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Planners have decreed that the famed Kathputli Colony in India's capital, New Delhi, is to make way for luxury flats and shops
The roads that lead to it are unpaved, dirty and narrow. The houses are rudimentary and sparse. The meandering alleys, slippery and narrow, are almost a hazard to navigate with an overbearing smell of sewage and wood smoke.Located in the western part of India’s capital, New Delhi, this slum is known as the Kathputli (or puppeteers’) Colony — though it isn’t just puppeteers who live here. With its origins in a simple encampment for roving and mostly Rajasthani performers, this 50-year-old community today comprises some 3,500 families. They are magicians, snake charmers, acrobats, singers, dancers, actors, traditional healers and musicians as well as puppeteers, and make up what it probably the largest congregation of street performers in the world. Musical instruments — for sale or repair — line the alleys, and a simple chat can turn into a magic show. Days reverberate with song and music, and many houses are crammed with huge puppets and other props.
The local authorities have plans for Kathputli Colony, however.
“Our policy is to give slum dwellers and their children better living conditions, and that’s what we are doing,” says S.K. Jain, director of the Delhi Development Authority (DDA), the civic body that owns the land where Kathputli Colony stands.
So, come April 1, this unique community will disappear to make way for luxury flats and a mall. The residents will be shifted to a nearby transit camp for two years and finally to a new high-rise building, which, the government claims, will be a modern artistes community with facilities to nurture and showcase street art.
The residents are skeptical. “How are we going to store our equipment in a cramped flat?” asks Puran Bhat, the oldest resident of the Kathputli Colony and a puppeteer, pointing at the 10-to-15-ft.-high puppets lined up against the wall of his room and spilling over onto a small terrace. “And we have big families.” (In Bhat’s case, there are 18 of them.)
“Our art dictates our lifestyle and our lifestyle is our identity; the lifestyle of a multistory building is not for us,” says Aziz Khan, a magician who made Guinness World Records for his great Indian rope trick in 1995.
Almost everyone in the Kathputli Colony shares these feelings, and many have asked that the community be redeveloped in situ, as a tourist attraction. But the DDA has other plans. “Middle-class India looks upon us as a nuisance, at odds with the image of India as a rising world power,” says Ishamuddin Khan, a street magician whose rope illusion was once ranked among the 50 greatest magic tricks in the world.
Meanwhile, Bhat, in his home, works on the script of a play that the residents are planning to perform on the streets of Delhi to protest the demolition of Kathputli Colony. “We perform for the poor as well as the rich, for the Prime Minister as well as the commoner,” Bhat says. “And we have always lived like kings without worrying about the future.”
That freedom, unfortunately, is a luxury that the residents of Kathputli Colony no longer have.
Amit and Naroop are London-based photographers specialising in music and advertising, but their latest series Singh is focused on a portraits of a very different kind. Taking the most powerful symbols of the Sikh faith, the pair have photographed a group of British Sikh men from all walks of life, and focusing on the traditional turban and beard, celebrated them in all of their diverse fashions.
LIVING UNNOTICED13 February 2013
The Democratic Republic of the Congo has no law that makes homosexuality illegal in the country, but there is no societal acceptance for it, which makes the idea of equal treatment under the law a fantasy. Gay people there often choose to remain hidden to protect themselves from physical danger and social stigmatization. At this point, there is almost no legal support for the gay community outside the occasional gesture from international sources and NGOs.
Rainbow Sunrise was founded in 2011 by Joseph Saidi, 26, to support the gay community in the city of Bukavu in the eastern DRC. Progress is slow due to a lack of funds, but the organization plays a critical role for local gay men and women, providing free HIV testing, condoms, sexual education, and perhaps most importantly, a safe place to share their personal struggles with others, without having to feel ashamed, rejected, or judged.
Saidi was attacked and jailed for several days in May 2013: “When I was in prison, I spent two days without food or drink. I was tortured, and I was raped by three inmates. I suffered from cruel, inhuman and degrading treatment. I was discriminated against based on my sexual orientation. I was beaten by inmates. I thought I was going to die because since my birth I've never been subjected to such treatment.”
