
expert? Just email your question, and the
person you'd like to answer it (we'll do our
best) by clicking here and emailing us.
Michael Machellah has recently been
taking part in a World Press Photo
seminar in Tanzania and is itching
to start using his newly acquired
skills.
But he's aware that his lack of experience
in conflict zones, where he will
undoubtedly one day be heading, could be
very dangerous.
The best way to try and make sure you are
safe used to be to identify yourself as a
journalist or representative of the Press.
But times are changing.
Michael asks: “How do conflict
photographers identify themselves in a
complicated war situation? Just how do
you make clear you are a journalist?”.
Alexandra Boulat, co-founder of the VII
photo agency who has worked in some of
the world's hottest spots over recent years,
provides the answer.
Alexandra Boulat says:
Usually in a war
zone, if you need to
identify yourself, you
would stick a board
on your car
windshield with a
big "TV" sign on it,
even if you are not actually from
television. It is something everyone
understands.
Or you can use tape and write "TV" on the
car's windshield and the car's side doors.
In addition, you may want to write, using
white or yellow tape, another "TV" sign on
your flack jacket and your helmet.
Do wear any ID or accreditation cards
around your neck.
And if there are police or army around,
make sure to let them know that you are
Press.
These days things are more dangerous
than they used to be since journalists are
becoming targets so just make sure what
kind of danger you are facing.
Find out about the war you are covering.
For example, I wouldn't suggest you
identify yourself as a journalist if you
travel to Baghdad...... but you may if you
travel across Palestine.
Good luck ! Alexandra
Link:
Agency VII
Once you have started capturing
images of sufficient quality and
relevance, the question always
arises - how do you sell them?
Setting up a professional-looking website
with an attractive gallery can draw
attention to your work.
But there are hundreds of such sites on the
internet and unless you have already made
a name for yourself, the going can be
tough.
Ng Swanti from Indonesia, who attended a
World Press Photo workshop in 2002,
wants to know what the advantages are of
joining a photo agency.
What is the relationship between
photographer and agency, apart from
business?
What is the position if a photographer
wants to join more than one agency? And
what are both parties' rights and
obligations?
Adrian Evans, Director of Panos Pictures
offers his advice.
The bottom line is that you always retain
copyright of your images.
Adrian Evans says:
The arrival of the
internet promised a
world in which every
photographer could
be their own agent,
where everyone could market their own
photography. Like so many technological
advances the reality was very different.
The photo agent remains as important
today as before the onset of the digital age
and in many ways it has strengthened the
position of agencies.
Don’t sign up for a longer period of time
than you feel happy with. A year is
reasonable but five years would tie you
into a relationship that you might well no
longer want to be in. Look for the greatest
flexibility in the relationship. It is more
than a business partnership.
Your agency should support you in
exhibiting your work and help you develop
long term projects which benefit both the
agency and the photographer.
Perhaps the greatest thing an agency can
offer is distribution. The agency should be
aiming to raise your profile by making
your photographs available to the widest
possible audience.
Buyers of photography are much more
likely to use an agency than approach an
individual photographer. They can access
the work of many different photographers
in one place. Added to this you will see a
significant rise in the revenue you make
from single image sales.
Selling stock is very difficult for a
photographer to manage on their own,
whereas a well managed online agency
archive can deliver a regular income.
Previously, agencies represented
photographers exclusively across the
globe, but this model is changing.
Photographers questioned about why they
should give their work to an agency who
then uses sub-agents in other countries to
distribute the work.
Every time a photograph was sold by the
sub agent the photographer only received
30 or 35% of the original sale. Both the
agent and the subagent were taking a
percentage of the sale. In order to
overcome this many photographers now
look for an agency in each country.
What this effectively means is that there is
now no standard model. At Panos the
arrangements with have with our
photographers range from global
exclusivity to representation only in the
UK and USA. Your rights depend on the
deal you make with the agent.
There’s always been photo
manipulation. It is just that with
film, it was often a long and
laborious process and frequently
difficult to disguise.
Per says:
So, can we believe what we see? The
camera may never lie but the computeroperator certainly can.
In Photoshop - today’s darkroom – the
options for image
editing are virtually
unlimited. It has
become easier to
alter the original
appearance of the
digital image and to
move elements
around. The cleverest can do it without it
being noticed, and the less clever get fired.
Sriyantha Walpola, a former World Press
Photo seminar attendee from Sri Lanka,
asks just how much photo manipulation is
permissible and are there any leading
publications which ban it altogether?
