“This is it. This is your country. This is what I saw.” – David Guttenfelder
David Guttenfelder, Associated Press Chief Photographer in Asia, has made 30 trips and stayed 100 days in North Korea, one of few Western photographers with regular access to the isolated country. The AP was the first news organization to open a bureau in Pyongyang, in January 2012. Guttenfelder, an American photographer who has been a finalist for the Pulitzer Prize seven times and has won seven World Press Photo awards, oversees the bureau’s photography and staff.
He posts regularly on his instagram account (@dguttenfelder), including images transmitted directly from the streets of Pyongyang since he was first allowed to bring a cell phone in to the country in February 2013. Just Something magazine published a blog with 41 of his instagram images that are well worth checking out; the feeling we get with instagram and mobile photography – casual, personal, instant – is very interestingly applied in the context of the “hermit kingdom”. These are not images we’ve seen before.
Guttenfelder is in a unique position to document a country that had almost no independent photographic record for 60 years, and luckily for all of us he is doing a wonderful job and is very eloquent about what he is trying to accomplish. National Geographic, who recently sent him on assignment in North Korea, invited him to speak at a recent National Geographic Live! event, and they’ve published a video of his talk.
After earlier comparing his vision of North Korea on his first trips to the country to the movie The Truman Show he talks about his mission as “trying to interpret reality, trying to reveal what is real inside the country.”
This is one of the more inspiring videos about photography and how it can be used that I’ve seen in recent memory.
Trent Parke‘s books are hard to find. When Alec Soth’s Little Brown Mushroom published the weird little Bedknobs and Broomsticks, the $18 limited edition book quickly sold out and secondhand copies showed up on ebay for $200. Now, Parke’s 2012 book (first published as 19 photos in 2005 by Filigranes Editions), Minutes to Midnight, published by Steidl, appears to be out of stock everywhere. Photoeye has it for $75 on backorder. Magnum has the book for $150 with a proviso that “price will increase as stock sells out.” However, there’s a possible workaround at Amazon.
Minutes to Midnight is listed at Amazon for $33.88 + shipping. The page says that the book is temporarily out of stock, but last week a friend on Facebook said that theirs had shipped. I ordered one on a whim a couple days ago, and just received confirmation that the book has shipped and will be delivered this week. Amazon won’t charge you until it’s ready to ship an item, and you can cancel at any time, so it’s worth placing an order in case they get some more copies in.
You can see images from the project, a roadtrip across Australia starting in 2003, on the Magnum site.
Parke’s previous books, Dream/Life, the Seventh Wave (with wife Narelle Autio), and the Christmas Tree Bucket, are sort of available on Amazon. Dream/Life (images) is $1595, the Seventh Wave (images) is $690, and the Christmas Tree Bucket (images) is only $30.53, as of this writing.
By the way, if you click through our links to buy anything here, we get a small cut of the sale. It’s a way for us to keep the lights on here at dvafoto. Thanks to those of you who have clicked through us in the past! Consider bookmarking this link to Amazon. It doesn’t change prices for you and gives a small portion of the sale to dvafoto.
A week or so ago I posted this photo from Dutch newspaper de Volkskrant on dvafoto.tumblr.com, but in retrospect we wanted to feature it on the main blog as well. It is an important demonstration of what press freedom and access to power is all about and the inherent hazards in allowing government entities (or any other group) to provide their own coverage. The images may emerge from a democratic government, but they really won’t look much different than the propaganda released from a dictatorship.
This is the essence of a debate that has been raging since the Fall about access to President Obama’s White House (and before that, honestly: Scott wrote about issues of photography in the White House days after Obama took office). Ron Fourniner’s article in The National Journal titled “Obama’s Image Machine: Monopolistic Propaganda Funded by You” has a thorough account of a meeting that took place on October 29 in the office of White House Press Secretary Jay Carney. At that meeting New York Times photographer Doug Mills laid out the complaints of the White House Press Corp about access to the President’s activities, and likened the White House’s activities to the Soviet Union’s state-run news agency TASS, whose successor ITAR-TASS, and fellow state-run media RIA-Novosti, is more recently known for supplying famously heroic images of Vladimir Putin to the international media.
Doug Mills’ meeting with Jay Carney was followed up by a letter hand delivered to the White House on November 21st (PDF), signed by a number of prominent media and media advocacy organizations, including the National Press Photographers Association, The New York Times, The White House News Photographers Association, ABC, CNN, NBC, Getty Images and the Associated Press. The AP also issued their own statement about this issue. Santiago Lyon, AP Vice President and Director of Photography, answered questions on the AP’s own blog:
The photos on that page [The White House official Flickr page] are visual press releases and are carefully vetted by administration employees before distribution. Such images are increasingly offered to the media by the White House in lieu of real journalistic access and we and other media organizations find this unacceptable. Media organizations generally do not reproduce written press releases verbatim, so why should we settle for these official images?