Photo report's insight:
TECHNICAL INFORMATIONCAMERA: Canon EOS 5D Mark II
SHUTTER SPEED: 1/320ISO: 320F-STOP: 2.0FOCAL LENGTH: 35.0 mm
On that day, early in the morning many garment workers walked into the factories of Rana Plaza, their working place. Within an hour everything was shattered. Nobody knows how many workers were running to save his or her lives at the end moment. Workers’ scream echoed on the walls of Rana Plaza. Many of their voices could not reach out passing through the heavy concrete walls. Over a thousand workers lost their lives in the deathtrap. They are the cheapest labors of the world. They are not only numbers; they are human beings.
Who could imagine the collapse that caused the most unacceptable fate for the cheapest labors from Bangladesh? 24th April 2013, 9am. Becoming a brutal incident of history, a nine-story commercial building Rana Plaza collapsed at Savar, Dhaka, Bangladesh and left more than 1134 workers dead, more than hundred missing and many other wounded. Around a thousand families have found dead bodies of their beloved family members. - Taslima Akhter
Photo report's insight:
About photo of two victims amid the rubble of the garment factory collapse, Taslima Akhter was selected for the 3rd prize singles of the World Press Photo of the Year 2013
2014 PHOTO CONTEST
The World Press Photo of the Year 2013 is a picture by American photographer John Stanmeyer.
Photo report's insight:
View the entire collection of winning images from the 57th World Press Photo Contest. The winners were selected from more than 90,000 images submitted to the contest.
Attention images choquantes. Scène d'extrême violence à Bangui. Soupçonné d'être un combattant de la Seleka, l'armée des rebelles, un homme a été accusé, tué puis mutilé par les FACA (Forces armées centrafricaines). Cet évènement terrible a eu lieu quelques minutes après la venue de la Présidente par intérim, Catherine Samba Panza au Collège National de l'administration et de la magistrature. Elle y demandait le retour de l'ordre et la renaissance de l'armée nationale. - Paris Match
On Friday, January 31, we arrived at the Élysée Palace in Paris to photograph the French President François Hollande for TIME’s cover. We prepared four different set ups: A black background, a white background and two locations within the palace that would make for strong environmental shots. The key on a shoot like this is to be really well prepared. My crew moves like a ballet, so the portrait session kind of has this flow.
When the president walked in, he was pressed for time. After initial introductions, I normally don’t interact much, so the relationship is between the subject and the camera. This gives me a much more authentic picture.
We only had seven minutes to make the two different studio portraits, one of those ended up on the cover of TIME International. I was also able to sneak in the two environmental pictures, which both ran in the magazine.
There are different ways to get a good portrait. There are a lot of photographers who have a much different approach. But my subjects often don’t have time to get used to the fact that they’re being photographed. Which probably adds some immediacy.
Photo report's insight:
More about great job of Marco Grob: http://www.marcogrob.com/work
These photographs are from an ongoing series that depicts the lives of my father, sister, and two brothers over the past five years as they take on the burden of my mother’s deteriorating mental health.
This work represents an extended look at the physical and emotional currents within our home. The images are a visual representation of the internal dilemmas associated with this entropic state. The photographs expose how my mother’s illness influences the condition of the space and emotional well being of my family members. This is an exploration of how individual identity is shaped and altered within our familial relationship.- Lisa Lindvay
Photo report's insight:
Chicago-based photographer Lisa Lindvay opens the door to her home in an intimate portrait of a family coping with mental illness. Though Lindvay’s mother is absent, the signs of her struggle are present in every frame, each image heavy with abandon and quiet exhaustion. Here we are privy to the deeply private tale of her father and sibling’s lives behind the closed and musty blinds, the grimy floors and junk food artifacts a constant reminder of what is broken and missing. The family maintains a stoic presence throughout the series, belaboring with an almost classical melancholy in the everyday tragedy that has befallen them. The crumbling home a metaphor for her mother’s deteriorating state of health, Lindvay’s ongoing work is a radically bare and powerful examination of familial survival when all feels lost.
