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Afghanistan | Photojournalist: Altaf Qadri

Afghanistan | Photojournalist: Altaf Qadri | PHOTOGRAPHERS | Scoop.it

Altaf Qadri is a Kashmiri-Indian photojournalist with Associated Press.He has received several awards for is photographic work. The New York Times described his work as having a "sophisticated eye and highly effective technique."

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LETTER FROM AFGHANISTAN | Photojournalist: AARON HUEY

LETTER FROM AFGHANISTAN | Photojournalist: AARON HUEY | PHOTOGRAPHERS | Scoop.it

"In the main square in Tirin Kot, the capital of Uruzgan Province, in central Afghanistan, a large billboard shows a human skeleton being hanged. The rope is not a normal gallows rope but the stem of an opium poppy. Aside from this jarring image, Tirin Kot is a bucolic-seeming place, a market town of flat-topped adobe houses and little shops on a low bluff on the eastern shore of the Tirinrud River, in a long valley bounded by open desert and jagged, treeless mountains.

 

About ten thousand people live in the town. The men are bearded and wear traditional robes and tunics and cover their heads with turbans or sequinned skullcaps. There are virtually no women in sight, and when they do appear they wear all-concealing burkas. A few paved streets join at a traffic circle in the center of town, but within a few blocks they peter out to dirt tracks.

 

Almost everything around Tirin Kot is some shade of brown. The river is a khaki-colored wash of silt and snowmelt that flows out of the mountain range to the north, past mud-walled family compounds. On either side of the river, however, running down the valley, there is a narrow strip of wheat fields and poppy fields, and for several weeks in the spring the poppies bloom: lovely, open-petalled white, pink, red, and magenta blossoms, the darker colors indicating the ones with the most opium."


Full text of article: http://www.newyorker.com/reporting/2007/07/09/070709fa_fact_anderson

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100 photos of Steve McCurry for freedom of information | Reporters sans frontières

100 photos of Steve McCurry for freedom of information | Reporters sans frontières | PHOTOGRAPHERS | Scoop.it

Reporters sans frontières is proud to open the pages of his Steve McCurry's new album and presenting 100 of his finest photographs taken in Afghanistan over the last thirty years.

 

REPORTERS WITHOUT BORDERS, FOR FREEDOM OF INFORMATION

Freedom of expression and of information will always be the world’s most important freedom. If journalists were not free to report the facts, denounce abuses and alert the public, how would we resist the problem of children-soldiers, defend women’s rights, or preserve our environment? In some countries, torturers stop their atrocious deeds as soon as they are mentioned in the media. In others, corrupt politicians abandon their illegal habits when investigative journalists publish compromising details about their activities. Still elsewhere, massacres are prevented when the international media focuses its attention and cameras on events.

Freedom of information is the foundation of any democracy. Yet almost half of the world’s population is still denied it.

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Iconic photo of Afghan girl almost wasn’t published | Video on TODAY.com

Iconic photo of Afghan girl almost wasn’t published | Video on TODAY.com | PHOTOGRAPHERS | Scoop.it

Vidéo about Steve McCurry. Photographer Steve McCurry is known for his dramatic pictures, but the most famous shot he’s ever taken, a striking image of an Afghan girl, almost never got seen.

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Lighted Path's curator insight, December 13, 2013 9:48 PM

The story behind the image of the iconic Afghan girl and the photographer who took the shot.

Maricarmen Husson's curator insight, December 15, 2013 12:31 PM

Historias detrás de las fotografías en un libro del escritor Steve McCurry como por ejemplo la tan conocida de la chica Afgana de ojos claros.

Michel Prisca's curator insight, December 16, 2013 12:46 PM

do I remember this Picture from the national geograpic Magazine??