At my newspaper we often discuss where
to draw the line. Our basic rule is simple because it is easy to grasp: It is forbidden
to remove or to add any element in one’s
picture.
The answer is provided by Per Folkver,
picture editor-in-chief of the Danish
newspaper Politiken.
We are not the only ones enforcing this
rule. Many media outlets around the world
also adhere to it. Because, although a
photograph does not represent the naked
truth – a photo is always a subjective
statement – the rule makes sense, as it
guarantees some degree of authenticity
and credibility.
Today, retouching digital images – and
film photos once they have been digitized
– is almost child’s play with a bit of
experience in programs like Photoshop.
disappearing in the dark may cause the
viewer to misinterpret the photo.
On the other hand, emphasizing certain
elements in the photo may enhance the
story inherent in the picture.
Many photographs undergo far too much
image editing in Photoshop. Sometimes I
wish that photographers would get hold of
an analogue camera, put a slide film in,
and shoot some pictures. That would
remind them of the essence of light and of
the necessity of shadows.
Link:
Politiken
We can then say: “You can interpret the
photograph however you wish, but we can
guarantee that the event depicted by the
photographer actually took place”.
If photojournalism and documentary
photography are to survive as means of
telling stories, credibility is vital. Because
just about all of the remaining
photographic genres are subject to almost
unlimited manipulation. One could even
be tempted to add that much of modern
photography is merely an advanced way of
lying.
But how much image treatment can then
be considered acceptable? I think that a
good rule of thumb is that you can do the
equivalent to what can be done in the
analogue darkroom. However, the
boundaries are blurred, and there are both
ethical and aesthetic considerations.
There is no content without form.
Nevertheless, it is paramount that the
form supplements and supports the
photo’s content. Excessive burning
resulting, for instance, in a person nearly
It is ten years since Eduardo
Masferre, described as the "father
of Philippine photography", died
at the age of eighty-six. His is an
extraordinary story of a selfmotivated documentary
practitioner who left a unique
history of his people. An
appreciation for Enter by Alex
Baluyut.
At the heart of Luzon, the largest island in
the Philippine archipelago, lies the
cordillera mountain range.
It is a majestic and sprawling range of high
peaks and lowland forests.
A good seven-hour drive from Manila will
place you in “a very special place on God’s
Earth,” as a fellow traveler once remarked.
One can only imagine the hardship
involved in undertaking an expedition into
these mountains in the early years of the
Spanish rule in the Philippines. We must
appreciate the endeavors of the people
who lived and died in these mountains.
And if one was to become a photographer
operating in the very core of the Cordillera
mountain range one had to be a truly
remarkable person. Which Eduardo
Masferre, Master documentary
photographer was. Remarkable.
As a young man Masferre discovered for
himself the magic of photography.
Learning, as most Filipinos later would,
through trial and error. With a box camera
ordered through a magazine mail order
catalog.
The work of Eduardo Masferre would have
gone unnoticed by the public if it had not
been for another Filipino photographer,
Atanacio” Butch” Baluyut - a portrait
photographer based in Manila and owner
of a small photo gallery there, the CX2
gallery based in Ermita.
In the late 1970’s Butch walked into
Masferre's photo studio in Bontok with the
intention of looking for potential
exhibitions to be mounted in Manila.
Baluyut believed that photo studios in
remote towns must be a haven for great
documentary work. And how right he was.
The Exhibition was organized and
launched in 1982 at the CX2 gallery. And
the rest as they say is Philippine
Photographic history.
There were several succeeding exhibitions,
a book was published of his work and the
whole world fell in love with the work of
Eduardo Masferre.
Respected elder Lakay Kabayo, wearing his
Buaya (ceremonial necklace) with boar, dog
and crocodile teeth in woven rattan. Sagada,
Mountain Province 1950.
Links:
Masferre profile
Biography of Atanacio” Butch”
Baluyut Culturebase.net
Seydou Keïta:
Seydou Keita
Africa Database
Elsewhere in Enter:
What is African photography?
Investigating a camera, Butbut Tinglayan,
Kalinga 1948.
Masferre, with undying passion, sought
the beauty of the Cordilleras and its people
as his lifelong documentary project.
For close to five decades Masferre
continued his documentation of the
Cordilleras and its people. Capturing
rituals, faces and landscapes which
through time would slowly disappear with
the advent of modernization.
