Copyright © 2005, all rights reserved by the photographers

Transcription

www.enterworldpressphoto.nl -
Welcome to edition five of Enter, the
online magazine of World Press
Photo's Education Department for
participants and organizations
involved in the foundation's seminar
programs.
As in edition four, our galleries feature
mixed portfolios from a collection of
talented photojournalists.
They range from a behind-the-scenes
look at the Winter Olympics in February
2006 to a study of women fighting with
Kurdish separatists in Turkey.
Together with images of ingenious ways
people in Armenia adapt everyday
objects for alternative use and a study of
the aftermath of a recent Indonesian
earthquake.
But can we trust modern photographs?
It is the question explored in this
edition's Talking Point in which the
practical and ethical issues surrounding
photo-manipulation are explored. Let us
know what you think by using the email
link at the end of Talking Point.
www.worldpressphoto.nl
For more information on navigating and
accessing Enter - and how to be emailed
about future editions – please contact
us.
Please continue to tell us what you think
of the magazine and what we offer.
Galleries
showcase the work of some of
the photographers who have
been part of World Press
Photo's education programs
worldwide
Ask The Experts
is the chance for you to put
questions to a prominent
photojournalists. We're looking
for questions for future editions
too.
Close Up
looks at a role model for young
photographers starting out. In
this issue – Mohamed Amin.
Talking Point
examines how technology
means new practical and ethical
challenges for photojournalists.
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: Teru Kuwayama.
Close-Up profiles Mo Amin, the man
whose pictures of famine in Africa in the
nineteen eighties led to Live Aid. His
was work that changed history.
Cool Kit
And Agenda again alerts you to some of
the events, competitions and exhibitions
worldwide which are taking place or
have closing dates between this issue
and the next.
Agenda
If you have any upcoming information
for Agenda, or are involved in organizing
an event, let us know by using the email
link at the foot of the Agenda page. We
are particularly interested in what is
planned between February and June
2007.
investigates some of the ways in
which successful color
management can be achieved.
provides a look forward to
some events, competitions and
opportunities over coming
months
Register
is where people new to Enter
can sign up to be told about
future editions
Credits and Thank
www.enterworldpressphoto.nl -
It is another four years before the next
Winter Olympic Games but one of this
edition's galleries allows us to relive
the excitement and atmosphere of this
year's event.
Freelance Latvian photographer Janis
Pipars visited Turin in Italy to photograph
some of the remarkable participants as
they prepared for the games there.
Twenty-eight-year old Janis from Riga, a
participant in World Press Photo's Baltic
seminar program in 2001-2002 and a
nominee for the Joop Swart Masterclass in
2005, started his career as a photoreporter for the Latvian news agency AFI.
Among other publications in which his
images have appeared in an eight-year
career are The New York Times, Time and
the US News and World Report. He also
covered the presidential elections in
Ukraine – otherwise known as the Orange
Revolution – for World Picture News. For
his gallery, Janis spent two weeks at the
games and was particularly proud to
record the preparations of Aerodium,
eleven fellow Latvians selected as some of
the stars of the closing ceremony.
“They were skydivers who created a
unique show. People around the world,
and especially in Latvia, were astonished
by their performance”, says Janis.
Anastasia Taylor-Lind, a 25-year-old
freelance photojournalist who originates
from Devon in England, spent time for her
gallery with female Kurdish rebels
belonging to the PKK or Kurdish Workers
Party in Northern Iraq. A visiting tutor at
the University of Wales Newport,
Anastasia says she and a female colleague,
journalist Katie Scott, were given complete
access to women fighters as they prepared
to cross the border to fight the Turkish
army in their quest for an independent
Kurdish state. Says Anastasia: "I stayed
with the women for seven weeks sleeping, eating and living with them.
I was drawn to the story because the
women are so dedicated that they are
prepared to die for what they believe in.
Growing up in a democracy, this is
something outside my experience.
And I wanted to question my own
government's accusation that these
women are terrorists. Mostly, I wanted to
meet these women who defied their
society's expectations of their gender,
rejected conventional roles as women and
chose a life that forbids marriage and
children."
"My office is closely involved with postdisaster rehabilitation and
reconstruction,” says Veronica. “The photo
story was meant to capture the effects of
the destruction and how people responded
by building temporary shelter. The shoot
took no more than five days.
Anastasia, who worked on 35 mm film
using natural light for her gallery, has won
a number of awards including The
Guardian Weekend Photography prize in
2006 and was highly commended in the
Observer Hodge Award for Young
Photojournalists 2004. She was UK
representative at the World Press Photo
Asia-Europe Forum for Young
Photographers in Vietnam in 2004.
Necessity is the mother of invention” is a
saying which rings true in many parts of
the world.
Nelli Shishmanyan, a 23-year-old former
choir-master turned photographer from
Yerevan in Armenia, adopted it as the
theme for her gallery.
“Many times I have come across the
interesting use of objects as they are
adapted for purposes other than those for
which they were designed,” says Nelli, a a
former student of photojournalism at the
Caucasus Media Institute in Yerevan.