Il est des photos ratées qu’on ne regrette pas qu’elles le soient tant le sujet est banal et il est des photos captivantes dont on regrette qu’elles soient abîmées. Par conséquent, la restauration peut s’imposer comme un recours efficace. Dans le domaine de la photographie numérique, la restauration passe par la post-production : la retouche. Le gros mot est lâché. En France, retoucher une photographie est devenue un tabou voire un sacrilège. En ce qui me concerne, sachant que la photo ne sera jamais garante de la transparence du réel, je considère ces controverses sacralisante un peu vaine. Explications…
“My first inspirations were world-changers like James Nachtwey, Don McCullin, and Steve McCurry. I firmly believe that photography has a role to play in provoking thought, spurring dialogue, and prompting action—therein being a potentially potent ingredient in an antidote to social evils.
“Photographs are informative, a record of what we do and value, and contribute important subjective testimonies for history.
That said, worldwide trafficking is a $32 billion industry, with over 700,000 women moved across international borders annually. It is not at all realistic to imagine photos making any substantial dent to improve this situation. The photos I take will do little to directly improve the lives of women and children in Sonagachi.
“To do this would take massive political, economic and legal overhauls, not to mention years of reshaping social values. This was one of my hardest realizations when following apparently humanistic callings. That images can, however, give people a voice and better inform a public debate, is some journalistic consolation. What makes it immediately worthwhile for me is the experience of earning an individual’s trust, and for a while, touching lives, sharing stories and learning from each other in a dignified, respectful, curious manner. This is the only honest thing I can convince people of offering them, and surprisingly it is also what seems to open the most doors for me.” - Souvid Datta
Photo report's insight:
Mumbai-born photographer Souvid Datta is a young man of 21 whose age puts him somewhere in between the subjects he’s been documenting in the infamous red-light district of Kolkata, India and the subjects’ children. His series, In the Shadows of Kolkata, portrays a close-knit group of female sex workers, a few of their clients, and their children. Exploring the lives of sex workers as a photographic “theme” never fails to affect, and seeing children interspersed into this work adds another layer of difficult material to digest, question, process
Une bonne photo, c’est un bel emballage
Avec le boom des réseaux sociaux en ligne, il devient presque impératif d’avoir un profil complété à 100 % et d’afficher un rendu professionnel de votre image et par conséquent de votre société. La photo est devenue incontournable. J’en vois au fond de la salle qui soulève le sujet de la discrimination. Les faits sont les faits : l’image sera toujours prédominante dans un flot de texte.
Peut-on encore négliger la force de frappe d’une photographie corporate ? Non, bien sûr que non. Envisagez les bénéfices d’un portrait d’entreprise comme on envisagerait ceux d’un emballage : L’emballage est toujours la première vision que l’on a d’un produit.
L’emballage est porteur de sens, riche en connotation, véhicule une valeur. Le portrait d’entreprise va dans le même sens en stimulant l’attraction pour le sujet photographié, il capte l’attention avec efficacité et, pour rester dans l’évocation de l’emballage produit, devient moteur de la vente. La photo devient un outil indispensable de séduction pour dynamiser l’intérêt de ceux qui se penchent sur votre profil. Ceci est valable pour n’importe quel autre support média : presse, TV, etc. (...) - Serge Bouvet
©DANIEL MORELOne of the eight images by Daniel Morel of the aftermath of the January 12, 2010 Haiti earthquake that was distributed without permission by AFP and Getty Images.
"Photographer Daniel Morel says his decisive victory in court last week against Agence France Presse (AFP) and Getty images was not only vindication for him, but a victory for all photographers trying to eke out a living in the digital age.
A federal jury awarded Morel $1.2 million in damages after determining that both agencies willfully infringed his copyrights in 2010 by distributing eight of his exclusive news images of the Haiti earthquake without permission.
"I hope the internet is going to be a little safer now for all artists, all photographers," he told PDN the day after the jury reached its verdict.