His photographs have endured the test of
time, becoming our only link to a history
pure in its heritage.
The woman wears an Ilocano hat and uses a
basket to collect molluscs. Sagada, Mountain
Province 1934.
Rice Terraces near Bontok. Malegkong,
Mountain Province 1949.
The whole community enjoys cane milling time.
Alab, Mountain Province 1952.
People from one Ato prepare the soil, singing
and dancing in their fields. Guinaang, Bontok,
Mountain Province. 1954.
A young woman smoking a cigar. Buscalan
Tinglayan, Kalinga 1952
Dancing. Sagada, Mountain Province. 1949.
While waiting for another photograph
Masferre turned and took a candid picture of
this man, who then agreed to pose for this
portrait. 1953.
Sebastião Salgado is currently
engaged in a project which will
take a full eight years to complete.
Universally regarded as one of the
world’s finest photographers, he is
convinced the subject chosen for
this huge commitment - the future
of the environment - is among the
most important challenges facing
humanity.
“What we do to our environment is as
important as what we do with our health,
our employment, our economics,” the 61year-old Paris-based Salgado told Enter.
For what he calls The Genesis project, the
man who worked as an economist at the
World Bank until he discovered
photography in the early 1970s is seeking
out some of the ever-decreasing number of
places on earth untouched by modern
humanity.
So far he and his cameras have been to the
Galapagos Islands, several parts of Africa
and South America and Antarctica.
“For all the damage already caused to the
environment, a world of purity, even
innocence, can still be found in these
wilderness areas”, said Salgado at the start
of the project. “I now intend to explore this
world to record the unblemished faces of
nature and humanity”.
Eighteen months on, he says photography
has an important part to play in raising
awareness about the environment but it
cannot change things alone.
“Photography contributes to a much larger
flow of information. I work as part of a
bigger movement which includes many
organizations such as the UN
Environmental Program. It is this which
can improve the situation, not the
photography alone”.
Renowned, among many other things, for
two big photographic projects about
workers and mass-migration, both of
which became successful books and
traveling exhibitions, Salgado turned his
attention to the environment during a visit
to his native Brazil, where he saw the
damage to Indian homelands caused by
deforestation and mining.
“I shoot globally and I want to show
globally,” he says. “My photographs give
the person who does not have the
opportunity to go to places the chance to
do so and have a look”.
Although he is considered to be one of the
masters of photographic concept and
composition, he says the photographs in
themselves are not the most important
part of his work. What matters most, he
insists, is the journalism. For anyone
considering following in his footsteps,
Salgado says preparation is vital, as is
flexibility.
“You don’t have to be a specialist in animal
photography to take shots of animals nor a
specialist in landscape to take landscapes.
Become aware of the environmental issues
by reading the increasing amount of
coverage there is about them in the Press
and magazines and you will come up with
many nice stories to shoot. Then move
from one subject to another. Remember,
it’s not the individual photographs which
count. For a photojournalist, it’s telling the
story.”
“As humans, we consider we are an
advanced species. But it is important to
recognize we are part of the planet, part of
a global system. We must be prepared and
aware”.
Sea lions at Puerto Egas in James Bay,
Santiago Island, The Galapagos, Ecuador,
2004.
Marine iguana with a masked booby at Punta
Suarez, on Española Island, The Galapagos,
Ecuador. 2004.
For the technically-minded, Salgado
shoots only on film, in black and white.
And it will continue that way, he says.
“There is no digital black and white, I
don’t work on a computer or manage a
digital archive. The technology is not the
point,” he adds, returning to a familiar
theme, “what is important is the story”.
Do you agree with Sebastião Salgado about
the importance of photographing the
disappeaeing elements of the
environment? If you do - or you don't - let
us know. Click here and email us.
Links:
AmazonasImages
Giant tortoises on the edge of the crater of
Alcedo Volcano, on Isabela Island, The
Galapagos, Ecuador. 2004
Mountain gorilla. Guhonda, silverback leader
of the Sabyinyo group in the bamboo forest.
Virunga Park, Mt. Sabyinyo, Rwanda. 2004
Mountain gorilla. Rwanda. 2004.
Lava flow. Volcanic eruption of Mt.
Nyamulagira, The Democratic Republic of
Congo. May 2004.
In each issue of Enter, we put a set
of identical questions to people
who have gone on to make their
names in photojournalism after
attending a World Press Photo
Joop Swart Masterclass, named
after the late magazine editor and
honorary chairman of World
Press Photo.
