Category Archive: projects
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!
A few years ago, I stopped talking about my work completely. I found that the process of trying to explain it to others got in the way of my own attempts to understand it myself. But this is a TED talk and I very much wanted to accept the invitation to be here. So, I’m going to show you some of the images that I’ve made and to go with them I’ve stolen some words. Some as you’ve heard from T.S. Eliot, some from James Agee, from Tom Waits, from Herman Melville and from Wim Wenders. And I’ve added a few of my own.
- Mikhael Subotzky at TEDxStellenbosch
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.
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.
At that extreme distance [44miles] vision itself collapses. Literally you can look as hard and with the most powerful equipment you can and there is nothing to see. Because at those distances there is so much heat and so much haze and so much turbulence in the atmosphere that the photons that make up light are literally coming apart from each other. Color is literally coming apart.
Now it turns out that it is harder to take a picture of something on the ground that is 30 or 40 miles away than it is to take a picture of Jupiter, for example, that is hundreds of millions of miles away.
You come up against the physical limit of vision. That is really what you see in the photograph, is you see vision falling apart. Now at the same time it is a photograph of this weapons range, but it is also a photograph of the impossibility of trying to see this weapons range in a certain way.
We have previously written about Trevor Paglen’s groundbreaking photography projects about military patches, spy satellites, CIA Black Sites and Limit-Telephotography but I just came across this video interview with him explaining the physical limits of light and photography that his work about “black sites” is confronting. An interesting thought.
In May we interviewed the Serbian photo collective Kamerades and showed pictures from their group project about the Serbian elections called Dirty Season. This week Saša Čolić released his short film that is part of the same project. The film “is aimed at bringing attention and addressing the causes and reasons for apathy and desolation within the Serbian political process. This is also part of a global problem of voters disinterest and apathy in the political dialog.”
Filmed/Directed by: Saša Čolić / Kamerades
Script: Danka Sekulović
Editing: Maja Yuill and Jelena Vidaković
Project coordinator: Photography Development Center
I couldn’t be more ecstatic and proud to congratulate Matt, the other half of dvafoto, on winning the Burn Magazine 2012 Emerging Photographer Fund award for his long-term project Only Unity: Serbia in the Aftermath of Yugoslavia. Announced in a video presentation at Look3 and online at Burn, Matt’s piece was chosen out of over 1,000 entries by an all-star jury: photojournalist Stephen Dupont, National Geographic Senior Photo Editor Sarah Leen, National Geographic Creative Director Bill Marr, photographer Rebecca Norris Webb, LaFabrica Madrid editor Arianna Rinaldo, and Magnum photographer Alex Webb. The video isn’t embeddable, so click here or on the modified screenshot above to watch the whole presentation.
I’ve had the pleasure of watching this essay grow from the beginning and helped with a few edits over the years. The early fits and starts (some of which you might have seen when this blog was nothing more than a cooperative photoblog) gave way to a century-spanning examination of Serbian identity. As the years went by, disconnected images found place in this narrative and Matt found his voice. It’s a powerful piece, and I know he’s got bigger plans for the work. In the meantime, we’ll have a discussion here on this blog about what went into this project and what it tells us. For now, we’ll have this public congratulations and a hearty “Huzzah!” for Matt. If you see him in Belgrade (or in the US this summer) be sure to give him a knowing nod and buy him a drink. And stay tuned for more.
Congratulations also to the other finalists and runners-up in the contest this year. The 10 essays shown in the video at Burn are stellar, and each deserving of their recognition here. The finalists were: Ian Willms, Gustavo Jononovich, Ayman Oghanna, Laia Abril, Danny Wilcox Frazier, Bieke Depoorter, and Anastasia Taylor-Lind. The two runners-up were: Simona Ghizzoni and Giovanni Cocco.
Kamerades is a new collective of photojournalists based in Belgrade who have come together to help develop independent photography in Serbia and to work on group projects documenting contemporary stories. They are currently working together to photograph the Serbian presidential and parliamentary elections, which will take place on Sunday May 6, 2012. These six photographers are contributing their own hard-edged and sardonic vision of the Serbian electoral process and how it reflects Serbian society. They call the project “Dirty Season”.
I think it is an important step for this group and Serbian photography in general to work on such collective projects, with financial support, and to have a community of like-minded photographers working together to get photographs published in their own voice. It is not easy, especially not here, but I admire their energy and efforts. With this in mind I had a few questions for the Kamerades crew about their formation and backgrounds. Given the timeliness of their new project with the elections this week, I chose not to show a portfolio of their work but this current electoral group project which I am so excited about. It is an incredible portrait of Serbia during this election cycle.
Kamerades is Saša Čolić, Nemanja Jovanović, Milovan Milenković, Nemanja Pančić, Marko Risović and Marko Rupena. As a group they regularly post to the Kamerades Blog including updates to the Election story, which they present without captions or credits.