Morel also said he took personal satisfaction in defeating the teams of lawyers from AFP and Getty that he has been fighting for nearly four years." - PDNONLINE
"The Omo River Valley is located in Southwest Ethiopia. It has been called “the last frontier” in Africa. There are nine main tribes that occupy the Omo River Valley, with a population of approximately 225,000 tribal peoples. "
" Lale, a 2013 National Geographic Emerging Explorer, learned about the practice of Mingi and made it his life’s mission to end ritual infanticide in his tribe’s culture. " - Steve McCurry
Photo report's insight:
More information: http://omochild.org/videos/lale-labukos-story
Chittagong is one of the biggest ship breaking yards in the world. It is graveyard where ships are taken from all around the world for their last voyage, to be taken apart.
Know for unsafe work practices and environmental pollution due to the demolition and ship breaking processes, Chittagong presents one of the biggest industry and job opportunities for many Bangladeshis.
Some 30, 000 workers are engaged in this scrapping in Bangladesh's Sitakunda coast, which houses the world's second largest ship-breaking industry after China. At least 250,000 people in the country live off the industry directly and indirectly, according to experts.
The industry is a critical contributor to the low-income country's economy, and Bangladesh relies on ship breaking for 80% of its steel needs. But along with the recyclable materials comes a lot of toxic junk and hazardous material such as asbestos.
Often unaware of the risks they face on a daily basis by carrying heavy loads, directly touching materials that are known to cause cancer (asbestos), the workers rarely take these risks into consideration. "I don't see any danger" said a 17 year old worker.
Living in a 3rd world country, taking care of a family, the priorities of workers in the yards of Chittagong have a different order. To be without a job, letting their families go hungry, represents a bigger treat to these men then working in an environment that can eventually lead to health issues or early death.
Copyright Jana Asenbrennerova 2010
Collaboration on access and text with Syed Zain Al-Mahmood
OCCUPIED PLEASURES03 June 2013
A woman in Gaza without a travel permit marches through the silent dark of an underground tunnel on her way to a party in Egypt, clutching a bouquet of flowers.
More than four million Palestinians live in the West Bank, Gaza, and East Jerusalem, where the political situation regularly intrudes upon the most mundane of moments. People’s movements are circumscribed and the threat of violence often hangs overhead. This is an exploration of the small moments of pleasure where ordinary men and women demonstrate a desire to live, not just simply survive.
Photo report's insight:
Tanya Habjouqa was born in Jordan and educated in the United States, receiving her masters in Global Media and Middle East Politics from the University of London SOAS. Beginning her career in Texas, she documented Mexican migrant communities and urban poverty before returning to the Middle East.
Tanya is known for gaining unique access to sensitive gender, social, and human rights stories in the Middle East. She is a freelance photographer, features writer, and a founding member of the Rawiya photo collective (founded by five female photographers from across the Middle East).
She is a recipient of the Magnum Foundation 2013 Emergency Fund for her project ‘Occupied Pleasures’.
Habjouqa has worked on the front lines in Iraq, Lebanon, Darfur, and Gaza. Her series ‘Women of Gaza’ is in the permanent collection of the Museum of Fine Arts, Boston.
Based in East Jerusalem, she is working on personal projects that explore socio-political dynamics, identity politics, occupation, and subcultures of the Levant.WORLD PRESS PHOTO INVOLVEMENTAward-winning photographer 2014 photo contest
“I wanted to be an artist by drawing and making handicraft but my dream is now ruined under the niddle of machine, under the rubble and sometimes by fire”- Lija a garment worker With a dream of living a better life million of workers from villages gather in workers barrack in cities. Lija, Modhumala, Shomapti, Masud, Brojesshwar are among them. Among more than 4 million workers 80% are women. Surrounding the garment industries large workers barracks have grown in Bangladesh. Workers toil from dawn to dusk for a minimum wage of BDT3000 taka a month (less than 37 $) till 2013. Government declared a new gross minimum wage BDT 5300 ( near about $66) , which is not sufficient for them to survive. This 4 million workers are not more demanding. They don’t have any dream to have car-house, even any luxury item in life. They want only coarse rice-cloth and a little roof over the head to stay anyway. They want to send their children to school. They don’t want to send their children i
Photo report's insight:
Taslima Akhter turned to documentary photography after many years as an activist with workers’ and women's rights organizations with whom she continues to work. She considers her documentary photography as a continuation of her activism. As a photographer, she likes to work on issues relating to gender, the environment and culture, as well as exploring spaces of social discrimination. Taslima's photo "Final Embrace" was selected as one of TIME Magazine’s top 10 photos of 2013.
