Category Archive: journalism
Over the past two or so weeks of protests in Istanbul surrounding Gezi Park and Taksim Square, we’ve seen a lot of stories and photographs. Some of the first and best pictures I saw though were by my friend Andrei Pungovschi, a photographer based in Bucharest. While he was in Istanbul he was making a series of daily posts on his blog about what he was seeing and photographing in Istanbul. I wanted to share some of his work from the past week and his responses to a few questions I had about how he was covering this difficult and fast moving story.
dvafoto: When did you arrive in Istanbul?
Pungovschi: I arrived in Istanbul on Thursday evening, last week.
Did you go specifically to cover the protests?
When I first saw the protests on TV I thought it was just a local issue in Istanbul about Gezi park and didn’t really think it was something that could get any bigger. However, the brutality of the police intervention on what was a relatively small and peaceful protest triggered a very strong reaction in Istanbul. The movement turned from an ecological issue into a political one. That’s when I decided to go.
How have things changed in the time you’ve been there, what is the atmosphere in the park and the square?
By the time I got to Istanbul the police had backed off to such an extent that you could not spot a policeman anywhere around Taksim Square. Each evening, the square was filled with people and the whole scene looked more like a festival rather than a protest. The park and the square are two different scenes. The square is the place where each day after work people from all over Istanbul come to express their protest, sing, dance, or simply watch from the sidelines. The park is a community of people who want to express their support for their mutual cause by living together in this place in spite of the authorities who want them out of there. Most people I’ve spoken to in Gezi seem determined to stay there until their demands are met.
Tuesday seems like it was the most dramatic day in the last week, what was it like to photograph?
Everything changed on Tuesday morning around 7am when the police decided to clear the square (not the park). They attacked with what seemed like excessive use of gas and water canons. People fought back with rocks and Molotov cocktails. These things tend to get chaotic and this was no exception. Photographing under these conditions is not complicated, because there is always something going on. I prefer to get close to people, so I don’t use a telephoto lens. The problem then is that you have more than your frame to worry about. Plus the gas. Unless you have a proper gas mask, there is not much you can do at close range.
How are the police and the protestors treating the media and photographers? Is it difficult to work?
The police ignored us for the most part, which was good. I wish I could say the same about the protesters. They seem to be very discontent with their own media, so they would often throw rocks at groups of photographers and cameramen. Once you get close to them and get a chance to explain who you are and what you do, things get easier. The other problem I encountered was the way the police used the gas. The gas projectiles are supposed to be shot upwards at a 45 angle degree. More often than not, they would shoot horizontally, actually taking aim at protesters. A guy was shot in the face a few meters away from me while trying to throw a rock.
Overall, I can’t say it was particularly difficult to photograph. It’s not war photography. Common sense rules that apply everywhere apply here as well. With a little bit of luck and a lot of caution, you can get your job done.
Conflict reporting is a dangerous undertaking increasingly dominated by the work of freelance journalists (as high as 80% of journalists working in Syria are freelancers), most of whom lack the legal, financial, and security resources of large news organizations while working in risky environments. Vaughan Smith, of London’s Frontline Club, and a group of freelance photographers and other journalists have organized the Frontline Freelance Register to address the issue of freelancers putting themselves at risk without the institutional backing of large news organizations (two French freelancers freelancers were just abducted in Syria; James Foley has been missing for 204 days as of the writing of this post). The FFR is billed as “a representative body for freelance journalists exposed to risk while gathering news” and will work to establish and promote industry-wide safety standards and best practices for journalists working abroad in difficult and dangerous circumstances.
If you work in dangerous environments, you can apply to join the FFR here.
Related: RISC trains freelance conflict journalists to treat life-threatening injuries in the battlefield.