So how did this group of photographers come together? Where did you meet?
Jovanovic: Marko Risovic, Milovan Milenkovic and I participated in a photography lecture supported by World Press Photo back in 2009. That was the first time that we showed some of our work to a group of people larger than three. I was swept by Marko [Risovic]’s Legionnaire story for example and one thing led to another. Milovan suggested that we meet and talk about doing “something” for Serbian photography, even if it means taking only baby steps. After two years of meeting in various pubs and places that would be too generous to call restaurants, speaking and inviting over 20 people to join us, this is what came out of it.
Pancic: Milovan Milenkovic and Nemanja Jovanovic initiated the idea that after our work when we have free time, we can meet at the pub and discuss our work. At first point it brought together a large number of photographers, but over the time there were six of us remained and those were the most persistent ones. During this period, which lasted some two years, we have become a collective. It’s started to affect in a positive way to all of us as photographers, but we also became close friends. In the end we decided to launch a website that allowed us to show our work to the public.
What backgrounds as photographers do you have? Freelance, agencies, newspapers?
Jovanovic: Probably every possible background you can think of! In Serbia, you don’t get a paycheck doing and specializing in only one kind of photography.
Risovic: All of the guys in Kamerades collective were working for Media outlets at some point. At the moment few of us are trying to freelance. In Serbia. Can you imagine?
Pancic: Some of us are working in the agencies, some try to be freelancers, and some in the press.
Was there a moment when this group came together and decided that it was time to work collectively? What was it? What gave you guys the idea to work together?
Jovanovic: Yes. The idea was not so clear in the beginning, but it was there all along. From start we were determined to “push each other forward” and to try to do what we like for no other reason. No money, no awards, fame or glory were important, only escaping our everyday routine which included participating in the inevitable decline of journalism, photojournalism and photography in Serbia. The collective came as a logical solution.
Risovic: Being colleagues, working next to each other for years, we were silent witnesses of degradation of photojournalism in Serbia. We realized that sitting and despairing doesn’t lead us anywhere. So, we decided to pursue some action, and besides hanging around, talking and drinking in the pubs, we tried to be constructive. As Nemanja said before, it was a process, but it was clear from the very beginning that we all have common goal.
How did the website come together? What are you hoping to accomplish with the website (that is, to sell work? to share pictures? promoting yourselves, promoting Serbia, just looking bad-ass, etc.)? Where did the design and logo come from?
Jovanovic: It took some time. We are not experienced in that kind of stuff, so we were learning the basics, step by step. We were lucky enough to be 6 people with completely different interests, knowledge, personalities, approach in photography, but we somehow clicked perfectly together, and it resulted in the fact everybody got their part of job. Mostly Sasha who whipped and pissed off rest of us (or, took the piss out of the rest of us), and Milovan who did logo and design details after approximately nine million e-mails and discussions about the same issue. Also, we had a lot of help from friends, like our colleague Darko Stanimirovic who did the website. A lot of people gave different advices, Matt Lutton among them [ed: happy to help guys!], Donald Weber from VII agency and our friends photographers, designers and editors from Serbia and abroad.
Selling our work is every photographer’s job of course, but with this portfolio we mostly seek attention and hope to sell something in the future, maybe to get some assignments that would suit our style/wishes. And looking cool is one of the goals, of course! We are pretty much terrible musicians and we couldn’t be rock stars, so we took cameras. Chicks love it!
Pancic: As I said before, the website has come as a result of our meetings during the past two years. One idea that keeps us together is that we want to show our work to world around us, we believe that as a collective we have a better chance to get more publicity and through joint actions provide us new projects. Logo design came from a smart push by Milovan Milenkovic, multitalented and good looking guy.
Risovic: Basic thing that bothered us from the beginning was the fact that when you simply google documentary photography and Serbia together, you don’t get any of the serious websites with representative work. There are great documentary photographers and photojournalists in Serbia. Believe us! We hope to change this with our website. And to look badass, it goes well with the fame.
Read on »
In partnership with BagNewsNotes (first post), I’m photographing the New Hampshire Republican presidential primary race this week. I’ve photographed the candidates over the past few months, but it’s crunch time now.
It’s a fast-paced environment filled with a lot of media and political players and a few members of the local public. I’ll post updates periodically here, and BagNewsNotes will have some analysis of the themes that may or may not be seen in general media coverage of the race. The pageantry of it all interests me, but so do the little details hard to see on TV or away from the main events, such as you can see above: Santorum’s gilt-edged Constitution that looks like a Bible, Newt Gingrich’s security team eating cheesesteak sandwiches, the media scrum surrounding candidates everywhere they go, etc.
You can see more from yesterday in my archive: NH GOP Primary – 2012 Jan 5 – Gingrich and Santorum
Editors, get in touch if you need anything from up there.