Interviews | Editorial & Humanitarian Photographer, Heber Vega.

10.Q Interviews: Photographer Guillem Lopez

Hi everyone! thank you for joining me on this new series of 10.Q Interviews. I know you’ve missed this section of my Blog and so I have. As you will notice, I have changed the set of questions for 10.Q, making these interviews less “general” and a bit more “personal” with each photographer.
If you have suggestions for this section, please, let me know. You can shoot me an email or better yet leave me a comment at the bottom of this post.
Thank you!

Guillem Lopez “Travel & Editorial Photographer”.

“Although Guilem is originally from Barcelona, more than ten years traveling the world with his camera have given him the opportunity to extend his skills and knowledge of photography.This has enabled him to develop a sound understanding of what makes a powerful picture.
From the big cities in Europe to the secluded villages of the Silk Road, Guillem has used his natural talent and professional capability to create a worthy and stunning portfolio. His pictures, worldwide published, successfully convey a visual message or idea from himself or his subject to the audience that is both simple and powerful.
Based in Barcelona but more than happy to work abroad, Guillem is passionate and focused on creating powerful Travel, Editorial and Commercial images.”

Nomad Berber pouring tea, Erg Chigaga, Sahara Desert, Morocco

1. You say in your website that you have been traveling with a camera for more than 10 years now, Do you call yourself a travel photographer? Is that what you do?

First of all, I would like to thank you for the opportunity to be included in this blog among some very talented photographers.
I remember my first big trip abroad when I had just turned 18. For the first time, I had the chance to use one of my dad’s cameras for over a month so I could document my trip and return with some nice memories on paper. During that time, photography was just a hobby for me, but I can remember a growing feeling of nervousness as my time to go back home and develop the films grew closer. Since then, I have always traveled with a camera. That passion turned into a profession around five years ago when a good friend and photographer helped me to step further into photography.
I consider myself a travel & editorial photographer. Being able to travel and photograph different places and cultures around the globe is like a dream come true for me. With time, however, I have also understood that what I really love is people and the stories behind them. That’s why I also undertake editorial shots where I have the chance to photograph people in a location much closer to mine.

Fossil factory worker in the streets of Rissani, Morocco

2. How did you come up with this idea of photographing while traveling? Where did this vision come from?

After my first long trip around the world, I came back with over three hundred films full of pictures. When I went back to the UK, where I was living at that time, I contacted a good friend of mine, photographer, and showed him some of the shots I came back with. He thought that some of the shots had commercial potential and he introduced me to some editors and agencies in the UK.
The idea of traveling while you do photographic work assignments was always the perfect dream job for me, so having the chance to work in what I love is enough reason for me to keep pushing and learning all the time. I guess, being able to learn from other cultures and meet amazing people is my vision if you want to call it that, even though the concept of vision is still confusing for me.

3. What does a normal photographer have to think about before stepping into a career like yours? What does it take? How and to whom do you sell your work?

I think you need to have a non-materialistic lifestyle; learn to live with the idea that you’re going to spend a lot of time out of your home, away from your loved ones, traveling on your own and most of the time under rough conditions, in order to get to know what you will be photographing.
I have some agencies in the UK and Spain that represent my work around the globe. Licensing images through my website for magazines and newspapers, combined with private assignments for them and other clients, are the biggest part of my income.

Master ceramicist working in her workshop of Barcelona, SPAIN.

4. Do you believe in the concept of having a vision for the work you do? Can you tell us a little bit about yours?

For sure! Knowing what you love to do and having an idea of what you want to achieve and transmit with your work are truly essential to moving forward in everything you do. I do not know if that is called vision, but for me, as I mentioned before, having the chance to get to know other cultures and amazing people who have their own stories, and then photograph them, is what pushes me forward every day, even if I am away on a plane or in front of my computer.

Kyrgyz man drinking tea, Karakul lake. Tajikistan 2008.

5. How do you prepare (photographically speaking) before taking a trip? I mean, do you go to a place already knowing what you want to shoot, or do you improvise while there? What is that process?