“Being in the room with John White when we got laid off was a highlight of my career. About 30 of us got the axe. As soon as [Sun-Times editor] Jim Kirk said they were going to have the reporters produce multimedia for their rapidly changing platforms, I just had to walk out.” -Rob Hart, former Sun-Times Media photojournalist, speaking to News Photographer
We’ve covered lay-offs before (the Paper Cuts website is a good primer on recent history), but this week the Chicago Sun-Times took the unprecedented move of laying off their entire photo staff. Twenty-eight full-time staffers, including photographers and photo editors, were given the ax, and now there’s a major metro newspaper in the US without a photo staff. Among those laid off was the great John H. White, 1982 Pulitzer Prize winner and elder statesman of news photography, who’d worked at the paper for 44 years. Read Scott Strazzante’s ode to the photographer, The Great John H. White. Now, here’s a photo of White and others receiving their walking papers.
The Sun-Times says the reason for the lay-offs was a general move toward video and multimedia, and that still photo needs would be filled by freelancers and reporters who will be trained in “iPhone photography basics.” I always find it curious that newspapers expect reporters to fill the roles of photographers and newspapers after lay-offs; I’ve never heard of photographers being asked to take on the writers’ roles after a round of cuts. Here’s a May 30 story published by the Sun-Times featuring an awful photo taken by the writer of the article to give you an idea of what the paper’s visual coverage might look like going forward.
Here are a few reactions to the news that are well worth a read:
- Poynter: John White on Sun-Times layoffs: ‘It was as if they pushed a button and deleted a whole culture’
- Alex Garcia: The Idiocy of Eliminating a Photo Staff
- Vincent Laforet: How to ensure your extinction: look at what newspapers are doing
- Jeff Jarvis: To the Dauntless Lensmen
- Allen Murabayashi: How the Internet Killed Photojournalism
- Black Chicago in the 1970s, through the lens of John H. White
- An open letter to the Sun-Times owners, by Jerry Burnes, news editor at the Williston Herald
- New York Times: Do Newspapers Need Photographers?
- Fake craigslist soliciting iReporters for the Sun-Times (mirror)
- some photos of Sun-Times photo staffers after receiving the news
And for anyone who’s been laid-off (in news local to me, Boston University just laid-off their entire photo staff), know that things will get better. Here are resources from the NPPA for laid-off visual journalists. And here’s Chip Litherland’s open letter to newspaper photographers.
At Popular Science, we’re pretty good about paying for work; I’ve certainly never asked someone to write a piece for free (photography, sadly, is a totally different story. I feel for photographers!). -Popsci.com editor Dan Nosowitz in a discussion between editors on paying writers
There’s been a lot of talk in the past few days after Nate Thayer posted on his blog about an Atlantic.com editor asking him to write for free. There’s a good summary of the events here. To any freelancers, it’s a common enough occurrence. If you haven’t seen Fuck You, Pay Me, start there. The Atlantic has issued an apology to Thayer, no doubt due to the attention given Thayer’s blog post.
One of the most interesting things to come out of the discussion, though, is a branch thread (?) involving editors and writers from a number of well-known online and print publications on the subject of paying writers for work. It’s called How Much Should A Writer Be Paid, If Anything. The quote above, about the sorry state of payment for photography for online journalism, is cherry-picked from well down in the discussion, but the rest is definitely worth a read for insight into how online publications compensate their contributors. It’s a very interesting look behind the curtain of pageviews and budgets.
And while the situation for writers isn’t rosy, the quote at the top shows it can be even worse for photographers (as we all know). I was happy to read last year (search for “Well, I think it has to do with paying people”) that the NYT’s Lens blog has started paying photographers. Ironic for this discussion, the Atlantic’s In Focus blog, one of the premiere photography showcases online, doesn’t pay photographers last I checked (see update below; the blog does pay for wire service subscriptions). As more and more media entities get into the online photography game, it’s important to make sure photographers are paid fairly for their work.
Update: Thanks to In Focus editor Alan Taylor for adding to the discussion with his comment down below.
I met Camille Lepage in South Sudan last September when I arrived in the capital Juba on a two-week assignment. She had already been living there for almost two months, and has been there ever since. She was a huge help in getting our story off of the ground and filling my colleague and I in on how South Sudan works, with all the necessary tips and tricks that help make things happen there. And there are a lot of tips and tricks needed.