Currently engaged at the instutute, Nelli
used a Canon EOS 350D camera with both
natural and artificial light for her work. “It
is not only in Armenia where unusual
objects are used for different jobs,” says
Nelli, “but Armenians have creative minds
and unrestrained imaginations. During
shooting, I learnt a lot and had great
pleasure”. On May 27 2006 an earthquake
caused death and destruction near
Yogyakarta in Indonesia and photographer
Veronica Wijaya was despatched by the
organization for which she works, the UN
agency UNHabitat, to record what
happened next.
Her gallery contains images from that
assignment. Twenty-nine-year-old
Veronica, who is based in Jakarta and took
part in a photojournalism course at the I
See/Imaging Center developed with help
of World Press Photo,
used a Canon 20D with an EFS 17-85mm
lens and natural light for her work.
www.enterworldpressphoto.nl
-
A PUBLICATION OF THE WORLD PRESS PHOTO EDUCATION DEPARTMENT
Throughout the Olympic sites, there was a
spirit of togetherness.
Backstage, three days before the closing
ceremony. Italian male competitors gather
and catch site of female contestants, dressed
as brides, rushng by - one is just visible in the
right of frame.
The Olymic Stadium in Turin. The Latvian
“Aerodium“ sky-diving team practise their
performance the day before their show.
Two days before the closing ceremony : a rare
minute of relaxation during practice which
took up every waking moment.
The day before the closing ceremony. Around
one hundred similarly-dressed young women
try to keep calm in cramped conditions.
Amara refills her Kalashnikov magazine.
Each soldier carries one weapon, two spare
magazines and two grenades. They have only
the clothes they are wearing and carry no
bag, supplies, water or food. Instead, they
survive on what natural resources they find
in the mountains.
Safak shows her little sister Ashti how to hold
a Kalashnikov. This is the first time the
sisters have met as Ashti was born five years
after Safak joined the PKK. Ashti arrived at
the camp two days before with her mother,
who hadn’t seen Safak since she enlisted at
the age of thirteen. Ashti is not a PKK
member and although girls do join in their
early teens, no-one fights on the front line
until they are eighteen.
Bercham in her manga, being rehydrated
through a drip. Despite their remote location
and limited transport, the PKK are well
equipped with medical supplies and able to
keep badly-wounded fighters alive until they
are transported to hospitals in Syria for
surgery.
Four women who are leaving to fight on the
front-line say farewell to their comrades.
It will take the unit three months to walk
from Iraq across the border to Turkey where
they will mount attacks against military
targets.
Hevi (center) cooks a dinner of fried potatoes
for the goat herder’s camp. The women work
on a daily timetable, individuals taking it in
turns to cook communal meals.
A lecture at the Haki Karer Academy in Iraqi
Kurdistan. Ideological, political and
academic studies make up around half of an
individual’s PKK training. Inside Iraqi
Kurdistan, where the Turkish military is
unable to attack the PKK, permanent
academies have been established.
The Big Band, ready for the closing
ceremony.
Turin at night. Local people say they can’t
remember when the place was so full around
the clock.
Plastic tarpaulins are used during winter to
water-proof the camouflaged stone dwellings
known as mangas. They also create dividing
walls between eating and sleeping areas.
People partied all night long.
The third day of the Winter Olympic Games
2006. Olympic signs – and the Olympic
atmosphere – was everywhere in Turin.
Women at the Goat Herders’ camp play
volleyball at the end of the day. Soldiers here
care for approximately six hundred goats
which are milked daily to make cheese for all
of the Kurdish rebel forces in Behdinan
province.
One of the women guerrillas at Karaga, the
main station of the Kurdish People’s Defense
Forces (HPG) - the armed wing of the PKK.
-
Automobile parts are used as a fence.
To save electricity, villagers cook bread at a
metal barrel.
Sabini, a seventy-five-year-old widow,
rejected the offer of her children to stay with
them after the earthquake in May 2006, near
Yogyakarta in Indonesia. She preferred to
remain in her badly-damaged home.
One of the villagers in Jetis, Bantul subdistrict, examines his destroyed
house.
This shopkeeper uses a baby buggy to
dispense popcorn.
Bus doors serve as the entrance to a high-rise
apartment building.
An electric fan keeps the fire for a barbecue
red hot.
A cow is tied up to the shell of an old bus,
which is also used as a home for the animals.
Old steam radiators make a good playground
fence.
A family works together, collecting debris.
They hope the material can be used for
rebuilding.
In Pleret Bantul, one of the worst affected
areas, people start to rebuild temporary and
semi-permanent shelters. They work in
groups to speed up the process.
Ganti Warno Sub-District in Klaten, ten days
after the earthquake. The community starts
to build a transitional shelter using a
tarpaulin roof and other recovered material.
Five minutes before six in the morning of
May 27th, 2006 is when the earthquake
struck Yogyakarta, Indonesia.