I try to get as much information from the Internet, guidebooks, and embassies if possible, and I especially always try to contact other photographers that have been shooting in the area I want to photograph. I find their advice always the most useful, as it is always more precise for what I will be doing.
Working on assignment, I normally have an idea (briefed by the client) of what I want to achieve on the trip, but I am always open to improvisation while trying to give new and fresh ideas to my clients. When working on personal projects I also like to have an idea or concept of what I want to achieve, but in those cases I am much more flexible in following interesting stories that pop up along the trip. Those moments that are open to the unexpected are always the part that I enjoy the most, as I believe that following your instincts in each place and situation will lead you to the most interesting subjects and stories.

Mongolian shepherd, Khovsgol, Northern Mongolia 2008.

6. Tell us a place that you have felt bound to, or let’s say more inspired than in others? Why was it so? What do you think?

It is very hard to name just one, as every country is special in its own way, but I would probably say Iran. What I really loved about Iran were its people, above any other. Coming from western civilization, and thanks to what I would call “influenced media” I grew up with a biased concept about countries like Iran. When I had the chance to visit and get to know the people and amazing culture, I realized how wrong we are. In Iran, I met the most hospitable, kind and cultured people, but unfortunately, most of the time, they are identified by the acts of their political representation, even if it’s not chosen by them.

Traditional medicine vendor in Xian, Shaanxi Province. China 2008.

7. How do you engage people in so many different places? What’s your secret?

I always try to learn as much as possible from the culture and language, as well as observing and being respectful to people and their way of life. When possible, I try to travel with enough time so people can get used and to know me before photographing them.
Having the help of someone acting as a “guide/translator” that understands your job and what your goals are can be crucial as well as having a big smile!

8. What’s the most difficult part of living the life you have chosen to live?

Probably being away from family and friends for long periods of time.

9. Are there any things that you would have done differently if you would start all over again? What would advice would you give to other photographers thinking about this type of life?

To be honest, I consider myself very lucky and I believe all the steps and decisions taken so far have brought me to where I am at the moment, so I probably would not change anything major. Of course, I would love to go back and have the chance and photograph some amazing people I met in my early travels, now that I have more skill and experience, but I believe that is all part of the process of growing as a person as well as a photographer.
For those starting like me, I would say just be ready to really push and persevere in what you really love doing and do not stop believing in yourself.

Street barber, Kashgar, Xinjiang Province, China 2008.

10. OK. This is free speech. If you could have 5 minutes in front of a big crowd of photographers, what would you tell them?

For those with a long time in the profession, please share your knowledge as much as possible. For those starting, just keep pushing and never stop believing in your craft. We are very lucky to be able to share with others the beauty of small fractions of time captured through our lenses.
Always love and value your work.

You can follow Guillem Lopez at:
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10.Q Interviews: Photographer Piper Mackay

Hi everyone! thank you for joining me on this new series of 10.Q Interviews. I know you’ve missed this section of my Blog and so I have. As you will notice, I have changed the set of questions for 10.Q, making these interviews less “general” and a bit more “personal” with each photographer.
If you are wondering, I will post these interviews not only on Fridays, as it used to be, and they might not be posted once a week as I really want to do a better job this time.
If you have suggestions for this section, please, let me know. You can shoot me an email or better yet leave me a comment at the bottom of this post.
Thank you!

PIPER MACKAY, “WORLD, WILDLIFE AND CULTURAL PHOTOGRAPHER.”

“Piper Mackay is a world, wildlife and cultural photographer, based in Long Beach, California. She believes compelling visual images help to protect what is right in the world. Her work takes her to very remote locations, living cross culturally in the villages and environments that she is documenting…” [read more]

10.Q Interviews: Piper Mackay | www.pipermackayphotography.com

How is it that you are both a wildlife photographer and a cultural photographer at the same time?
Which happened first, and how is it that you added the other one later? (Assuming that it happened that way…)

“I have such an incredible passion for both that I just could not chose one over the other. I struggled with this in my first years as a photographer knowing it would be a challenge to market both. Becoming both a wildlife and cultural photographer happened simultaneously. My career as a photographer actually happened quite by accident and it all started with a lifelong calling and dream to go to Africa. It was on my first trip to Africa that I was exposed to both and photographed both.

When first discovering this incredible passion for photography I wanted to experience other area’s of photography so I went on a workshop in India with a top travel photographer. I loved the rich colors of India but while I was there we also went into the national parks and photographed the tigers. My love for both wildlife and culture photography grew equally and I began focusing on area’s that offered both. However, at the beginning my focus was much more on wildlife and now it is swaying back to culture photography and an emphasis on African wildlife. I am focusing most of my time in Eastern Africa and have just started a long term project in Ethiopia.”