At the time she had just finished a stint at a local newspaper, The Citizen, and was starting work as a stringer for AFP. Since I met her, she has traveled all over South Sudan and the border region and begun to produce impressive stories on her own. I wanted to feature her project “The Silent War” from South Kordofan, which was was photographed in October and November last year and published this week in Le Monde. We also wanted to ask her a few questions about what life is like as a freelance photographer in South Sudan.
Dvafoto: When did you arrive in South Sudan?
I arrived in South Sudan in July 2012, just after finishing my degree in journalism at Southampton Solent University in the UK.
What was the main story you wanted to cover when you set out?
The wars at the borders with Sudan really pushed me to come to South Sudan. They are going on in complete silence and I have always wanted to cover underreported (if reported at all) wars or humanitarian crises, so I figured going to South Sudan, which was a new nation under construction, would probably be a good way to start. On top of that, I thought it was very unfair that a one year old country was constantly referred to as doomed or failed so I wanted to see it for myself and perhaps bring some new light on it.
How has the story you’re pursuing changed?
I think I really have two main focuses. The first is the humanitarian crisis in both Blue Nile State and South Kordofan where locals are being bombed by the Sudanese government, where NGOs and journalists are forbidden. Since June 2011, it has led hundreds of thousands of people to be displaced to other countries. I didn’t think I would spend so much time and energy on this, but after having spent 3 weeks in South Kordofan last November, I know I have to go back as often as I can. I also want to make my way to Blue Nile, which is trickier and much more costly too. Also, I can only go to those places during the dry season, when roads are practicable, so from November to May. I also need to finance those trips by working for NGOs at the same time, it’s a little challenging.
The second story is on the quest for identity of South Sudan and how a country that has been at war for decades can become a united nation. I’m looking the obstacles such as lack of infrastructure, which results in the lack of health care and sparks tribalism around the country but also the way forward, like a youth which wants peace and education.
How are your pictures getting out? Where are they being published?
I started freelancing with AFP when I arrived so through them they are often published in The Guardian, Time Magazine’s Lightbbox, BBC, sometimes on the NYT Lens Blog etc. For my personal projects, I’m pitching them to pictures editors here and there, the South Kordofan story was published in Le Monde, but I’m hoping to have it published in other places soon. The other one isn’t ready at all, so I’ll wait until I feel I have some good material to pitch that too.
In general, what is life like for a photographer like you in South Sudan?
Life isn’t easy, really. Everything is very expensive here, I used to rent a tent at a hotel for 600$ a month. Now I live in a local house far from the town and without electricity, but it’s only 200$ a month. I obviously don’t have AC or a fan, so the temperature can go up to 38 degrees at night. I got used to it though, and now whenever I go to the field, which should normally be more rough, I have more comfort. I always think it’s quite amusing.
At the moment, we are only two photographers in the country so we can quite easily get assignments with NGOs and UN agencies, but I only do so to pay my bills and finance other reportages.
At first, people here are seriously reluctant to be photographed. They get very very aggressive, I even had my life threatened a few times when I wanted to photograph people. I’ve learnt how to approach them, so it’s becoming easier and easier every time. But it takes time!
Are there many other photographers there? Are they staying as long as you?
We were four only a few months ago, now we’re two only. I think just like most foreign correspondants, stringer photographers stay between one and two years. There are also some people who come over for a one week or two on assignment.
What is the benefit to staying longer?
You get a much better understanding of the place. Especially in a country like South Sudan where everything is logistically complicated, you need to know the rules, to understand the ‘un-said’, discover how to approach people, to make them trust you too. After six decades of war, the South Sudanese are very suspicious of spies, and they remain in this ‘war spirit’ when you know at any time things can go wrong if you say something they didn’t want to hear. On top of that, it’s really a fascinating place, they are so many stories to tell, and it takes time to get proper insights of it.
What is one story that you wish you could be covering in South Sudan that you so far have not been able to, due to access or due to resources?