The earthquake near Yogyakarta killed
around six thousand people, destroyed about
two hundred thousand houses and made a
million people homeless. Ten days later there
was an urgent need for aid, especially for a
transitional shelter.
Bantul, Yogyakarta, Indonesia, June 5th,
2006 – ten days after the earthquake. This
area was among the worst affected. There is
much debris, few buildings survive and those
which remain are badly damaged. Clearing
the land will take much time.
-
Ask The Experts provides an
opportunity for professional
photojournalists starting out on their
careers to put questions to some of the
leading members of the profession.
For edition five there are two
questions.
The first question comes from Jonathan
Jones, a 32-year-old freelance
photographer in Charlotte, North Carolina
in the United States of America.
Photography was a hobby until two years
ago. Then Jonathan switched from film to
digital and now his images have been
published in several local and national
newspapers and news websites.
“Photographs often contain people,” says
Jonathan, “and some of the best shots are
of subjects who do not know they have
been photographed and might object if
they found out. Do you need permission
from everyone that you photograph? And
how do you go about getting that
permission?”
The answer is provided by Shyam
Tekwani, who is an Assistant Professor in
Photojournalism at Nanyang
Technological University in Singapore. A
full-time photojournalist for 15 years
before moving into academia, Shyam has
tutored at World Press Photo Seminars in
Colombo and Jakarta.
Says Shyam: The best way to get
permission is simply to ask. But you might
want to think before doing so – because
you do not need permission from everyone
you photograph. Besides, seeking
permission is not the best way to ensure
candid photography.
In news photography, images containing
people often require moments of candor.
If a story is newsworthy and in the public
interest, then taking photos without
permission is the norm. However, in this
era of cell phone cameras, digital
technologies and the internet, concerns
over security and invasion of privacy have
created a certain distrust among the
general public.
The belief that photojournalists have more
rights than ordinary citizens to take
pictures has been dented and the debate
about permission, ethical and legal, has
been heightened. While the law varies
across nations, as do cultural and social
attitudes towards being photographed, the
ethical dilemma remains global.
It is a truism in a good number of
countries that if you are in a public place,
you can shoot anything you see. But if
someone - in a private moment of grief or
as a victim of violence - objects, what do
you do?
Do you follow your conscience and put
your camera away? Or do you fulfill your
professional duty?
The golden rule is: be sensitive and
compassionate to your subject and balance
that with the newsworthiness of the
photograph and the legitimate right for the
public to know. Whilst it is not really
possible to set out ethical guidelines which
apply in all circumstances, be aware of the
dilemmas photographers face shooting
news.
Alternately, if your photographs are to be
used to sell a product, the position is quite
clear. You will need permission from your
subjects. Consent forms need to be signed.
The signed form permits images to be used
for commercial purposes.
Our second question is provided by Saidi
Selemani, a freelance photographer from
Dar-es-Salaam, Tanzania.
He attended a Flame Tree Media Trust
photojournalism certificate course, which
was developed with help of World Press
Photo, in Dar-es-Salaam last year.
Saidi's query is about photo captioning,
something every budding photojournalist
has to learn.Saidi wants to know "What
are the rules about what you must put in a
photo caption? In which cases should you
add names in a caption and in which cases
is it not necessary?"
The answer is provided by AFP Senior
Staff Photographer Cris Bouroncle, who
has over 21 years experience in wireservice news and specializes in conflict and
political reportage.
Based in Cairo, Egypt, Cris is due to be
project manager for a series of World
Press Photo-designed photojournalism
workshops in Cairo.
Says Cris: In photojournalism, captionwriting can be as important as exposure
and timing when taking a picture. Try to
follow the basic “Five-W's Rule”; Who,
Why, Where, When and hoW.
Your employer or client will stipulate
caption style and content. Location can be
relevant as recent legislation in countries
such as France requires consent from
people photographed if pictures are used
for publication, even if they were taken in
a public situation.
(See the previous answer in this edition's
Ask The Experts).
General news, politics, catastrophic events
and sports all require different caption
layout with as much information as
possible, assembled logically: names of
people and places and even references to
larger towns or cities to identify subjects
and situations.
A link to an example of a full caption
appears at the end of the page.
Certainly a description of the image is
required and remember the five W's rule.
Image editors and publications using the
IPTC information embedded in digital files
must be able to search and cross-reference
quickly, now and in the future. In some
cases, a good caption might be the
deciding factor when selling a picture.
Most North American-based companies
require complete names of all people in a
picture. Other agencies are not so specific.
IPTC not only includes caption text, it
includes other crucial information:
• For credits, the photographer's name and
byline title and whether staff or stringer.
Sometimes the caption writer's initials and
the image's source (hand-out, TV-grab,
news service or a newspaper).
• Pre-established categories such as Arts,
Crime, Disasters, Economy,
Environmental Issues, Politics, Sports,
Unrest or War, with subcategories to ease
searches.
• Origin of the image, such as the reference
transmission sequence number, date
taken, the city, province and country.