Santiago Lyon also penned an op-ed for The New York Times on December 11, 2013: “Obama’s Orwellian Image Control”. If you are interested in this topic, it is a critical piece to read. He reiterates his point above:
The official photographs the White House hands out are but visual news releases. Taken by government employees (mostly former photojournalists), they are well composed, compelling and even intimate glimpses of presidential life. They also show the president in the best possible light, as you’d expect from an administration highly conscious of the power of the image at a time of instant sharing of photos and videos.
And he ends with strong and wise words:
Until the White House revisits its draconian restrictions on photojournalists’ access to the president, information-savvy citizens, too, would be wise to treat those handout photos for what they are: propaganda.
Part of this issue is the distinction between public and private events. Some editors and photographers are arguing that when the White House releases its own images from events on social media – such as Presidents Obama and Bush meeting on Air Force One en route to Nelson Mandela’s funeral, which was off-limits to the press corp pool also onboard the aircraft – they are demonstrating that the events are not private and are indeed newsworthy. BagNews’ discussion “As Press Battles WH Over Photo Access, Did Media Cross its Own Line Publishing Obama/Bush Mandela Trip Pictures?” provides many good examples of the difference between White House coverage of events and that of the free press, including the Obama/Bush pictures on Air Force One. Another post at BagNews, “Photo Ops and Staging: Beyond White House Access, the Larger Issue is What We Have Access To” by David Campbell, has more examples of the exclusive framing of events that the White House photographers have that they deny members of the press access to.
For more context, photographer David Hume Kennerly talks about his time in the White House in an interview with James Estrin of the New York Times’ Lens Blog. Time Magazine’s Lightbox blog also published an article by former White House photo editor Mike Davis: “The Backstory: Why Photographers Need More Access In The White House”.
Furthering their terrific studies of these issues, BagNews announced this week that the subject of their next salon would be The Debate over White House Photo Access. It will take place on February 9, 2014. I also want to thank Michael Shaw, Publisher of BagNews, for providing me with resources and his insight on this topic.
BagNews argues, rightly, that, “One thing we need are images that address the construction of the image, including pictures showing photographers in the photo, the set-up of the photo-op, or using particular visual strategies such as different angles, depth of field, and framing.” One important function of the press is to create transparency about how the political machine works. Being able to have an independent look at how events are set up and designed is critical in understanding what exactly the events mean.
Time magazine points this out in other ways too with another of Phil Bicker’s great edits of handout photos in a post called “Public Service or Propaganda? Top Handout Photos of 2013″. Bicker posts often on Time Lightbox under the title “Man on the Wire”, and we wrote about one of his post’s last year: “Déjà Vu in 2012″. In this post he shows off all manner of official photographs that have been published in the press.
Besides the White House, Kremlin and the North Korean official news agencies, other notable sources for handout photos include the NTSB (for photos of the crash of Asiana flight 214 in San Francisco and a train crash in New York), NASA (for photos of space research, manned space flight and an unfortunate picture of a flying frog during rocket launch), the Government Communication and Information System of South Africa for pictures of Nelson Mandela’s funeral, the U.S. Army for a photograph of Chelsea Manning.
I’ll finish this roundup with two examples of images that cross more obviously in to the sphere of possible-propaganda, images that look like they could be news photographs but are in fact handed out by political organizations: a photo of bodies of victims that Syrian rebels claim were killed in a toxic gas attack by pro-government forces in eastern Ghouta and a photograph that the Kenyan Government provided from the Westgate Mall attack in Nairobi showing the collapsed roof of a parking garage.
BagNews also provides startling examples of powerful official imagery that has, in one way or another, been made available to the press. “Ready, Aim, Backfire: Police Photographer’s “Rolling Stone Retribution” Photos” examines the photographs of Boston Marathon bomber Dzhokhar Tsarnaev leaked by a Massachusetts State Police official photographer. This is an interesting example of how official photographs might actually undermine the official narrative; see BagNews for more on this argument. Another post, from January 6, 2014, “Even if the Police Report Wasn’t Buried by the Holiday, What Photo Would Make Us Understand Sandy Hook?” is a powerful anonymous essay about the police report and evidence photos taken by Connecticut State Police from their investigation into the Sandy Hook school shooting in December 2012. This post looks closely at the photographs, ponders their meaning (or lack thereof), and asks why they were buried in the Holiday news cycle and rarely published.