If you were forced to choose only one of these fields, which one would you pick? Why?

“If I had to choose one it would be the culture photography also leading into humanitarian photography as well. As much as I enjoy wildlife photography I am a very social and compassionate person. Wildlife photography can be very solitary and when I photograph cultures I immerse my self into their lives, most times staying directly in their villages and homes. I gain so much personally from these experiences and my life has been so enriched by them that I would have to let go of the wildlife if forced to make that decision. On my site is the slogan More than a photograph, an experience. As I travel through the adventures of life, creating stories for the rocking chair, I want to look back through the photographs I have taken and see my footsteps in the amazing world that we live in.”

How do you normally handle those two photographic fields during one trip? Do you have separate trips for them?

“Carrying a lot of heavy gear. The upside is I am working in environments which usually have both, native indigenous cultures living near an abundance of exotic wildlife and so I do try to combine the trips. The only down side is carrying around a 500mm when your not going to be shooting with it, but I usually try to find a place to store it. I take separate trips more often for wildlife when photographing a particular species, such as the Jaguar down in the Pantanal in Brazil.”

10.Q Interviews: Piper Mackay | www.pipermackayphotography.com

How did you start in photography? What brought you there?

“Since I was a child I had a desire to go to africa brought on by all the amazing shows I watched on TV, such as wild kingdom and a special place near my house called Lion Country Safari. The animals roamed free through the Park and you drove your own car through it just like being on a safari in AFrica. Much later in life I finally went on my dream trip of a life time to Africa. I signed up on a trip with the sierra club and on the trip list it recommended a min of a 300mm lens. Prior to this I had never even held a professional camera in my hands. I fell in love with Africa from the moment my feet landed on her rich red soil. I returned two more times in the 5 months following the first trip with cameras in hand and a lot more gear. Rangfinder Magazine is running a feature article on my wildlife photography this month where you can read more about my story into photography. I also have a more in-depth radio interview with Rangefinder which should be up by the end of the month and I did a separate interview with NIK radio.”

Do you agree on the necessity of having a vision for photography? Why so?

“Having a vision is incredibly important as it really connects me to the message I am trying to tell through powerful imagery.
I feel lost with out vision. Going out to shoot just to take photographs can be a good exercise but one I find very empty. My work is one of compassion for my subjects, hoping to create a relationship between the viewer and the subjects as a means to inspire others to explore this amazing world we live in.”

10.Q Interviews: Piper Mackay | www.pipermackayphotography.com

How do you get inspired? What things make your ideas spin in your head?

“I love to read amazing stories in distant lands creating all kinds of visual images. I also watch independent and documentary films. I recently wrote a blog post on this exact subject (“Staying Inspired”). When I am home in Long Beach (Los Angeles) there are so many great venues promoting photography and photographers and I take advantage of that. I have been to lectures by some of the most talented and passionate photographers ranging from war photographers, photojournalist and extreme climate photographers. Hearing their stories and seeing their work is incredibly inspiring. Viewing the work of others outside of my field has given me great idea’s for some of my most intriguing photographs. And of coarse there is no better fun than being in a room full of crazy passionate photographers.”

What’s the most difficult part of being a photographer?

“Staying true to my passion and shooting what I love can mean making great financial sacrifices and making the hard choices. On this journey there have been many challenges and changes as I have became more clear on my vision. One difficult choice was using my talents in the fashion industry to work freelance jobs (non-photography related) to pay the bills instead of using my talent as a photographer to create images that do not line up with my vision.
It just did not make sense to put my energy into photographing weddings, portraits, stock, or the likes, and compromising feeling to burnt out when it came to the work that is most important to me.”

10.Q Interviews: Piper Mackay | www.pipermackayphotography.com

What’s our responsibility as photographers in this world?

“To use our passion and images to create a better world for all those who live in it.
We have an opportunity to make a visual impact of our commonalities of dignity, beauty, love, dreams, human emotions, and help break down the stereotypes that we are not as different as the modern world would have us believe. We can create a desire for others to participate in a global community and help protect what is right in our world.”

Is there any importance in getting the “story” in your photography? Do you see yourself as a storyteller? If so, why?

“Absolutely, I see myself as a story teller. My photography is about sharing the stories of others both in humanity and wildlife. Telling their stories through compelling images can help to emotionally connect the viewer to the subjects and help them to understand an environment different than their own.”