These five-day events, introduced in 1994
to encourage and train young
photographers, are normally held every
November so that a dozen young
practitioners from all over the world can
meet and learn from some of the world’s
top professionals
Our subject for issue two is Nadia
Benchallal who was born in Orthez,
France, 42 years ago. Among her awards
are a Visa d'Or from Perpignan in 1994, a
Mother Jones Grant and a W. Eugene
Smith Fellowship in 1997.
She was also the recipient of a "European
Eyes of Japan" grant, with which she
documented a small town in the Japanese
heartland in 2001 (see below). Based in
Paris, she’s been involved for 13 years in a
long-term project recording the role and
influence of women in areas of war and
civil strife in the Muslim world.
Nadia, how did you get started in
photography and what was your biggest
break?
I started out as an assistant in New York
doing advertising and fashion. But I
wanted to do documentary photography
so, after a couple of years, with the money
I had made as an assistant I went to
Algeria to try and capture on film how
women lived in that country. My parents
are Algerian and came to France in the
1950s. I was born in France and had been
to Algeria as a child but when I went
back, it was very difficult to work there at
that time (1992-1995) as a photographer.
Some journalists and intellectuals had
been killed by Islamists in the country so
it was also very dangerous. There was a
great deal of demand for images from
Algeria because so few visas were being
granted and the pictures I took were used
widely in France, Italy, Spain, New York
and elsewhere and won prizes.
That was my big break, if you like, after
which I started being represented by
Contact Press Images, to which I have
now been affiliated for 11 years.
What qualities does a top photojournalist
need?
You need many qualities. Perseverance,
passion and curiosity are all important.
You have to be aware of what is going on
around you in the world sociologically
and politically.
What is your most memorable
assignment?
When I was invited to Japan in 2000 for
a project called European Eyes on Japan.
I simply loved the country. It was a
discovery of an unknown territory. I was
fascinated by the contrast and paradox of
a very traditional way of life, led
particularly by women, in what otherwise
is such a modern, high-tech country. I
worked in Tagasaki, Gunma prefecture,
one hundred kilometers northwest of
Tokyo, almost at the center of the
archipelago. The images were shown in
an exhibition there.
Are you – or will you ever be – fully
digital?
I do some digital photography for
magazines, who now increasingly ask for
it because it is quicker and cheaper and
their budgets are not what they used to
be. But for personal work I still prefer
film and shoot in black and white. I don’t
know whether I’ll ever be fully digital. I
doubt it as far as my personal work is
concerned. Still, I am very interested in
all the digital developments which are
very exciting. Who knows how far
technology will get?
Which of the pictures you selected is your
personal favorite and why?
It is a shot I took in June last year in
Northern Malaysia. I was on a beach and
suddenly a storm got up. The clouds
gathered very fast and became dark. I
was worried about getting wet through
but then I saw a young couple under an
umbrella, walking along the beach. It is
such a simple but intense picture. It is full
of contrasts.
Next to whom would you like to sit in an
airplane going where?
Anyone. I love to talk and like talking to
anyone. You have a chat with people on a
plane and then depart at the other end. It
is a very brief relationship. It can be very
interesting. I am always curious.
What ambitions do you have left?
To continue with my current project in
which, through photography, I would like
to reveal what it is like for women in
Islam. I have been doing this now for
more than 10 years and am involved at
the moment in Islam in Asia. It is
particularly important at the moment
that non-Muslims try to understand
Islam – that there are, of course,
extremists but everyone must understand
there are many more who are nothing of
the sort. It is so important that there is an
appreciation of Islam.
Links:
Contact Press Images
Visa d'or
Mother Jones grant
Eugene Smith Fellowship
What essential equipment do you travel
with?
My Canon EOS1 and Leica M6. And I also
take a Rolleiflex which must be 50 years
old. I like to operate with the Rolleiflex
because it is so different - you have to
work so slowly and concentrate.
If there is one piece of advice you would
give to a photojournalist starting out on a
career, what would it be?
Be passionate about what you are doing
and persevere.
Nadia Benchallal
Kota Baru, Kelantan, Malaysia June 2005
Train station in Takasaki, Gunma, Japan,
2000
The Hamam In Boufarik, Algeria. 1994
A night club in Algeria. 1997
Algeria. 1994.