-
Mohamed Amin was one of the most
famous news cameramen in the
world before his tragic death in
1996. His television coverage of
famine in Africa in the nineteen
eighties led directly to massive fundraising and the phenomenon that
was Live Aid.
However, Mohamed - or Mo as he
was known to everyone - started life
as a stills photographer, a skill he
perfected and used until his death.
Bill Kouwenhoven profiles this
remarkable man in this edition's
Close Up.
In 1962, the year he set up the now
legendary Camerapix photo agency, Mo
received a tip that two prominent South
Africans in the anti-Apartheid movement
had escaped prison and had flown to Dares-Salaam in Tanganyika where new
President Julius Nyerere offered them
sanctuary. It was the first of many scoops.
He covered the handover of Kenya by the
British to Jomo Kenyatta and the
discovery of Soviet and East German
military trainers in Zanzibar. He
documented famines that followed the war
in Biafra. He recorded Idi Amin's
assumption of power in Uganda and later
exile. His images of the Pakistan military
and the Afghan mujahideen in the 1970s
were exclusives and he was with the first
TV reporters in Baghdad after the invasion
of Kuwait in 1990.
''No news cameraman in recent history has
had a greater impact than Mohamed
Amin… His pictures from Ethiopia 12
years ago moved the world.''
-Tony Hall, Head of News, British
Broadcasting Corporation
Mo's luck was legendary. Good fortune,
tip-offs, planning and taking calculated
risks all meant he was where the action
was, sometimes under gunfire yet almost
always getting his film out.
Born in Nairobi, Kenya in 1943, the son of
a railway engineer of Punjabi descent and
one of eight children, Mohamed Amin was
obsessed with photography from the start.
Willetts remembers, “He was driven, not
distracted by anything - not even his
family. He knew his job 110% and would
say no-one would beat him on his patch”.
At thirteen he was shooting for his school
newspaper and The Tanganyika Standard
and covering what became the East
African Safari Rally. Two years later, work
was appearing in international
newspapers and he had arrangements with
the BBC, Reuters and Visnews, among
others.
Fame came with his images of the famine
in Ethiopia and the Horn of Africa in 1984
with BBC Television reporter Michael
Buerk, a long-time colleague (see Talking
Point, edition one).
At a time when Africa was shaking off
colonial rule Mo was everywhere. Fellow
cameraman and colleague Duncan Willetts
remembers: “He knew hundreds of people
all over. Networking was his hobby. He did
it 24 hours a day”
According to his son, Salim Amin, Mo's
experience as a stills photographer made
him a better moving-film cameraman than
some rivals who had never done stills.
“He found it easier filming a story on video
as there was room to maneuver whereas
with stills he knew there was only one shot
that made the story,” says Salim.
Filming starving refugees, he presented
the horrors of the situation yet preserved
the dignity of his subjects.
As a result, tens of millions of dollars were
donated to famine relief and water
projects. Millions of people worldwide saw
his images and, with Mo's energy, the
project “We Are the World” was born,
bringing in more donations and aid.
Amin's life was cut short when a hijacked
Ethiopian Airlines jet, on which he was
aboard, crashed in 1996. The pilot's
attempt to land on water off a Comoros
Island resort was recorded by a South
African tourist and shown around the
world. Mohamed Amin died as he lived,
always making news.
Also killed in the crash was writer and
Amin's colleague Brian Tetley - the TetleyWilletts-Amin trio was a formidable team.
Amin's last project, a pan-African news
network—a CNN or Al-Jazeera for Africa—
remains a work in progress. His legacy, the
Mohamed Amin Foundation, established
an educational center for African
journalists.
Concludes Salim: “I think young
journalists can be inspired by his story –
his determination and courage, his passion
and spirit.”
Said UN High Commissioner for Human
Rights, Mary Robinson: “Mo's story is one
of courage, persistence, and humanitarian
commitment. He started with nothing, not
even a decent education, but became
something through his hard work and
determination to succeed”.
Bill Kouwenhoven
A local priest distributes food during the
1984 famine in Ethiopia.
Ugandan President Idi Amin drives around
the capital Kampala in a jeep, accepting the
adoration of his people.
Bodies, including that of a mother and child,
lie in the dirt after a massacre during an
uprising in East Pakistan, 1971.
A mother and child at a medical camp in
Ethiopia during the famine of 1984.
Europeans based in Uganda kneel to swear
loyalty to President Idi Amin, the man who
had overthrown his predecessor Milton
Obote.
-
Technology has changed the
business of gathering news and how
news is perceived. For this edition's
Talking Point feature, Stephen
Mayes, Director of the Image
Archive at Art Commerce, New
York, and Secretary to the jury of
the World Press Photo Contest,
considers the opportunities - and
responsibilities - facing news
producers and consumers in the
digital age.
In a little more than five years
photography has been eliminated from the
newsroom.
In its place are electronic processes that
have revolutionized the production and
consumption of news imagery. So fast has
been the change that we don't yet have
standards in place to control the digital
revolution.