Apart from the Blue Nile story that I previously mentioned, I’ve been meaning to go and spend some time with the Murle tribe in their cattle camp in Jonglei state. Cattle camps are huge areas where armed kids are keeping hundreds of cows (cows show the wealth of a family and often are used for securing a bride). Traditionally the Murle go and raid other camps to steal their cattle either as an initiation into adulthood or to simply increase ther ‘wealth’. They often end up in very violent fights between the tribes unfortunately. The Murle are also said to be sterile, so at the same time they steal children from other tribes; but there is very little documentation on the Murle, so I’d like to see it with my own eyes. I haven’t managed to cover it yet as the UN are forbidding journalists to go to Jonglei state because of security issues, and no NGOs are able to facilitate journalists to go there because the area is too sensitive.
What is your background in photography, where is your home?
I don’t really have any photography background. I studied print journalism, but was more than often interested in the visual part in each story. It clicked about one year ago, what I was really into was photojournalism and I decided to go for it. When I arrived in South Sudan, I introduced myself as a photojournalist, despite my very meagre portfolio at the time. I think people didn’t take me very seriously at first, but I worked hard and still do, so I think they see me a little differently now. and I’m from France!
In 2011 writer Pete Brook took his blog Prison Photography on the road. He used Kickstarter to successfully fund his trip, and produced a number of interviews with photographers, prisoners and activists, gave six lectures and visited three prisons. Last year the project grew in to the exhibition Cruel and Unusual at Nooderlicht in the Netherlands, with a newspaper-style exhibition catalogue and an upcoming Prison Photography on the Road (PPOTR) book.
After he was safely back in Portland last fall, he and I were discussing some of what he had accomplished and what he was thinking about doing next. Fortunately for us, he agreed to an interview so I can share some of his interesting insights and ideas. It has taken a while for us to find the time to put this together, but I’m excited to share some of Pete’s reflections on PPOTR and how he sees his work as a writer and curator evolving. It is especially relevant for other photographers and bloggers as they think about producing work ‘across platforms’ and offline, and what is possible when engaging and collaborating with our community at large.
dvafoto: I heard through the grapevine that you had an interesting experience right as you hit the road?
Pete Brook: I think you’re referring to my arrest. Before the trip began officially, I was in California. I’d been at a wedding, dancing and drinking in the sun all day. When the after-party began to die down, and being a gent, I offered to walk a couple of ladies home as they were across town and not staying at the hotel. Along the way, I took a piss on a palm tree (not so gentlemanly).
Thirty seconds later, two California Highway Patrol squad cars pulled up. I was pulled aside and told that urinating in public was an offense. I didn’t think a discrete piss on parkland at 5 am would land me in jail so I may not have taken the interaction as seriously as the officer expected.
I was on the road, had no permanent address, I was a bit merry, had no ID with me and was generally bemused as to why so much attention had fallen upon me. When asked if I would answer the officer’s questions, I said I didn’t feel compelled to do so. He took my wrist, turned me round, cuffed me and walked me to his patrol car.
The officer said, “We’ll do it your way. You could be in jail for days, weeks, months, even years.” A nonsense statement. He was reacting emotionally to the situation. Not good. He was also proving who had the power. I’m guessing it was late in his shift and he may not have had the patience for an inebriated me. I get that, but his solution, so to speak, was unnecessary and disproportionate.
I was in jail for 9 hours (as quick as they process anyone, I was told). Upon release, I was served with a court date and faced two misdemeanor charges of ‘Disorderly Conduct’ and ‘Willfully Resisting Arrest’. Just ludicrous. The court date was two weeks away, by which time I had scheduled to be in Ohio. I had to juggle my itinerary, bring all my Southern California appointments – that were to be in the last week of PPOTR – forward, and extend my research in the Bay Area.
Two weeks later, at the courthouse, I didn’t even see a judge. Not wanting to waste court time, the District Attorney threw the charges out. Common sense prevailed but not before I’d been inconvenienced.
The arrest nearly jeopardized PPOTR’s main prison visit, to Sing Sing in New York State.