Gaza Strip, Palestine. 1997
One of World Press Photo’s
greatest strengths – if not its
greatest – is the relationship it has
with partner organizations.
Seminars around the world could not take
place without their full involvement and in
Growing Together, Enter takes a look at
what they offer and how they operate.
In a departure from edition one, when we
concentrated on a single organisation,
here we asked two – one in Eastern
Europe, the other in Asia – how they select
those who want to study photojournalism.
The South Asian Institute of Photography
got its name – Pathshala - from the
ancient education system that prevailed in
South Asia.
“It brings to mind classes held underneath
a large tree; conjuring up learning spaces
without walls, in the cool shade of its
leaves,” say the organizers.
The institute, started in 1998 as part of a
three-year World Press Photo educational
initiative, was launched to coincide with
the Dhaka's annual World Press Photo
exhibition.
Since then, Pathshala has slowly grown to
become a fully-fledged educational wing of
Drik, a socially-conscious photo resource
centre also based in Dhaka, Bangladesh.
The organizers say that every year, till the
end of May, prospective students submit
portfolios and an application. Then, after a
panel of teachers from Pathshala draws up
a short list, applicants are called for
interview.
“If their main area of interest or choice of
profession is not photography then they
will be wasting their time here”, says the
Institute. “Pathshala also has an especially
soft spot for female photographers, and so
their applications, limited in number, are
seldom refused.
Eventually, more than 80% students
passing out from Pathshala become
professional photographers.
In Eastern Europe, The Caucasus Media
Institute (CMI) in Yerevan, Armenia is a
vocational training center for journalists,
established in 2002.
“Our purpose is to assist in the
development of mass media in post-Soviet
Caucasus,” says Lusine Toroyan, CMI's
manager for administration and
organizational development. “We help to
shape media that communicates with the
public and serves as a platform for debate
through well-informed, skilled, creative
and ethical journalism.”
Pathshala's computer lab
To find applicants, the institute says it
spreads the word in photojournalistic
circles and in the Armenian media and
internet. For foreign students an
announcement is placed on a popular
website www.photographer.ru
“After receiving documents and
applications - personal potrfolio,
photostory, CV, recomendation letters,
application forms with motivation - we
make the prelimiary list of applicants” says
Lusine. “Sometimes the photo story or the
personal portfolio doesn't correspond to
generally-accepted standards. But this is
not a reason for an applicant not to be
shortlisted.”
Pathshala's photo studio
“Then, during interviews, the five
members of the jury assess the presented
portfolios and photo stories and, by
questioning applicants, discover their
motivation.”
Motivation is one of the major factors
involved in selection, says the Insitutute.
Why do they want to study
photojournalism?
CMI's conference hall
The jury takes into consideration visual,
journalistic and technical aspects and
testimonials from newspapers and
magazines editors, photographers and art
representatives.
Foreign students can be interviewed on
the phone.
Links:
Photographers RU
Students at CMI
CMI
Pathshala
Here in Cool Kit, we look at
equipment on the market for the
professional photo-journalist and
provide links to information and
independent reviews.
In this edition, we examine those devices
available for the storage of digital images
on location becoming known by some as
Image Tanks. Links to some reviews and
manufacturers’ sites appear at the end of
the article.
Among the many advantages of “going
digital” is that it releases the photographer
from having to worry about the cost, both
in stock and processing terms, of film.
Relatively cheap and re-usable digital
memory cards mean there is almost no
limit to the number of images that can be
captured.
That’s the theory anyway. But as
technology improves rapidly and more
people choose to capture in the RAW
format, individual file sizes grow and the
photographer on location for lengthy
periods has to consider the best way of
storing all those pixels.
Taking an armful of memory cards is one
answer. But then the cost does rise, only
one copy of each image is stored and the
only way to review your precious pictures
is on a small screen at the back of your
camera. There is always the danger too
that cards, which are relatively small, can
get lost or damaged.
Many photo-journalists travel with a
laptop which, if equipped with a DVD/CD
writer, can provide excellent viewing,
editing and multiple back-up facilities. But
some hesitate about taking an expensive
computer on the road which can be heavy
and vulnerable in inhospitable locations.
So, one solution adopted by an increasing
number of traveling photographers is a
specialist piece of equipment some call an
image tank.
Most crucially perhaps, these devices allow
a photographer to back up and, in most
cases, view images on reasonably large
screens until, on returning home, they can
be transferred to computer hard disc or
more permanent archival media such as
CD or DVD.