Instead, we are clinging to old rules,
hoping they will support us in the new
world. But they don't fit. Put simply - we
live in confused times. Consider
manipulation. Photoshop allows easy-todo, hard-to-detect changes to be made by
editors and we have seen some recent
examples of mistreated imagery.
A Lebanese photographer lost his
important relationship with the Reuters
agency when he inappropriately changed
an image in Beirut - see the pictures in
right-hand column here.
The fear of distorted fact is justified.
However, it is not new and it is probably
the least significant consequence of the
digital revolution. The history of
photography abounds with examples of
pictures cropped, chopped and changed to
deceive and we have learnt that no
regulation can govern deliberate
distortion.
The best defense remains the viewers'
knowledge and trust in the ethics, integrity
and reputation of the producers. It is our
duty to remain vigilant against abuse and
this much has not changed. But there are
inconsistent policies even within the most
scrupulous publications.
What are we to make of magazines that
proclaim the sanctity of news imagery but
routinely manipulate the cover image on
the grounds that there is a difference
between reporting news and selling the
magazine?
What about retouched portraiture or
newspapers that composite images and
call the results "photo illustration"?
There is nothing intrinsically wrong with
any of this but the lack of accepted
standards confuses readers and strikes
fear in the hearts of editors. However, it is
easy to overlook the greatest revolution of
all - the new role of the consumer.
We live in a world where news, art and
advertising co-exist and today's consumer
happily grazes two or more media
simultaneously: we're online with the TV
on but silent, the radio turned up and a
newspaper on our lap.
We are wholly oriented to entertainment.
Information is processed into simplified
statements and headlines. Our "readers"
live in a world where their journalism is
more opinion-driven than informationdriven, they are looking for interpretation
and they want their "news" to reflect their
values.
It is commonplace for professional
journalists to measure their coverage
against the likely response of the bloggers.
The search for truth gets even harder.
Technology – which should be our servant
- has taken control of our information
channels.
The process of production and distribution
of information has transformed the nature
of news. Our vision is blurred and it is not
clear if and when normal service will be
resumed, or even if it should be.
Stephen Mayes
A clumsy case of photo manipulation cost a
Lebanese photographer his relationship with
the Reuters agency in August 2006. Internet
bloggers noticed that the image above had
been doctored to show damage following an
air raid on Beirut was worse than it really
was. Repeated cloud formations, inserted in
Photoshop, gave the game away. Reuters
apologized, replaced the image with original
below and said it would not be using the
photographer again.
There is an exciting positive aspect to this
which is that as viewers become familiar
with digital processes, they are getting
smarter. No longer passively absorbing a
single feed of information, today's
audience inhabits a wider cultural
environment and in many ways they are
ahead of the professionals.
Viewers are familiar with illustration and
interpretative representation and they
already understand that photography is
not simply about facts but is also about
metaphor.
While the professionals struggle to make
rules for the new media our audience has
overtaken us. They not only consume but
they also produce the news, with dramatic
consequences.
Thanks to the Internet, our audience are
active participants and co-producers of the
news. The power of the camera-phone and
the personal blog cannot be overstated.
-
In each issue of Enter, we put a set
of identical questions to people who
have taken part in 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 and
each other. The subject for edition
five is Teru Kuwayama, a 35-yearold from Brooklyn, New York, who
took part in the Masterclass of 2000.
Well-known now for the challenging
locations he chooses, Teru says he now
works primarily in Afghanistan, Kashmir
and in the mountains surrounding the
Hindu Kush. His work is primarily
published in Newsweek, Time , Outside
and Fortune.
“Two years ago, I started working with my
brother Shinji to create Lightstalkers,”
says Teru,” which is a web-based network
of travelers from the media, military and
aid communities.”
Teru - how did you get started in
photography and what was your biggest
break?
It was an accident. When I was about 18, a
photographer took a picture of me and we
started talking. His name was Michael
Ackerman and in the years that followed
he taught me photography. When I was 27,
I spent a year in South Asia, wandering
and photographing. I was more of a
traveler than a professional photographer
but I began what would become a long
term project on the Tibetan refugees in
India. When I returned to New York, I
showed those photographs to Life
magazine and a few days later I was on a
plane to Africa.
It was my first real magazine assignment.
Ten days working for Life paid for a year of
backpacking in India, with enough left
over to buy my first Leica. Then I was
broke again.
But I'd become a “professional
photographer” and I continued working
for Life over the next years, until they
went out of business.
What qualities does a top photojournalist
need?
I think strong work comes from sincerity
and compassion.
What is your most memorable
assignment?
Probably one I did for Outside magazine
called “War at 21,000 feet”, where I spent
two months on the Siachen Glacier in
Kashmir. The Siachen's claim to fame is its
status as the world's highest and coldest
battlefront. It is a massive river of ice,
surrounded by the most epic mountain
ranges on Earth with Pakistani and Indian
soldiers freezing in fiberglass igloos along
the ridgelines. I was climbing to positions
almost 7000 meters above sea level in
temperatures 50 degrees below zero,
carrying a backpack half my body weight
and choking from altitude sickness half
the time. It was an intense experience.