Visitors to prisons must go through a criminal background check and mine flagged the arrest. So, now the New York Dept. of Corrections knew of the interaction, but had no details. I had to explain that no charges were brought and scramble for the paperwork to back up my claim. The workshop I did with the men in Sing Sing was a highlight of the trip and it would have been a sore loss to miss out.
I remain in the system. I am interviewed about the interaction by Customs & Immigration every time I re-enter the U.S. I’ve been told the record cannot be updated to include the info that there was no conviction; I’ll have to go through the same conversation every time I travel from overseas.
The experience was not great, but the irony could not have been greater. If I can get a copy of my mug shot it’ll be my press-photo for life!
Now that you’ve finished the fieldwork for PPOTR, co-curated an international exhibition, and printed a newspaper, do you think that Prison Photography the blog will change at all?
I’d like to say no, but it probably will. Not because of these projects but because more like them are in the pipeline. These emerging projects will take away from my time at the keyboard-helm.
Before I tell you about those new developments, I should say that PPOTR was designed to test the limits of the blog, test my stamina with the issues and test the reception of the public. In some ways, maybe I could or should have had the imagination to take on new formats earlier?
Directly out of PPOTR came the opportunity to co-curate Cruel and Unusual at Noorderlicht and that was a phenomenal privilege. Given how much I enjoyed that there’s no reason to draw back from activities outside the blog.
Cruel and Unusual travelled to the Melkweg Gallery in Amsterdam last April and then to Photoville in New York in June. This year it will show in Ireland and Australia. There’s some logistics involved in making those exhibits happen, and Noorderlicht and Photoville are greasing the wheels with that.
I initially planned to self-publish the Prison Photography photobook for the PPOTR Kickstarter backers, but Silas Finch a non-profit photobook publisher expressed interest and I decided to make it a bigger production … and print run.
We’ve signed on the dotted line and I’m writing the text for it now. The image edit will come in the summer and we hope to release it later this year. It’s wonderful to have, again, institutional support.
A couple of photographers working on the topic of prisons have expressed interest in collaborating on books and that interests me, but it has to be right for them too. That might sound silly, but how many essays would I need to do before I became the guy who writes introductions for prison photography books? Not many! It’d be good bylines for me, but not necessarily for the photographer. As a reader, I generally enjoy photobook essays that are not about the photography per se but about the larger subject and there’s many activists, advocates and academics who can write better on aspects of the prison system than I. Perhaps one or two essays will get done in time.
Furthermore, I just agreed to curate a photography show on the East Coast in January 2014. It’ll be an entirely new collection of works with a new curatorial statement.
After submitting pictures from Aleppo this week Rick Findler was told by the foreign desk that “it looks like you have done some exceptional work” but “we have a policy of not taking copy from Syria as we believe the dangers of operating there are too great”. -Sunday Times tells freelances [sic] not to submit photographs from Syria
The British newspaper, The Sunday Times, has told a freelance photographer not to submit photos from Syria because the risk of working there is too great. After sending pictures from Aleppo, Syria, to the paper for consideration, conflict photographer Rick Findler was told that the paper has a policy not to look at non-commissioned reporting from the country. It’s an interesting development for the photojournalism industry, especially since closures of foreign bureaus have increased news publications’ reliance on freelancers for international reporting. Conflict reporting is a dangerous and expensive operation, and when things go bad freelancers lack the institutional support afforded to staff reporters.
Speaking to the Press Gazette, The Sunday Times policy deputy foreign editor Graeme Paterson cited just these concerns in explaining the paper’s policy against hiring freelancers to cover Syria or license their work from the region even after the reporter has gotten out of the country. Speaking on the matter, Paterson said, “…we take the same view regarding freelancers speccing in material. Even if they have returned home safely. This is because it could be seen as encouragement go out and take unnecessary risks in the future. The situation out there is incredibly risky. And we do not want to see any more bloodshed. There has been far too much already.”
There are two new Tim Hetherington biographies coming out soon.
Longtime friend and collaborator Sebastian Junger created a film documentary called Which Way Is the Front Line From Here: The Life and Time of Tim Hetherington. The film premiered last week at Sundance to favorable reviews. HBO will air the film on April 18 of this year.