Take a look at the Sony World Photography Awards Galleries, where you will find exceptional photographs by some of the most talented photographers in the world. The photographers featured here are Sony World Photography Awards past winners, shortlisted or commended photographers.
Introducing the 2014 Sony World Photography Awards Professional, Open and Youth Shortlists
Selected from 139,544 images from 166 countries, WPO today reveals the shortlist for the 2014 Sony World Photography Awards. The highest number of entries in the awards’ seven year history, this year’s jury selected an eclectic shortlist representing the very finest in international contemporary photography from 2013.
The judges found within the submissions many stories that force the viewer to find something surprising within the everyday. Well-documented scenes were approached with fresh and ground-breaking photography styles and are set to inspire other photographers around the world.
Photo report's insight:
Lion and cat : Photographer : George Logan
Lorsque la capitale ukrainienne a sombré dans la violence après plusieurs semaines d'un bras de fer entre forces de l'ordre et manifestants pro-européens, le 22 janvier 2014, les affrontements du centre-ville, notamment sur la place de l'Indépendance ont pris l'allure d'un champ de bataille cinématographique.
Jamais la presse n'avait reçu des photographies aussi "belles" et "picturales". La photographie la plus emblématique qui a fait le tour du monde, est celle du photographe Andrey Stenin de l'Agence RIA Novosti.
Photo report's insight:
Autres photos sur le site du Monde :
Steve McCurry, the brilliant Magnum photographer, is forever travelling the globe. So it's probably best to pay attention when he talks about how the world is changing. In an interview with the US website, American Photo, based around his latest book, Untold: The Stories Behind the Photographs, the photographer laments the planet's growing homogeneity.
This narrowing of aesthetic diferences is something that Steve has noticed the world over. "When I walk through an airport, I think, 'This is the future.' All airports look the same. They're steel and glass. You walk through a shopping mall in India and it could be in Cleveland. There's almost no difference."
Curtis "Rebel" Rageur sits on the bow, hat backwards, eyes watchful. He gives a thumbs-down to Julius Gaudet, 62, letting him know that the line they set the day before is in the water. Julius pulls the boat to a stop near the shore of Shell Island, Louisiana as Rebel searches for the line with his gaff. He finds it, pulling hand-over-fist, as if reeling in a large fish. With a splash, the reptilian head emerges suddenly from the water and Julius leans over the edge, putting one 9mm round through it's brain. The two hunters pull their prey into the boat, tag it and toss it onto the deck, which will soon be stacked high with the rest of the day's haul. Rebel turns to me, wiping blood onto his pants, and with a smile says, "And that's how we do the gator dance."
The state of Louisiana is home to the largest alligator population in the United States, estimated to be almost 2 million. Alligators are North America's largest reptiles and are considered a renewable resource in an industry that has thrived in America's deep south for centuries. The first large alligator harvests occurred during the early 1800s. During the Civil War, alligator skins were used to make shoes and saddles for confederate troops. The alligator farming industry in Louisiana alone annually harvests 140,000-170,000 gators which are valued at over $12,000,000. - Matt Eich
Covering gallery walls with over 20,000 castaway toys, German photographer Michael Wolf thrusts visitors into the heart of consumerism with his series Real Toy Story. Though Chinese culture has taken the world stage in recent years, Wolf has long called the city of Hong Kong his home, documenting its many multifaceted characteristics and quirks. Real Toy Story dissects China’s production factories with an acute and striking eye, capturing each and every aspect of constructing children’s toys which are shipped and sold to millions across the globe. Here we are able to peek inside the world’s largest inexpensive and mass-produced plastic toy market and meet some of the faces behind the large metal doors.
