NPR: Sebastian Junger On 'War'

The arm-chair warriors amongst us will like this post on NPR:

"Five times between June 2007 and June 2008 the writer Sebastian Junger traveled to a remote Army outpost in the Korengal Valley in Afghanistan. Junger, a contributing editor for Vanity Fair, made the trip to embed with a company of soldiers from the Army's 173rd Airborne brigade as they fought to keep the Taliban from controlling a small, treacherous plot of land."

I have yet to read all of the article and listen to the excerpts, but I can easily predict that a book such as this one, and its supporting hoopla, glorifies war.

On my flight back to NYC, I tried to watch "The Hurt Locker"...5 minutes into the movie, I turned it off. Is it eyeball fatigue from all the war coverage since 2001 or is it moral disgust...or is it both?

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Kieron Nelson: Vanishing Cultures

Photo © Kieron Nelson-All Rights Reserved
The only introduction from Kieron Nelson to his work is an email with his website's address, so I assumed he was suggesting I took a look at it and, if it passed muster, add it to The Travel Photographer blog.

Well, it easily passed muster and I'm delighted it did as it's a veritable trove of lovely photographs of indigenous people and of tribal cultures. He specializes in off-the-beaten-track destinations, and traveled from the jungles of New Guinea to the tribal regions of northwest Pakistan.

The photograph for this post is of a Changjiao Miao woman wearing the long horns with the traditional decorative hair bun made of linen, wool and small amounts of ancestral hair. Changjiao or "Long Horns", when directly translated, reflects the custom of animal horns being worn as head ornaments by tribe women for special occasions.

Kieron won an impressive number of photographic awards, and because of the spelling of certain words on his website, I guess he's British educated, but that's all I know of him.

I guarantee you'll spend a long time going through his Vanishing Cultures website.

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POV: Imitation...Flattery or Buggery?

Photo © Tewfic El-Sawy-All Rights Reserved
The answer? It depends.

This time, I'm not referring to visual plagiarism but to the imitation of style and copying of unimaginative itineraries in the travel photography tours/workshops industry.

Many travel photographers recently awoke to the fact that tours and workshops can add a little something to their bottom line (actually, big and small name photojournalists are doing it as well), and their offerings are all over the internet. Their target market is made up of working and non-working photographers, who seek to build an inventory of images, either to show friends and neighbors, enter and hopefully win competitions, or to sell as stock and to publications.

All this sounds lovely but regrettably, the disease currently afflicting photojournalism seems to have spread into travel photography as well. It's rather disconcerting to see a lack of imagination in many travel photography tours, a frequent "borrowing" of regular tourist itineraries, and the liberal sprinkling of the sentence "photo-shoot" and "wake up at dawn" and similar verbiage in the marketing blurbs, as if that's enough to give legitimacy to the notion that these trips are really tailored for photo enthusiasts.

As regular readers of this blog know, I've swatted off a number of attempts by established travel photographers to either flagrantly filch my itineraries (inclusive of hotel names) or to get a copy of my mailing list for my photo~expeditions, or to join that mailing list to get advance notice of my itineraries. Oh, yes...corporate espionage is alive and well in the travel photography workshop business, but that's par for the course.

Have I consciously imitated any other travel photographers as far as itineraries are concerned? Sure, I may have been inspired by some, but I always avoided cookie-cutter itineraries (excepting Bhutan, where these are based on annual festivals), and I consistently base my itineraries on what and where I want to photograph...not on what and where others want to photograph. And the formula works...with my expeditions often with long waiting lists.

Speaking of inspiration: 24 months ago, I introduced multimedia storytelling tutoring using Soundslides on my photo-expeditions, so I'm chuffed to see others have just started to offer it as well. Soundslides...not SlideShowPro, Final Cut Express or other software choices.

Dwindling viable opportunities, reduced prices for images, tougher competition and increased costs are the reasons many travel photographers cut corners, and look for guidance, inspiration and successful examples to emulate; and as a result, some cross the invisible line and become unimaginative imitators.

So back to my question. Is imitation flattery or buggery? It depends on how the one being imitated actually views it, and what is being copied. Some will consider it a rip-off...others -as I do- consider it the sincerest form of flattery.

You see, it's not buggery unless one is willing to be buggered...but let's also remember, taking without giving back is bad karma.

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Albert Kahn: It's A Wonderful World....

Not all bankers work for "great vampire squids wrapped around the face of humanity". Well, some may enjoy doing just that, reaping millions in the process...but others may be like Albert Kahn.