“Huffman recounts Hetherington’s career in chapters that expand on the many conflicts the photographer covered: the Liberian civil war; the genocide in Sudan and its spillover into Chad; the American occupation of Afghanistan. His point, though not stated explicitly, seems to be that you can’t understand Hetherington without understanding the violence he was drawn to document. Huffman succeeds in immersing us in Hetherington’s daily reality while in conflict zones, and many excellent interviews with friends and colleagues add a personal dimension to the photographer’s extraordinary life.” -Unfinished business: A new biography of photojournalist Tim Hetherington reflects on a too-short career, Columbia Journalism Review – Jan 2, 2013
Alan Huffman’s print biography of Hetherington, Here I Am: The Story of Tim Hetherington, War Photographer, will be published this March. The book recounts Hetherington’s life through the conflicts he photographed. The Columbia Journalism Review has a review of the book worth reading. The book is available for pre-order at Amazon.
This was a very interesting year for me, definitely the busiest since I moved to Belgrade, Serbia in February 2009, filled with lots of travel and some interesting assignments. Notably I had the chance to visit Africa for the first time, on assignment in South Sudan, and received the Burn Magazine Emerging Photographer Fund Grant for my ongoing project “Only Unity”.
I started the year in England, then was in Sarajevo for a story about the 20th anniversary of the start of the war there. My mother came to visit me in Belgrade in April, but our trip was interrupted by Presidential elections in Serbia, which I covered for the Wall Street Journal. That assignment led to one of the strangest days of my career, when I photographed both Serbian President Boris Tadic and former NYC Mayor Rudy Giuliani hours apart in the same TV studio (see the WSJ article about Giuliani in Belgrade).
Soon after I was documenting the destruction of the Belville Roma settlement. My friend Darko Stanimirović and I handed out disposable cameras to residents of the camp so that they could document the eviction themselves. We published a multimedia piece at Newsmotion.org with these community pictures alongside Stanimirović’s audio recordings, a text by Alan Chin and some of my pictures as “The Sound of Barking Dogs: The Eviction of the Roma from Belville”.
In September I was in South Sudan reporting a story about the future of the Jonglei Canal and the issues of water rights for the youngest country on the planet. The project was commissioned by Austrian magazine 2012, an interesting one-year-only magazine published by Red Bull Media House. I have included a few images from the project here, but for now the only other pictures online are the tearsheets from ’2012′ which you can see on the clips section of mattlutton.com.
I also spent a total of four months in the United States, and was able to finally visit the area of the former Republic of Serbian Krajina in Croatia to document the remnants of Serbian life there. I was invited to be on the jury of the Organ Vida international photography festival in Zagreb, and was a speaker and juror at the “Foton” Makarska Photo Days Festival.
The biggest news of the year for me though was the Burn Magazine Emerging Photographer Fund Grant, which I received in June for my project “Only Unity”: Serbia In The Aftermath of Yugoslavia.
The response to the project has been very exciting, and I’m eager to finish the work this year. If you would like to know more, have a look at one of the interviews I did last year following the announcement: “Award-Winning Project Documents a Fractured Serbia” with Pete Brook at Wired’s Raw File blog, “Picture Story: Holding up a Mirror to Serbian Nationalism” in PDN Magazine (subscribers only unfortunately, see what it looked like in print here), and my chat with fellow EPF-finalist and friend Ian Willms on “BOREAL Spotlight: Matt Lutton, “Only Unity””.
Thanks again everyone for continuing to follow Dvafoto and supporting all of the photographers we feature here. I wish you all a fun and successful 2013!
Prasiit Sthapit is a photographer based in Kathmandu, Nepal. I was introduced to his work by Sohrab Hura recently as he wanted to share some of the work of photographers he had met and tutored at a workshop in Kathmandu last fall. Sthapit’s project “Change of Course”, presented as an multimedia piece, immediately impressed me. Striking pictures mixed well with gorgeous music and documentary audio; it is evocative storytelling for such a hard to illustrate political and climate change story.