The prevalence of handout photos being published in news sources demonstrates the success organizations are having in shaping the narrative they prefer by controlling the photographs that are available of an event. This is something that we should all be aware of, and wary of. There are times and places – for example, the President’s private family dinners and on the launch pad during a rocket ignition – where restrictions on access are acceptable and logical. But so many other times, as clearly laid out in the photos and articles above, this power is being abused. And we the media and the people are right to resist this.
Photographer Adam Magyar, whose slit-camera photographs Scott wrote about in 2009, has a new project called Stainless. It is composed of both massive prints of subway cars and subway riders and innovative slow-motion videos of subway platforms as trains arrive at stations around the world. It is captivating work. And involved a tremendous amount of ingenuity and invention by Magyar to make it possible.
There have been a lot of articles about the work recently so do have a look: Matter has published a feature and interview with Magyar as Einstein’s Camera: How one renegade photographer is hacking the concept of time that I highly recommend. PetaPixel also published a piece about the Stainless videos and followed-up with a link to a fascinating video where Magyar speaks about the technology and code that he developed himself to make these projects work.
Last year, I never got to publishing my 2012 year in pictures. Looking at the draft post that’s still waiting, I had a couple embargoed images that I’d hoped to include. I’m disappointed I never got around to it, because 2012 was the year of my return to Russia. You can see a few of the pieces from that trip on my website: Inside Russia’s Newsrooms, the Reinvention of Bashkortostan, Dinamo Gymnastics. That year, I also drove to the Everglades, covered the Republican Primary in New Hampshire, and went behind the scenes on Scott Brown’s unsuccessful Senate campaign. Here are my year-end-roundups from 2011, 2010, and 2009.
2013 was a busy year. I continued work with my usual clients in the US, primarily around New England for the Wall Street Journal, Chronicle of Higher Education, Education Week, and MIT, and I worked for the first time with some exciting publications: Wired, Polka, American Public Media, International Business Times, and others. My photos appeared in publications in about ten different countries (not including international distribution of publications) on four continents and was exhibited in Europe. And much of the assignment work focused on longer-term stories about deeper issues than the usual quick-hit portraiture that defines a lot of assignment work. I hope to continue that trend.
I traveled to Russia again to take part in the Bilateral Presidential Commission Mass Media Sub-Working Group meeting, traveled to Montana a couple of times (including for my younger sister’s wedding), and spent the holidays in England, all the while adding to little personal projects I’ve been photographing over the years.
The selection above might not be my best or most widely published images from the year, but they’re some of my favorites. Some have personal meaning, some represent a risk I took in my approach, and some feel like I’ve come close to hitting the mark. I’m never content with my work, but as with every year, I’m happy to see a little growth in what I’m doing.
I’ve also completely redone my website. It took a bit of effort (not least because I had to re-edit pictures to a larger size), but I’m glad with what I ended up with. I wanted a more visual design that focused on the pictures (there are a few new projects featured, as well), and also a design that would work well on most devices and browsers. It took a lot of work wrangling bootstrap and wordpress together to do it…
2013 was an interesting year for me, full of travel and new experiences. I was able to see a couple of stories I’ve been trying to produce for years turn into full pieces in major magazines. I was also thrilled to join Boreal Collective, where I will be collaborating with fantastic photographers and good friends of mine. We have a lot of exciting plans for 2014, and you can follow us on twitter or facebook. Another high moment from last year was exhibiting my work “Only Unity” in Belgrade, Serbia in November. It was the first complete solo exhibition of the project I’ve been working on for the last seven years.
It has been a year to take stock and think about how to present the work that I’ve completed in my time living in Serbia and start to plan what comes next.
Today, weeks late as is my tradition here on dvafoto, I present 25 of my favorite images from the last year, presented chronologically. Now I can’t wait to get started on new projects and new endeavors in 2014.
You can follow my work more regularly through my tumblr: onlyunity.tumblr.com and on instagram: @mattlutton. Here are some of the other major happenings in my life and work last year, some of which showed up in my slideshow above:
I completed a story that I’ve been looking in to for the last year about segregation in Roma communities in Slovakia, which sometimes takes the form of construction of barrier walls separating Roma communities from Slovak neighborhoods. The project was commissioned by Vice Magazine and published in April as “The New Roma Ghettos: Slovakia’s Ongoing Segregation Nightmare” alongside an incredible story written by Aaron Lake Smith. More of the project can be seen on my website.
In April I attended the first New York Photo Review organized by the New York Times and James Estrin of the NYTimes’ Lens Blog.