Certainly a product of a different age but Albert Kahn was a wealthy French banker and philanthropist, who started an visionary project to create a color photographic record of the peoples of the world.

Described as an idealist and an internationalist (aren't these two words synonymous?), Kahn used a new photographic process called autochrome, to promote cross-cultural peace and understanding.

Camera-shy himself, Albert Kahn used his fortune to finance the travel of intrepid photographers to more than 50 countries around the world, at a time when age-old cultures were on the brink of being changed for ever by war and the march of 20th-century globalization. His objective was to record the differing customs of the human race for posterity, and his Paris museum houses 72,000 autochromes of these travels.

Although Kahn was one of the richest men in Europe in 1929, Wall Street's crash that very year ruined him, and in 1931 he was forced to bring his project to an end.

A BBC book The Wonderful World of Albert Kahn was published, bringing Kahn's autochromes to a mass audience for the first time. A wonderful world indeed.

Perhaps Lloyd Blankfein of Goldman Sachs will pick up Albert Kahn's baton?

(The vertical autochrome is of a Vietnamese couple in Tonkin in the northernmost part of Vietnam, while the horizontal is of a hunter in Mongolia).

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Chris Blade: Omo Valley Tribes

Photo © Chris Blade-All Rights Reserved
Yes, I know. I'm being repetitively Omo Valley-centric this week...but I recently discovered a handful of photographers who produced lovely work from this area, and decided to string Omo Valley galleries one after the other. Once again, tea leaves readers (ie followers of my photo~expeditions) should not see anything in this.

Today, I feature the work of Chris Blade from Omo Valley, although his website also has galleries of the beautiful Ethiopian Simien Mountains, Lalibela and Gondar, and Axum.

Christopher Blade is a graduate from the Royal College of Art in London, and has advanced degrees in glass making and design. He manages the National Glass Centre in Sunderland. He designs and makes bespoke art glass often inspired from his extensive travels as a travel photographer. His travels have taken him to Ethiopia, Israel, Africa (he was invited by a British adventure travel company to photograph from Victoria Falls, Zimbabwe & through Botswana & the Okavango Delta, Mozambique, Swaziland, Lesotho to Cape Town), China, Nepal, Tibet, Mongolia and others. I'm glad he included a gallery titled Palestine...as it ought to be.

I liked his horizontal images on the Ethiopian galleries I've visited (some very nice ones of Lalibela, including interiors).

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RESOLVE Blog: 3 FPW Instructors Talk

liveBooks recently got an update about the impressive lineup of instructors for this year’s Foundry Photojournalism Workshop happening from June 20-26 in Istanbul, Turkey.

Some of them spoke to Miki Johnson of livebooks' RESOLVE blog.

Ron Haviv's favorite aspect of the Foundry Photojournalism Workshop is "Watching the growth of the students in such a short period of time".

Ami Vitale's is "Watching students grow in the short span of the workshop is incredible".

And mine is "the mutual camaraderie and unfettered sharing of knowledge, information, and support between instructors and students/attendees".

Read the rest on RESOLVE.

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Marco Paoluzzo: Omo Valley

Photo © Marco Paoluzzo-All Rights Reserved
Yes, it does seem that I'm on an Omo Valley streak...and why not? Here's another photographer who showcases his work in Ethiopia. His work doesn't stop at the Omo Valley, but explores many of the country's corners.

Marco Paoluzzo is a Swiss photographer who worked as a freelance photographer for advertising and industry, and then took up travel photography in 1996. His work appeared in the National Geographic Traveler, Geo, Altaïr, Traveller UK, Stern, Paris Match, Nikon News, Leica Fotografie International, and Die Zeit amongst others. He has also published a number of travel photography books.

I was tempted to feature Marco's work of Ethiopian Christianity instead, but I'm sure you'll explore his website on your own. He's been virtually everywhere, so give yourself time to explore his galleries.

As I frequently recommend, photographers ought to update their websites and showcase their work using large images! And to those of you who may be tempted to read tea leaves, the many Omo Valley postings on The Travel Photographer Blog do not suggest that I am planning a photo~expedition there in 2011. I'm just sayin'.

By the way, it just occurred to me that many of the Omo Valley galleries I've seen so far are of simple portraits, rather than environmental portraits (or tableaux, as I like to call them) with other subjects in the background, etc. The one above is one of the few in Marco's gallery. It's not criticism at all, but just a reflection of what is practical in such an environment. My own Omo Valley gallery is made of simple portraits as well.

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