How do you engage with your subjects?

“When I photograph indigenous cultures I make arrangements to stay with them in their communities. I have slept in small tents in their villages, in their huts, and up in huts on stilts in Panama. I like to take time to get to know them, learn about their cultures and their stories. The more compelling images come when you live the stories you are trying to tell.
During my years of photographing wildlife I have joined in with the rangers to walk the beat in the hot African sun on despairing missions. I have accompanied veterinarians to rescue hurt animals and have walked amongst the mountain gorillas as well as walking with a lion, holding its tail. There is a photograph of me doing this on my website, and it was one of the most trilling moments I have experienced.”

10.Q Interviews: Piper Mackay | www.pipermackayphotography.com

Reading your “about” you said: ‘The world has enough images of poverty, pain and disaster.’ What’s wrong with that? In your opinion, what other type of images do we need to focus on?

“There is nothing wrong with images of poverty, pain and disaster as it is important that we are educated on these issues and events, but I have chosen to focus on the beauty in this world. Photographs that bring hope and that can have a positive effect on the world. My hope is by sharing compelling imagery it will inspire others to experience these amazing cultures and wildlife and I believe that great change is made by one person who has been emotionally touched by a personal experience. People act with passion when they are emotionally and physically involved. More need are photographs that show the beauty and dignity of those who have less than us materialistically but that are, other than their place in the world, emotionally the same, with hopes and dreams.”

Finally, what are your final words to encourage or to critique the community of photographers around you?

* Stay true to your passion as this is how you will excel at your craft. What is the point of working so hard to discover you veered so far from the path that you don’t get to where you were so driven to go.
* Don’t let fear keep you from taking risk. When you get to the end of this journey you don’t want to look back and ask, “What if?”
* Don’t give up, you only fail if you quit. Not being successful along the path will give you the tools necessary to be successful.
* No means not now. Your work just does not fit their platform at the moment and is not a refection on your abilities.
* Enjoy the journey as you are fortunate to experience so many incredible moments that others may never get to.

You can follow Piper Mackay in:
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10.Q Interviews: D. Shun-Luoi Fong – Cultural & Humanitarian Photographer

© 10.Q Interviews | D. Shun-Luoi Fong

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, D. Shun-Luoi Fong:
“Shun-Luoi is a cultural and humanitarian photographer who captures the beauty, dignity and stories of people and cultures. With a focus on serving non-profit organizations and NGO’s, Shun-Luoi provides compelling images that can serve to support the field work and fundraising needs of organizations. Shun-Luoi has a strong vision for storytelling and a special compassion for the poor, the suffering, and marginalized people and cultures. Recognizing the beauty and dignity of all people, Shun-Luoi loves to engage the people and their culture in order to be a blessing to those who have need.” [More about Shun-Luoi...]

1. Tell us about you and your photography. How long have you been shooting? What kinds of shooting have you done?

I think of three specific influences from my younger years that paved the way for me to pick up the camera. First, I was blessed to grow up in a family where I was encouraged to express myself creatively and explore different forms of art. That freedom and encouragement from my parents created a wonderful environment in which to explore the world around me. Second, my father was a college professor and therefore had significant vacation time during the summer. I have fond memories of spending my vacations traveling around the United States, exploring the different regions and sub-cultures. Those experiences really nurtured my love for travel, meeting other people, and engaging other cultures. Third, my father loved to carry his old Minolta camera and take photographs of his family. The camera was a constant presence in my life as I sat for photos too numerous to count!

There were other influences that encouraged my pursuit of photography. However, the above three influences in particular laid the foundation for me to pursue photography as a way for me to express myself and my view of the world. While I always loved viewing photographs, it took a while for me to discover my passion for creating photographs. I had taken some photography classes when I was younger, and I took photos for my high school yearbook, but it wasn’t until after I graduated from college almost ten years ago that I picked up the camera for myself. I have been shooting ever since.

For much of the past ten years, photography was a creative outlet; a way for me to engage the world around me when I wasn’t at the computer working as a web developer. I didn’t really have a strong vision for my photography or sense for what I loved to shoot. This led me to pretty much shoot everything. I lived in and traveled to quite a few locations and enjoyed capturing images of the people and places that I observed. I shot weddings. I shot portraits. I shot nature and landscapes. I took many photos of my own family (I figured I have to make my children sit for at least as many photos as my father made me sit for). I was all over the board when it came to my photography subjects. Despite my lack of vision for my photography, for the most part I was enjoying the process, and can now look back and see it as an important part of my journey as a photographer.