 

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Kabul's Movie Theaters | Photographer: Jonathan Saruk

Kabul's Movie Theaters | Photographer: Jonathan Saruk | PHOTOGRAPHERS | Scoop.it

The lights go down and the projector whirs into action as Sher Mohammad, 35, begins his routine, bouncing back and forth between two projectors, winding reels, and adjusting the carbon arc lamps inside the projectors. Below him in the gallery of the Temorshahee Cinema, men sit in their Shalwar Kameez (the loose fitting pants and knee length shirts that are common in Central Asia), sipping mango juice, smoking cigarettes, clapping and sometimes even dancing together on the theater stage as Pakistani women sing and gyrate across the screen.

Only ten years ago, this would have been unthinkable in Kabul – the Taliban had banned, among other things, going to the movies. Theaters sat idle for years and fell into disrepair. But with the fall of the Taliban, projectionists like Rahmatullah Amane, 36, who had fled to Pakistan during the civil war and worked in a matchstick factory in Kashmir, put the cinemas back together in Kabul, piece by piece.

“The place was destroyed,” said Mr. Amane, describing Temorshahee Cinema in the Old City of Kabul after the Taliban fled. “We had to pick up parts and put things back together, taking pieces from all theaters.” After seeing the transformation, the new Afghan government asked him to restore a second classic Kabul theater, Park Cinema. He headed there right away. “We worked 24 hours a day to get it running. Everyone could feel the freedom and was happy,” Mr. Amane said. “It was like being born again.”

For Mr. Amane, the draw of cinema started early. “When I was 13 years old, I saw a James Bond movie, the one with Jaws. I knew then that I wanted to be in the movie business.” While at Park Cinema in Kabul's Shawr-e-Naw neighborhood, Mr. Amane began apprenticing under a projectionist. Twenty-years later he works 12-hours a day, seven days a week at the most technically advanced theater in the city, Ariana Cinema.

Today there are about a half dozen movie theaters that operate around Kabul, some of which are publicly funded, others restored by international donors. Older Pakistani and Indian films dominate the repertoire, but there are occasional American films and the rare Afghan one. Only matinees are shown and during the week attendance is low. Most moviegoers come from the large ranks of the unemployed. Young children are rarely seen at the movies, and women, while technically allowed to go, never attend. Mr. Amane blames this on the constant threat of bombings, "If security improves, they will come again."??

Until that happens though, Mr. Amane generally sees a bleak outlook for the cinema business: "The future looks dark." He says that the availability of DVD players, which allow families the convenience and safety of watching movies at home, are also hurting the business. He is even reluctant to encourage his eight-year-old son, who is eager to learn about the movie business: "I don't want my kids to go into the business."??

In most of the theaters, two behemoth Indian projectors, generally 30 to 40 years old, sit in dimly lit rooms where their servants must switch between the two, constantly changing the 20-minute-reels to prevent interrupting the film. Almost all of the machines in Kabul use carbon arc lamps to produce the light that projects the film, a technology that was mostly replaced in the west during the 1960s. Two sticks of carbon are aimed at each other and an electric current is run through them creating an arc that produces light. The distance between the rods must be constantly adjusted by the projectionists to maintain the electric arc. The rods themselves must also be changed several times during a movie. In short, projectionists in Kabul are rarely sitting still. The one exception is Mr. Amane's Ariana Cinema, which uses more modern Italian machines, thanks to a French cultural grant.??

On a recent Friday afternoon at Pamir Cinema in the Old City of Kabul, the busiest day of the week, a standing room only crowd of several hundred young men in a smoke-filled room cheer on the hero of a Pakistani film as he seeks revenge against the villain. Match-heads flicker constantly, throwing flashes of light across the darkened theater as the men chain-smoke throughout the film. Cellphones ring, and men occasionally yell across the crowded room to locate friends. On stage a young boy dances with his hands raised in the air, illuminated by the projector, as his friends in the front of the audience cheer him on. Perhaps the only other place one sees such public jubilation by Afghan men is at weddings.afghanistan israel west bank bangladesh - Jonathan Saruk 

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Another information: http://www.reportagebygettyimages.com/features/kabul-s-movie-theaters/

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