The story is also presented simply as photographs and text on his website, and you can get a chance to admire the quiet, intimate photographs themselves. Sthapit also describes the project as a work in progress, and that we will see more family photographs and found objects along with the photos of the place.
Change of Course
“We fought a lot for Susta, we suffered a lot in Susta. We didn’t know when we would be killed. Even after all that, we survived. But in the end, Gangaji swept us away,” Rajkumari Rana (Muwa), reminisces. I met Muwa, 79 years old and blind, at her house in Keulani,Triveni. She was one of the first settlers of Susta. Having come here from Kathmandu with her daughter and a small bag of belongings in 1967, she worked as a schoolteacher, headmistress, local leader and also as night patrol. She remembers times when even women had to patrol at night, with sticks in hand as protection against dacoits from Bihar. There had been numerous clashes in the past, which had wounded many and killed some.
Susta was once perched firmly on the west bank of the Narayani River, which has long been considered the border between Nepal and India. But with the river changing course, and cutting persistently into Nepali territory, the village today finds itself on the east of the Narayani. India maintains the new course of the river as the boundary while Nepal disagrees, making Susta a small, contested portion of Nepal within India, surrounded on three sides by Indian land, and on the fourth by the Narayani. The original settlers now express anger at the fact that they have been sidelined by both India and Nepal.
The flood of 1980 shifted the land to the east, displacing the whole village in the process. Muwa was among the displaced. The government gave each family a small plot of land in nearby villages of Triveni Susta VDC for temporary settlement, but this generosity was limited to those with Nepali citizenship. There were quite a few who were originally from India, and others needing a place to hide.
After the floodwaters receded, the people who were not given land parcels started returning to Susta, although it was now nothing but sand and rocks. They worked in these barren conditions, trying to get whatever little they could out of the land. Meanwhile, the Border Security Force of India was gradually preparing to encroach on Susta. It is estimated that 14,860 hectares have been appropriated through Indian encroachment thus far.
Dva: How did you come to produce “Change of Course”?
Sthapit: This project was first conceived for an exchange programme between Oslo University College, Norway, Pathshala, Bangladesh, Drik India and photo.circle, Nepal. I had already thought of it as a long term project and later on while the project was ongoing, Sohrab was also very much involved with the editing and the look of the project. (we had a workshop with Sohrab on September, 2012). He also gave me a lot of insights on how to continue the project further. By the end of the workshop with Sohrab we had to come up with somesort of a presentation and he suggested I do a projection.
How did you decide on the format of this video, with sound and audio and stills-as-motion? Are you showing it any other way, such as an exhibition of single photographs or some other medium?
While I was out photographing the place, I didn’t have anything concrete in my mind (I wanted the experience there to guide me along the way) so I collected everything that caught my interest. I recorded interviews with the people because even though I try to share my own experiences with the people there, I want them to speak for themselves. Sound is also a very important element in the whole story, if not the most important one. The family photographs also do the same. Photographs in the villages are prized possessions, they cherish these pictures. This is the way they want to be portrayed. The story is currently being exhibited as a print exhibition in Kathmandu International Art Festival, Kathmandu which also includes sound installation. The sound used in this is different than the one in the video.
Can you tell me about the music you chose?
The song that goes as the background is by a Nepali neo-folk band called ‘Night’. The song talks about the flood that waged havoc in Nepal in the river Koshi a few years back. I thought it would be appropriate for the piece and the music felt just right. As it doesn’t over power the piece with overwhelming sadness. I felt the sounds, the voice and the music gave a sense of community, a village.
Prasiit Sthapit is a Kathmandu-based visual storyteller whose work deals with societies at the borderline, both literally and figuratively. Through photography, he chooses to show the experiences he has shared with the people he has met, and what they mean to him. He graduated from Manipal Institute of Communication, India with a Bachelors in Arts (Journalism and Communication) and was the recipient of the Dr. TMA Pai Gold Medal for Best Outgoing Student, 2010. He is associated with Photo.Circle, an organization working towards building a strong community of visual storytellers in Nepal, and Fuzz Factory Productions, a multimedia collective.