Are you – or will you ever be – fully
digital?
The only digital camera I own is a pointand-shoot. I don't hate digital cameras the
way some people do, but they're not that
important to me either. In Japan, there
was a period of about three hundred years
during which warriors stopped using rifles
and returned to the sword. It was one of
the rare cases in human history where
people decided that “progress” was not an
improvement. That's where I am with
digital cameras right now.
What essential equipment do you travel
with?
I usually travel with three cameras: Leica,
Widelux, and Holga. The places I'm
attracted to tend to be physical and remote
so I usually carry camping gear - like a
headlamp - sleeping bag, survival blanket,
water purifier, and a waterproof bag. I also
try to carry a pair of aqua socks, which are
a kind of rubberized water shoe. It seems
like every time I don't pack them I end up
having to cross some freezing river with
sharp, slippery rocks.
What is your favorite camera and how do
you use it most – do you prefer natural
light, for instance, or a mix.
I like the simplicity of the Holga – it isn't
fast and it doesn't lend itself to dramatic
lighting or complicated compositions. But
it works, and there's something very
graceful about it. It has a built-in flash but
I rarely use artificial light.
How, when under pressure, do you try
and make sure the image is as good as
possible?
Photography is an instinctive act for me.
Even after 15 years of doing it, I still don't
really understand how it works - where the
photographs come from - but I've accepted
the fact that they always seem to come. All
I can do is trust my instincts, let them
work.
If there is one piece of advice you would
give to a photojournalist starting out on a
career, what would it be?
I'd advise them not to take any career
advice from me.
Which of the pictures you selected is your
personal favorite and why?
I couldn't choose .
Next to whom would you like to sit in an
airplane going where?
With the Dalai Lama, going back to Lhasa.
What ambitions do you have left?
The scorpion. It's an absolutely impossible
yoga position that I attempt everyday.
Teru Kuwayama
-
Kabul, Afghanistan 2002.
Kabul, Afghanistan 2002.
Wakhan Corridor, Afghanistan-Tajikistan
border, 2005.
Siachen Glacier, India Occupied Kashmir,
2002.
Earthquake survivors, Muzzafarabad,
Pakistan Occupied Kashmir, 2005.
Mass grave, Al-Hilla, Iraq 2003.
Baghdad, Iraq 2003.
Nomads, Tibet Autonomous Region, 2000.
Solukhumbu Valley, Nepal 2001.
-
How important to a photographer is
color management?
It will never be the most exciting job you
tackle. But now digital photography is
widespread and growing amongst
professionals, it is essential - whether we
like it or not.
In Cool Kit this edition, we look at some of
the best ways color management is carried
out. Film poses fewer problems. Color
decisions are taken when you choose the
speed of your film and what you do later in
the labs. But with digital photography, the
devices you use – cameras, monitors and
printers – will all handle color differently.
For consistency across your work, your
devices should see and process color in the
same way. This means calibrating each
separately and saving the results as
profiles which can be understood across
your equipment.
The trouble is expense. Even the cheapest
options add up to several hundred dollars.
So, it may be best to go for what you can
afford and begin with just one of the three
jobs below. Discussing different
representations of color – known as “color
spaces” - would take a whole website and
you can, and should, read more about
them elsewhere.
First, adjust the color temperature of your
monitor, which should be between 5500
and 6500 degrees Kelvin. Then use a
strange piece of hardware that is attached
to your screen and looks like a large insect
creeping up it – a colorimeter.
Together with software, this will adjust
then measure the color characteristics of
your monitor to create your profile.
Because monitors change as they get older,
you will need to re-profile from time to
time.
Among the kit used by professionals for
these tasks are the Spyder2PRO, the EyeOne Display 2 and the Optix XR Pro. Links
to some websites which review, compare
and contrast these and other colorimeters
appear below. However, all these options
cost upwards of $300.
A cheaper alternative could be the new
Huey by Pantone which claims to adjust
constantly as the light in the room changes
and costs less than $100. There are links
to reviews below but most describe Huey
as for non-professionals.
The Huey interface
face Spyder2PRO
For a quick way to test the calibration of your
monitor and printer, you can download a test
file. This won't replace calibration methods
described in Cool Kit but can provide a
general indication of how monitor and
printer are set up.
Together will related files, the downloads are
zips and so will have to be extracted using
compression software (such as winzip or
stuffit).
If your monitor displays the AdobeRGB.jpg
file with natural skin tones and neutral grays,
the monitor profile is satisfactory.
If you print the AdobeRGB.jpg file and it
matches the monitor image, the printer
profile and settings are good.
Used properly, this file can establish a good
workflow and help troubleshoot a bad one.
If this Adobe RGB file looks good but other
files do not, any problem lies with files other
than color profiles.
Next comes your camera. First you set it to
shoot white and gray properly and then
calibrate it with a color chart or card, like
the GretagMacbeth ColorChecker. There is
a link to a review below. There are plenty
of other charts available too.