I spent June traveling around Croatia and Serbia for the Dutch travel magazine Columbus. It was great to get off my normal beat in the Balkans and see some beautiful sights and eat very well, especially in Central Serbia near Uvac Canyon. The photographs from Croatia are now available in my archive.
While photographing for Burn I visited Istanbul, Turkey for a friend’s birthday and promptly found myself photographing street skirmishes relating to the Taksim Square / Gezi Park protests we wrote about in mid-June. It was my first real experience with tear gas and rubber bullets, giving me a new perspective on the work all of our colleagues who work in these situations regularly. It is not easy.
In August and October I was reporting in Sarajevo, Bosnia and Hercegovina for the Chronicle of Higher Education for a piece that was published as “The Science of Hatred”. My pictures and work was published alongside Tarik Samarah’s photographs from Srebrenica.
My exhibition at the ArtGet Gallery, part of the Belgrade Cultural Center, was a part of Raw Season organized by the collective Belgrade Raw, who I interviewed on dvafoto in 2009. The series of exhibitions this year included shows by very talented friends of mine, including Donald Weber (who was showing his project “Interrogations”) and Pete Brook (who exhibited ‘Seen But Not Heard’: Photos from US Juvenile Prisons.). It was tremendous fun to show them around Belgrade when they were in town for their openings.
The year concluded with an opportunity to see through another story I’ve been interested in for years, and to do it alongside my friend and fellow Belgrade foreign correspondent Andrew MacDowall. The Financial Times commissioned us to produce a audio-visual slideshow in Bosnia and Hercegovina about the unique relationship between a iron ore mine in the Republika Srpska village of Omarska and a smelter in the Federation city of Zenica. The piece which was published online as “Zenica partnership helps banish ghosts of Omarska” as part of their annual Connected Europe magazine. More images from this piece are also available on my archive.
See some of the presentations of these stories in print and pictures from my exhibition on the published work section of my website.
Thanks everyone, and see you around dvafoto this year!
On January 1, the Spokesman-Review (of Spokane, Washington) published a video of the city’s annual Polar Bear Plunge. A portion of the video was taken with a remote-controlled helicopter. Though a small helicopter doesn’t match what most of have in our minds when we think of drones or unmanned aerial vehicles (UAVs), for legal purposes they are the same thing. News of the Spokesman-Review’s video spread widely after a few tweets, with some questioning the legality of using a UAV for journalism in the US. The Spokesman-Review photographer responsible for the video, Jesse Tinsley, said the use fell into a legal gray area. Poynter has a good review of the conversation and an interview with Tinsley. But on Monday, an FAA spokesperson said that there is no legal gray area regarding drone journalism. “If you’re using it for any sort of commercial purposes, including journalism, that’s not allowed,” the FAA told Poynter. In June of 2013, in fact, the FAA sent cease-and-desist letters to two American drone journalism university programs, the University of Missouri’s Missouri Drone Journalism Program and the University of Nebraska’s Drone Journalism Lab. Check out the Drone Journalism Lab’s tumblr, by the way.
RC copters with camera mounts are a growing industry. You can buy them at Amazon. DJI Innovations has a handful of other models available, too. As a result, drone journalism is taking off around the world, alongside other nonmilitary drone usage. Livestreaming Occupy WallStreet journalists used toy helicopters to gather aerial footage. Paparazzi have used drones in their celebrity coverage, leading to an anti-drone anti-paparazzi bill in California. Eric Cheng, formerly of Lytro, spoke with Popular Photography about using drones in his work. Even wedding photographers are getting into the mix, but sometimes with disastrous results (see the video below).
The use of drones in journalism (and everything else) will only increase. The Reuters Institute released a report in June 2013 on just this subject (pdf of report). In the report, they argue that newspapers, magazines, and broadcasters, will turn to drones because they vastly simplify and cheapen the process of collecting aerial photography. The Canadian Journalism Project has a good interview with Alexandra Gibb, a graduate student whose thesis addresses the use and future potential of drones in journalism. And Poynter has a nice set of links and discussion about what journalists need to know about drones, though that focuses more on the coverage of drone issues than use of drones by journalists.
Not everyone’s happy about the rise of drones. The ACLU warns about risks to privacy and safety caused by the increasing use of drones in domestic security issues. And one Colorado town made national news last year with a proposal to issue hunting licenses and bounties to shoot down drones in the town’s airspace.
And while the use of drones for commercial operations, including journalism, remains illegal in the US now, the FAA Modernization and Reform Act of 2012 says that the FAA needs to allow drones and UAVs in American airspace by September 2015. To that end, the FAA has announced plans for six drone test sites around the country which will be used to determine how to integrate drones into the nation’s airspace by experimenting in varied locations and climates.