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography means to you? What’s your vision for it?

I see humanitarian photography as a collaborative process where I am given the privilege of sharing life with those whom I photograph and of telling their stories through images. It is an opportunity (and challenge) to look past the surface to see and share the beauty, dignity and stories of the people and their culture, while also remaining aware of and sensitive to the difficult circumstances in which they may live. It is a responsibility to create images that make a significant and lasting impact, both for those whose pictures I am taking as well as for those viewing the images.

My vision as a photographer is to creatively tell the stories and communicate the beauty and dignity of people and cultures around the world in order to foster dialogue, peace, healing and redemption.

In photography and every other area of life, I try to live according to the words of the prophet Isaiah: “Learn to do good; seek justice, correct oppression; bring justice to the fatherless, plead the widow’s cause.”

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

As mentioned previously, I spent a number of years without a strong sense of vision for my photography. From 2004-2005 I spent a year living and working in Thailand, but then spent the next few years working on and off as a web developer with a various jobs and photography gigs in between. At the beginning of 2010, as I was considering my plans and goals for the year, I knew I needed to find some focus and vision. I needed to take the leap to more intentionally pursue photography, or simply be content that it would remain on the side as a creative outlet. I didn’t want to look back ten years from now and regret never giving it a shot. So after much deliberation, and with my wife’s encouragement and support, I made the decision to pursue photography. I still wasn’t sure, however, what kind of photography I wanted to pursue. There were a couple of factors that moved me to pursue humanitarian photography. First, I have always had a desire to work with and minister to people who don’t have a voice in this world, to people who are living on the fringe of society, to people living under oppression, in poverty, and in other difficult circumstances. Second, I reflected on my time living and working in Thailand. There were so many ways in which I felt completely in my element there. I loved teaching. I loved learning a new language. I loved engaging people and their culture. And compared to much of my photography up to that point, I was most moved by my images from Thailand. These two factors opened my eyes to the possibility of using my love for photography and people to make a positive difference in the world.

Shortly after making the decision to more intentionally pursue photography, I was given the opportunity to travel to Haiti and Peru. In Haiti, I worked with a church from San Francisco that supported a missionary who had committed her life to the Haitians. As I shared, through photography, the work of this missionary and the people she was impacting, I felt like I was finally doing the work for which I was created. It was a very confirming trip for me. Shortly after my work in Haiti, I traveled with a couple of friends to Trujillo, a city located on the northern coast of Peru. I had two objectives for this trip. The first was to explore beyond travel guidebook descriptions to discover the stories of people living in significant poverty on the outskirts of Trujillo. The second objective was to share these stories with local church and business leaders in order to challenge them to better care for their impoverished neighbors. I traveled to various communities, as well as to the landfills of the city, hearing and photographing many stories. While my time was short and I could document only a few stories, I was profoundly impacted by the joy and generosity of the people. Despite significant poverty and the challenges of surviving day to day, they welcomed me into their homes and freely shared their lives with me. This time in Peru further confirmed to me that pursuing humanitarian photography was the right direction for me.

4. What are the challenges of shooting for NGO’s or non-profit organizations?

A lot has already been said in previous 10Q interviews about the challenges of limited budgets, educating NGO’s on the value of the work, communicating to NGO’s how images can be used effectively, etc. Generally I agree with most of what has been said on these issues. They are significant challenges.

Another challenge that I have faced is the time constraint that is often placed on me to capture the images. My desire is to spend time engaging people in conversation, learning from them, and hearing their stories. I believe the images I create are often stronger as a result. However, when an organization is asking me to complete a project in a limited timeframe, I don’t always get to spend time with the people like I would like, and even think I need in order to effectively tell their stories. This challenge isn’t all bad, however. It is encouraging me to explore ways I can be a blessing to people, whether I get days, hours, or only minutes with them. It is also giving me the opportunity to grow in my ability to capture powerful images even when given a small amount of time in which to capture them.