A good start is expert Martin Evening's
chapter on color management from his
book Adobe PhotoShop CS2 for
Photographers. There's a web link to it
below. But in short, professional
photographers tend to use two – sRGB
and Adobe RGB, which is wider and
therefore richer. But it's not necessarily
better as some older monitors can only see
the more limited range offered by sRGB.
Finally, to your printer. In brief, the
software that came with your printer
should inspect output and make
adjustments. Then you need to use a
hardware device called a
spectrophotometer which measures colors
in printouts and produces profiles.
Hardware prices here range from $200 to
more than $2000. Reviews of some of
these devices and fuller explanations,
which can be technical. are linked to
below.
Once you have chosen, you should
measure how your devices see colors in
that workspace. This is known as creating
ICC (International Color Consortium)
profiles. Making sure they are the same in
your equipment will ensure consistency.
Do not despair about cost though. Some
packages – like the MonacoEZcolor –
handle monitor and printer profiling and,
at about $200, might well be worth a look.
But cameras will have to be handled
separately.
To begin with - and this is the one you
should probably adopt if you are short of
funds - calibrate your monitor.
It is worth repeating that for professional
work, some color management is highly
recommended. But it is not easy or cheap
so plenty of real research is recommended
before spending.
-
Agenda is the section in which we
tell you about a selection of the
countless contests, awards, grants,
scholarships and other
developmental schemes available to
photojournalists in the next few
months.
Here, we have chosen some that have
deadlines for entries between the
publication of this edition of Enter and the
next.
Dates: 1- 30 November 2006.
Date/deadline: 11 January 2007
Month of Photography 2006
Bratislava, Slovakia
World Press Photo contest 2007,
international.
This festival - together with others in six
cities - is part of the European Month of
Photography which also includes Rome,
Vienna, Berlin, Moscow, Luxemburg and
Paris. See also links to Paris and Berlin
(in German)
For professional photojournalists. From 1
October 2006 detailed information on how
to enter next year’s World Press Photo
contest will be available on our corporate
website.
But if you know of an interesting
competition, event or opportunity coming
up later in the year - especially in the
southern hemisphere - please email us.
Dates: Launched on the 9
November 2006
Clearly, we can tell you about some of the
biggest events and opportunities coming
up but we rely on you to tell us about the
ones most important to you.
The theme of this festival is “Boundaries”
(submission deadline 22 July 2006).
Chobi Mela IV, Dhaka, Bangladesh
Dates: July 13 to 16, 2006
Imaging Expo China, Shanghai,
People's Republic of China
At the Shanghai International Exhibition
Centre (INTEX Shanghai). Following
year's debut, the 2006 trade fair is,
according to its organizers, "the perfect
platform to showcase and promote your
latest products and innovations." It is
comparable to Photokina in Cologne.
Dates: 10 September to 29 October
2006
Another Asia. Noorderlicht,
Leeuwarden, Netherlands
Say the organizers: "Asia is generally
associated with China, South Korea and
Japan. For the first time, Another Asia is
offering a comprehensive picture of the
other Asia.
In over 700 photos, from portraits to
landscapes, from poetic to documentary,
photographers from India, Laos,
Cambodia, Thailand, Indonesia, The
Philippines and other countries provide a
surprising picture of this region, from the
inside."
Date/deadline: 15th November
2006
Luis Valtuena International
Humanitarian Photography
Award
The competition is open to adult, amateur
and professional photographers of any
nationality. The topic of the images must
be related to humanitarian action,
international co-operation and social
exclusion - human rights violation, armed
conflicts, natural disasters, refugee and
immigrant populations, socially excluded
groups.
And, say the organizers, "to the solidarity
efforts aimed to build a fair and egalitarian
world".
Date/deadline: 16 October 2006 to
24 November 2006
Photographer's Forum Annual
Photography Contest
Cash grants and cameras can be won in
this competition.Winning photos will be
published in the May 2007 issue of
Photographer’s Forum Magazine. All
contest finalists will be published in The
Best of College Photography Annual 2007.
Date/deadline: March 2007
Mohamed Amin Photographic
Award
Donated by his family through his
company, Camerapix, the photographic
award is part of the CNN African
Journalist of the Year Awards. Mohamed or Mo - was a co-founder of the African
Journalist Awards (AJA) in 1995 and
Camerpix continued with it after his death.
-
The award may be given to either an
individual photograph or a photographic
essay, containing a maximum of five
photographs. Both Black & White and
color photos are acceptable.
Date/deadline: 22 October 2006 to
29 October 2006
Selection is by competitive process. Each
year, between one and two hundred
journalists outside the U.S. apply by the
Dec. 31 deadline. The program generally
runs from August to mid-November.
See also Close Up in this edition of Enter.