Ever examining the cacophony of populace and urban chaos, Wolf’s installation further highlights the volume of products fabricated and sold daily. His hunt for toys began in Californian flea markets while on vacation in the United States. Only collecting toys ‘Made in China,’ Wolf returned to Hong Kong with thousands of forsaken, used objects. By nestling each factory worker portrait into the jumble of dirty, discarded toys, Real Toy Storyexposes the overwhelming reality of worldwide manufacturing and consumption.
Que représente le reportage photo pour moi ? C’est un peu l’aventure pour s’étonner de tout. Insatiable avidité de nouvelles rencontres de l’autres, inlassable marée d’images dont la vague laisse sur la pellicules les traces de faits, de portraits, d’événements, de ratés de mises au point, de flou fugitif, de prégnant, de narratif, de trompeur, de plaisir…
Photo report's insight:
Serge Bouvet est un photographe qui officie à Paris. Photographe professionnel, Il apporte aux entreprises, aux industries, aux agences de communication, aux institutions entre autres, son savoir-faire éprouvé capitalisé sur plusieurs année d’expérience de dans la réalisation de projets de communication visuelles photo et vidéo.
With his already legendary series »1503« Christian Tagliavini invites the viewer to a time travel to the 16th century. His protagonists bear names such as Cecilia, Lucrezia or Bartolomeo, they are gracile, graceful or mighty and all of them express the pride of the Renaissance. In the style of the Florentine Agnolo di Cosimo, in art history better known as Bronzino, Tagliavini gives the patina of Mannerism to his modern sitters. The title of the series »1503« is also a reference to Bronzino’s year of birth.
The artist does not only stages the image space or places the light. The accurate spadework of each portrait is an inalienable foundation for the accomplished work that attracts the recipient. From the casting over the design of the dresses through to the makeup, Tagliavini is the indicatory player in every single operating procedure. The universal artist creates a piece of art that is the result of this creative process – the traces of them meet up in the final work and culminate in something sublime.
By doing so, the artist perfectly succeeds in the challenge of citing art history without simply copying it. Finally, with a productive period of more than 13 months the series »1503« has become an impressive testament of the visionary creative richness of the avant-gardist Christian Tagliavini.
Photo report's insight:
Born in 1971, Christian Tagliavini grew up in Italy and Switzerland. He had studied graphic design and worked as an architect and graphic artist before he focused on photography art in 2000. Additional fine arts such as architecture, graphic design or drawing have influenced his art until today. His biographic background also shaped his understanding of art to invent and construct works. His works cannot only be seen as images, they are complex pieces of art, which have their roots in different materials. Tagliavini’s creative work is mostly mirrored in series that tell stories, offer multifaceted quotes or which are the result of an unusual contemporary concept. His works have been exhibited in numerous exhibitions and art fairs worldwide. Christian Tagliavini, who was honoured with the Hasselblad Masters Award in 2012, lives and works in Switzerland today.
The jury has returned a verdict in the high-profile trial of photojournalist Daniel Morel against the two digital media giants, Agence France Presse (AFP) and Getty Images, which was heard before Judge Allison Nathan in the U.S. District Court for the Southern District of New York.
Mr. Morel and his counsel are extremely grateful for the jury’s careful evaluation of the evidence and the damages awards that they have rendered against Agence France Presse and Getty Images for their conduct. Particularly satisfying to Mr.
Morel are the jury’s findings that these major agencies violated the Digital Millennium Copyright Act and willfully violated the Copyright Act when they wrongfully downloaded, misidentified, and licensed his iconic images of the immediate aftermath of the catastrophic 2010 Haiti earthquake.
The jury awarded the maximum statutory damages that the Court allowed for copyright infringement for 8 photographs — $1.2 million — and one thousand times what the defendants told the jury it should award as actual damages for their wrongful acts — $275,000 as opposed to $275. Mr. Morel will elect to receive the statutory damages amount plus the $20,000 award against the defendants for their 16 violations of the DMCA.