➊ Personal Narrative: My Trip To San Salvador
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SAN SALVADOR - they said to NEVER COME HERE
Then it became this portal to and catalyst for reckoning with the other and how the camera can be used to breaking down barriers between the photographer, subject and viewer. Now that the image has become devalued as a truth-revealing mechanism, it is free to own its subjectivity and becomes an ideal medium to navigate ideas around humanity, connection, identity, memory, presence, experience and intimacy. Why do we do it? I think we all ask ourselves this question, especially as the industry becomes ever more volatile, with colleagues losing their jobs, and even their lives, more often than many of us ever expected when we went into this profession. Not to mention the steeply declining pay for those of us who manage to eke out a living doing editorial work… But for me, it comes down to the people in my photographs.
I still believe in the power of journalism and photojournalism to spark positive change — in a world where the pursuit of self-interest is prioritized by so many, its role speaking truth to power when all other avenues fail is unparalleled. And beyond the big-picture role of journalism, it can also be a revelation at the personal level. Why is photography important? Photography speaks. When I discovered and later understood photographic visual language, I saw that this language could inform, educate and move audiences worldwide without the need for a shared spoken language.
A successful photo story, when well-authored and edited, is universally understood. I once presented a photo story in China in silence to a professional photography group where the audience smiled, laughed, and fell quiet in all the right places — without a word in Mandarin or English. After the last frame, we all just beamed at each other.
It was so thrilling. I believe in light. Photography is light. I have been most honored to support and publish work by many of them. I intend to continue nurturing, encouraging, supporting, cajoling, helping, counseling, appreciating, celebrating, and paying for professional photojournalism for as long as I am able. I believe in its power. I have been there, as a young photographer, and I understand that passion and drive — and now, as my career has taken me through so many levels and roles in our industry, I feel compelled to support and nurture those storytellers, to help them continue to produce important work and tell those stories, often uncomfortable ones, so that we can, sitting in the comfort of our homes, be made aware of the darker side of our world.
This art, this madness, this compulsion to convey a story we know as photojournalism will not die, storytelling will not die, it will change and evolve but it is human nature to want to learn, to be educated and to understand our world through narratives. I first became interested in photojournalism primarily out of an interest in history. One day, while studying the Industrial Revolution, I found myself very saddened by a photograph of a child in a factory. I remember realizing in that moment that both the child and photographer were likely no longer alive and I became fascinated by how the photograph could make me so upset for the hard life of someone who lived so many decades before me.
In a way both of them became almost immortal through the photograph and there was something very compelling about that. A photograph is particularly powerful because it is accessible to most of humanity. There is no language barrier in photography. I pick stories and pursue the projects I do with the goal of documenting not only important issues of our time, but ones that will also be relevant or perhaps even more vital for our understanding of humanity in the future. Twenty years ago, I took a formative road trip across the Southwestern states with my sister and my best friend. She was studying literature at the University of Colorado in Boulder, and he was a film school graduate who was just beginning to take his experiments with a still camera more seriously.
We planned to cross the San Juan Skyway, then head West to Canyonlands and Monument Valley, looping through New Mexico and back across the Colorado border, but we ended up taking the circuitous route. I would stand next to my friend, and see what he saw. We came to see the world differently; not through some new point of view, but by giving in to our heightened sense of curiosity. Two decades later, this is still the Holy Grail. The photographers I most admire go out into the world with a sense of wonder and freedom and, yes, arrogance, challenging our apathy, making us see it afresh, for better or worse.
Today, I am as willing and eager as ever to wade through the endless repeated themes and subjects to find those rare works that provoke, challenge and thrill me through their brave and insightful perspectives, or their sheer visual sublime. When I left Yemen in August , the place where I learned to photograph, build a story, and really love a community, I felt very lost. For over a year I tried to seek out a new base, a new story and group of people that had meaning to me, for something I felt connected to, without success.
By November I was asking myself that very question — why am I still trying to do this? I arrived in Iraq in November , looking for stories having nothing to do with Mosul, yet I felt with so many other journalists around, I needed to find meaning elsewhere. Living with this tight knit group, I began photographing our surroundings, the Iraqi medics whose job was so morbid, but who were so jovial in our downtime. By working side by side with them and photographing what we went through together, I was useful, needed, and passionate about something again: I felt the desire to photograph for the first time in over a year. A favorite childhood memory is of my father driving us to a hobby store, purchasing a few packs of trading cards and me excitedly ripping them open to see what was inside.
That same rush is what propels my belief in picture editing. In a time when our global awareness is under siege by an increasingly insular perspective, the responsibility of empowering photographers whose mission is to not just capture but to investigate, to enlighten, to excite, is one of the great privileges of our time. Today there are more photographers producing more photographs and populating more platforms than have existed at any other point in our history. With that ubiquity has come an evolution in our audiences, which are more sophisticated and demanding than ever. What a thrilling time then to be tasked with looking through the mainstream releases in the hope of unearthing something unique, something beautiful, something rare.
Why is it important? Look at where we are right now. Everyday Africa recently had a big exhibition opening in Nairobi. His first names were in Spanish and his surnames castilianized despite being born in Catalonia, as at the time the Catalan language was banned from official acts. In Catalan names were legalized, and he adopted the hybrid form. This form and the purely Spanish and Catalan forms can be seen in print today. Niagara University. Archived from the original on 6 September Retrieved 22 July Smithsonian Magazine. Retrieved 12 July Retrieved 1 April National Galleries Scotland. Retrieved 20 May Retrieved 26 June ISBN Archived from the original on 25 October Retrieved 30 September Retrieved 15 December Archived from the original on 27 August Retrieved 22 August California: Thunder Bay Press, Online citation.
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