The Angkor Siem Reap Cambodia
workshop
Dates/deadline: December 15
2006
Regionally specific types of assistance
Santa Fe Center for Photography
Project Competition
Say the organisers: The thirteenth annual
Project Competition honors committed
photographers working on long-term
documentary projects and fine-art series
Work derived from all photographic
processes, both traditional and digital, are
accepted, as well as mixed media work
that is photo-based. Both fine art and
documentary photography, and all
combinations thereof, are acceptable.
Work that has been published by a major
photographic publishing house or
university press is not eligible for the
Project Competition.
WorkShopAsia is holding its next roving
workshop in Siem Reap, Cambodia.
Say the organizers: "With a maximum
twelve participants, the six-day, sevennight (event) will provide an opportunity
to explore the cultural riches and social
dynamism of this exotic corner the world.
Accommodation is provided at a Khmerstyle hotel in Siem Reap.
Date/deadline: October 31, 2006
The Aftermath Project
Say the organisers "The Aftermath
Project's mission is to support
photographic projects that tell the other
half of the story of conflict - the story of
what it takes for individuals to learn to live
again, to rebuild destroyed lives and
homes, to restore civil societies, to address
the lingering wounds of war while
struggling to create new avenues for
peace."
Grant is available to working
photographers world-wide who are
interested in creating work that "helps
illuminate aftermath issues, and
encourages greater public understanding
and discussion of these issues."
Date/deadline: Dec. 31 2006
World Press Institute Fellowship,
USA
Says the Institute: In forty-four years, four
hundred and eighty eight journalists from
ninety four countries have benefited from
the WPI experience.
The four-month fellowship involves " an
arduous three-month journey across the
U.S., with briefings, interviews and
visitations in nearly half the states in the
nation."
-
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 five:
Images in Close Up - Mohamed
Amin/Camerapix
Portrait of Mohamed Amin - Duncan
Willetts/Camerapix
Images in Masterclass - Teru Kuwayama
Portrait of Janis Pipars by Melanie Fray
Portrait of Anastasia Taylor-Lind by Niklas
Maupoix
Portrait of Nelli Shishmanyan by Anahit
Hayrapetyan
Portrait of Veronica Wijaya by Ibu Allam
Amin
Portrait of Teru Kuwayama by Teru
Kuwayama
Portrait of Saidi Selemani by Hassan Hussein
Portrait of Naguib Muhfaz by Cris Bouroncle
Portrait of Jonathan Jones by Heather Jones
Portrait of Cris Bouroncle by Victor Rojas
Salim Amin
Cris Bouroncle
Jonathan Jones
Teru Kuwayama
Stephen Mayes
Janis Pipars
Mary Robinson
Nelli Shishmanyan,
Saidi Selemani
Anastasia Taylor-Lind
Shyam Tekwani
Maurice Tromp
Veronica Wijaya
Duncan Willetts
Cover image:
Janis Pipars
The Enter team:
Editor-in-Chief: Mike Smartt
Editor: Claudia Hinterseer (World Press
Photo)
Design: Djon van der Zwan, Sophia Vos and
Jorry van Someren (that’s-id!
multimedia)
Building and Distribution: Martijn Megens,
Koen van Dongen and Dirk Heijens (Lenthe
Foundation/Emag)
Hosting: Kevin Struis (ASP4ALL)
Editorial team:
Maarten Koets, Evelien Kunst, Claudia
Hinterseer, Kari Lundelin, and Laura
Verduijn (World Press Photo)
Text writer: Bill Kouwenhoven
Concept: Maarten Koets, Head of
Educational Department
Managing Director World Press Photo:
Michiel Munneke
This website has been produced under the
auspices of the World Press Photo
foundation. All photography copyrights are
exclusively held by the respective
photographers and their representatives.
They are listed on this page. No images may
be copied from this website. Contact World
Press Photo to find out how to contact the
photographers or for questions about Enter
of World Press Photo..
Our education programs are supported by
the Netherlands Ministry of Foreign
Affairs. This electronic publication is made
possible with support from the Lenthe
Foundation.
“The Dutch Postcode Lottery supports
World Press Photo. The largest charity
lottery in the Netherlands believes in the
importance and enormous power of
photojournalism.”
“TNT shares World Press Photo's
commitment to supporting the free
exchange of information. We believe our
sponsorship is a way to demonstrate our
interest in the world and, more
importantly, our pledge to helping make it
a better place.”
“Canon has been a major partner of
World Press Photo for more than a decade.
The key aim of the sponsorship is to
provide high level support to the intrepid
and often heroic profession of
photojournalism. Canon is synonymous
with excellence in photojournalism and is
proud to be associated with this
prestigious organization.”
No material from this site may be copied,
reproduced, stored in any retrieval system, or
transmitted in any form or by any means
electronic, mechanical, photocopying,
recording or otherwise, without prior
permission in writing from World Press
Photo, Amsterdam, the Netherlands.
World Press Photo is a registered trademark
of Stichting World Press Photo and protected
by international copyright laws.
World Press Photo is not responsible for the
content of external internet sites.
Special thanks to:
Jacqueline Pijcke (Lenthe Foundation)

Copyright © 2005, all rights reserved by the photographers

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