Images tanks come in various forms, some
of which are adaptations of existing media
devices and others which are designed
specifically for the purpose.
One not-so-specialist choice is something
which many people carry already – an
Apple ipod. Among the latest incarnations
of this hugely popular MP3 player is the
ipod photo which is designed to allow you
to store and then show pictures on its two
inch, 116,000 pixel, 65,000 color LCD
screen.
Available with 40 and 60 gigabyte discs,
storage should be adequate. However,
whilst this may be the most popular
portable music-player around, you cannot
transfer images straight into the machine
from the camera without extra
attachments nor can you see them without
using Apple’s own i-tunes.
So what of the devices designed
specifically for digital photo storage? One
popular model is the SmartDisk Flashtrax,
a flip top which resembles an oversized
clamshell mobile phone.
It has been around for a couple of years
now and is roughly the size of a paperback
book which should fit well inside any
photographer’s bags. A
According to some reviewers, a newer
version - the Flashtrax XT - is an
improvement but no longer lets you rotate
photos nor display TIFFs. But you can still
zoom and pan JPEGs, GIFs, and some raw
files, and compile photos into albums. It’s
ability to record and play back audio, FM
radio and TV is a nice-to-have but whether
they’ll be much use to the serious
photographer is questionable.
SLR cameras and certain Coolpix pointand-shoot models. If you’re shooting with
another brand of camera, the device won’t
display Raw images (though it does
display TIFFs and JPEGs from other
cameras), and its audio functions, such as
playback of voice notations with photos
and MOV or WAV video files, work only
with files generated by Nikon cameras.
The P 2000, which has a 40-gig capacity,
has 3.8 inch screen, more than an inch
larger than the Coolwalker. But one review
points out that it can’t apparently view any
JPG over 8.9 megpixels, which should be
available in cameras soon. There are
reports of battery life of about three hours.
As with many new pieces of kit, however,
some shortcomings are soon ironed out
with firmware upgrades, so keep an eye
out on manufacturers’ websites after
purchase.
Links:
PC Magazine reviews the ipod Photo
Macworld reviews the ipod Photo
Creative Pro reviews the Flashtrax
Macworld reviews the Flashtrax
Macworld compares the Nikon
Coolwalker, the Epson P-2000 and
the Flashtrax
Digital Photography Review reviews
the Epson P-2000
Apple
Nikon
Epson
Two companies better known for their
other photographic equipment now have
image tanks on the market – Nikon's
Coolwalker MSV-01 and Epson's P-2000.
At first look, there is not a great deal to
choose between them but both appear to
have been developed with the professional
in mind.
SmartDisk (Flashtrax)
Like the Flashtrax, they display JPEG and
some Raw images and use USB 2.0
connections to computers.
Some things to consider are that the
Coolwalker, a 30gig handheld, is according to some reviews - specifically
designed to be used with Nikon digital
Epson P 2000
Nikon Coolwalker
ipod photo
Copyright and credits:
World Press Photo's Education
Department wishes to thank the
following people for their
contributions and help in the
production of Enter, edition two:
Abir Abdullah, Bangladesh
Alex Baluyut, the Philippines
Nadia Benchallal, France
Alexandra Boulat, France
Rana Chakraborty, India
Adrian Evans, United Kingdom
Per Folkver, Denmark
Andrei Liankevich, Belarus
Michael Machellah, Tanzania
Karén Mirzoyan, Georgia
Françoise Piffard, France
Sebastião Salgado, Brazil
Jordan Simeonov, Bulgaria
Ng Swanti, Indonesia
Lusine Toroyan, Armenia
Sriyantha Walpola, Sri Lanka
Portrait of Per Folkver by Herman
Wouters/Hollandse Hoogte in Ask The
Experts.
Portrait of Michael Machellah by Evelien
Kunst in Ask The Experts.
Portrait of Adrian Evans by Steve
Forrest/Insight-Visual in Ask The Experts.
Photo credit Portrait Sriyantha Walpola in
Ask The Experts by Sudath Sliva/Offical
photographer of the Prime Minister of Sri
Lanka.
Images on Picture Power story: Abir
Abdullah
Copyright of images by Masferre in Close
Up: Permission for use given by the
Masferre family.
Copyright of images in Talking Point:
Photographs by Sebastiao
Salgado/Amazonas images
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Sebastião Salgado
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Editor: Claudia Hinterseer (World Press
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