The dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a magazine, joined as our librarian. We offered and she happily accepted a local salary. My partner Rahnuma Ahmed often got roped in when we were short-staffed, which was often.
LOOKING at this photograph, one of the few in our library where the photographer is unknown, I realise how times have changed. This is the undisputed leader of a country with his arms across the shoulder of a newspaper photographer not known for being affiliated to his party.
No security guards, no party goons, no chamchas. Both men are at ease with the situation. The smiles, the casual gait, Rashid Bhai with his camera dangling, a single prime lens. Not even a camera bag (and this was the time of film when you only had 36 exposures). How times have changed. Sure, we live in a more security conscious world, but the distance between the leaders of today, and the people, isn?t simply about changed situations, it is about changed attitudes. Today the proximity between leaders and the people surrounding them has much more to do with business and benefits, than with humility and largesse. There was much more give and much less take. Continue reading “The Statesman, and the Photographer”
AZIZUR RAHIM PEU, born 10th June 1964, died 14 October 2014
?If you let me go, I?ll kill myself.? I?d never given a job to anyone before. So this response to my suggestion that there was a better future for him elsewhere, was something I wasn?t prepared for. I had returned to Bangladesh after having been away for twelve years. Not having the capital myself, I had set up a photographic studio in partnership with a businessman cum photographer Khan Mohammad Ameer and his businessmen brothers. The studio ?Fotoworld? was posh, and we photographed the glitterati. We also took pictures of factories, the odd milk powder tin, food, cigarette cartons and pretty much anything people would pay us (and sometimes not pay us) to shoot. Azizur Rahim Peu was my first recruit. I?d come to know him through the Bangladesh Photographic Society, where I was the general secretary and had taken an immediate liking to the young man. Continue reading “Chasing Windmills”
The dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a magazine, joined as our librarian. We offered and she happily accepted a local salary.
The New Internationalist Magazine in Oxford, has been a long time friend and supporter. This two page spread was put together by them to commemorate Drik’s 25th anniversary. Thanks NI. Continue reading “Drik's 25th Anniversary”
As is often the case, a very North American/European bias. But still a useful list
A.M Qattan Foundation: Founded in 1994, the A.M. QATTAN FOUNDATION is a UK-registered charity focusing on two principal areas, culture and education.
American Press Institute: Founded by newspaper publishers in 1946, the American Press Institute is the oldest and largest center devoted solely to training and professional development for the news industry and journalism educators.
Arab Image Foundation: The Arab Image Foundation aims to promote photography in the Middle East and North Africa by locating, collecting, and preserving the region’s photographic heritage. Continue reading “Photojournalism Resources”
Newspaper pages from around the world speak to the international interest in the Boston Marathon tragedy. A collection of front pages can be viewed at the?Newseum website.?
It?s hard to write about any other photojournalism topic given what happened in Boston yesterday. Awful. The announcement of the photojournalism Pulitzers, dominated by the immense tragedy of the Syrian conflict, had the majesty of a clip contest. Continue reading “Tragedy and the Role of Professional Photojournalists”
Deadlines for some big grants are approaching.
Inge Morath Award
Administered by the Magnum Foundation, the Inge Morath Award of $5,000 is given annually to a female photojournalist under the age of 30. The Award supports the completion of a long-term documentary project, and is juried by Magnum photographers and the director of the Inge Morath Foundation.
Deadline: April 30.
Getty Grants for Editorial Photography
Starting April 1, Getty will be accepting applications for its 2013 Grants for Editorial Photography. Five grants of $10,000 each will be awarded to photojournalists ?pursuing projects of personal and journalistic significance.? Deadline: May 1.
The Aaron Siskind Foundation
The Aaron Siskind Foundation offers grants of up to $10,000 each to individual photographers, selected by a panel of judges. The entry fee is $10.? Applications are open to US citizens and legal permanent residents 21 years of age and older, and there is no requirement regarding subject matter, genre or process, except that the work must involve photography (no video).? Deadline: May 24.
W. Eugene Smith Grant for Humanistic Photography
Each year the W. Eugene Smith Fund awards a grant (in 2012, the award was $30,000) to a photographer whose past work and proposed project follow the tradition of W. Eugene Smith?s concerned photography and dedicated compassion. The board of trustees of the W. Eugene Smith Fund appoints a three-member jury to evaluate written proposals and photos. There is a $50 application fee. Deadine: End of May.
Paolo Pellegrin is one of the most successful photographers working today. He works with the most high-profile magazines, he publishes books, is a member of the most prestigious photo agency (Magnum), contributes to interesting projects and regularly wins major contests. So naturally, he?s easy enough to hate.
Predictably, Pellegrin is catching most of this heat from people he doesn?t know, while receiving most of his support from people he does. Which makes me wonder, not knowing him, but having admired his work for a long time and owning at least one of his books (maybe more), what kind of advice I would have given him last Friday when the story first broke. Continue reading “Just Make It Happen: Kenneth Jarecke on Paulo Pellegrin's award winning photo on WPP contest”
The Forbes 100, the Fortune 500, Bloomberg?s Billionaire Index, the list of rich lists is endless.? But the super-rich are only a very small fraction of the population, and their story is not the whole story. It is this other story that we would like to tell in The Other Hundred, a photo-book aimed at bringing attention to the overwhelming majority of the world?s people who are not billionaires but who nevertheless lead lives worth celebrating.
The Other Hundred has a broad base of international support from the expertise of our outstanding judging panel featuring Ruth Eichhorn, Richard Hsu, and Stephen Wilkes and the participation of excellent photographers including Benjamin Lowy,?Khaled Hasan,?Brent Stirton,?Edwin Koo, Paolo Woods?and?Andrea Diefenbach.
The goal of The Other Hundred is both to inform and to provoke thought. This means that we don?t just want photographs of the hardships of a life of poverty, but also of the startling achievements people can make in the face of adversity. It is important to us that our subjects come across as real people to be understood, even celebrated, rather than anonymous statistics to be pitied or patronised.
Each submission may be a single photograph or a series of photographs. This is a global endeavor, and we welcome submissions from any and every country and continent.
For submission information, please visit www.theotherhundred.com.