5. How often do you travel every year? How do you manage your family time?

I am early in my journey as a humanitarian photographer, so have not, as of yet, traveled extensively. However, as I continue to pursue this type of work, I will need to give more consideration as to how often I am willing to travel, and how best to balance it with other areas of life. I have a wife and son, as well as a daughter on the way. It’s a challenge for me to be away from them for long periods of time. It’s a challenge to maintain a healthy balance, not just between family and work, but in every area of my life. My wife and I have had many discussions about what this looks like for us as individuals and as a family, and as we continue this journey together, I’m sure we will continue to discover how best to balance everything. There is one thing for sure…I am very thankful to have the full support of my wife as I pursue my calling as a photographer. There is no way this would happen without her support and encouragement.

There are a couple things I have learned so far that have helped me maintain a healthy balance. The most important thing for me was, up front, making the decision and commitment to always keep my family as a priority over my work. Just making the commitment was an important value to establish as I began this journey. With that commitment made, it becomes easier for me to keep the proper balance and communicate well with my wife and invite her into discussions about my travel, workload, potential projects, and business decisions.

I try to also keep the perspective that work and family are not necessarily mutually exclusive aspects of my life that need to be juggled. Rather, I try to find ways to bring the two together. My desire is for my wife and children to feel like they are involved in the work that I do, whether it is accompanying me on trips, helping me with various aspects of the business, or staying in close touch with them when I am traveling. On the flip side, I remember that life doesn’t stop for my family when I am traveling. Whether I am at home or traveling, it is just as important for me to stay involved in the things that are important to my wife and children.

It’s an ongoing process for me, because there is always work to be done whether I am traveling or at home in the office. However, with forethought and help from my wife, mentors, and close friends, I am learning how to establish healthy boundaries that keep my priorities in order and my life in balance.

6. Who’s been an inspiration for your photography? How do you stay inspired?

It would be difficult to list all of the ways I stay inspired because inspiration comes to me from so many different places and in so many different ways.

Here are a few that come to mind. I’m inspired by 1) the stories and lives of the people whose images I am privileged to capture. It is these people who keep me shooting. 2) my family (wife, son, parents, siblings) and friends, 3) Random conversations I have with strangers. I am amazed at the inspiration I receive from strangers I come into contact with each day. 4) engaging people, cultures, and ideas that are different than my own. They challenge me to think more creatively and they expand my world. 5) movies, 6) a good cup of coffee and a good book. I love to read and get many ideas from the variety of books I read.

Also, and perhaps this should go without saying, but I stay inspired by shooting a lot. Sure, I have my moments while shooting when I feel like a complete hack. But generally I find that the more I shoot, the more inspiration and fresh ideas come to me.

Regarding photographers who have inspired me and continue to teach me (including through their blogs), the list is long. I’ll specifically mention David duChemin who played a huge role in influencing me to pursue humanitarian photography. I have also been inspired by many of the people whom you have already interviewed in this series. Other photographers I am inspired by and always learning from: Chase Jarvis, Jeremy Cowart, Zack Arias, Steve McCurry, and Galen Rowell, just to name a few. Recently I have also been inspired and challenged by organizations such as IGVP and Focus for Humanity.

A couple of other recent inspirations I should specifically mention: The work and words of Makoto Fujimura, and the book “Walking on Water”, by Madeleine L’Engle.

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

It is important to approach people first as a fellow human being and as a friend, rather than simply as a photographer. I must be willing to care for them as a person and take the time to build a relationship with them, even if that means I don’t get the image. I have found that my camera sometimes serves as a bridge to engage people, and sometimes it is a hinderance. Especially for those times when my camera is initially a hinderance, I try to set it aside and simply engage the person in order to get to know them and learn from them. When they see that I care for them more than just taking their picture, I have found that my camera quickly becomes a bridge and I am given much more freedom and insight into their lives to tell their story through the images I create.

I have also experienced how children can serve as a bridge to draw people together. I have seen this with my own son when my wife and I have connected with people in ways that probably would never have happened if our son hadn’t been the point of contact to begin a conversation. I see the same thing when traveling in other cultures. Children have such a joy and innocence that can overcome suspicion and bring people together. I love interacting with children from other cultures; playing with them, teasing them, taking their photographs and showing them the images on the back of the camera. I have found that when I engage the children, it opens many doors to begin engaging the adults. This relates back to genuinely caring for the person rather than simply wanting to get a picture. When people, who may be more reserved and/or suspicious, see that I desire to engage them with respect and humility, and genuinely desire to build a relationship with their children and other family and friends, they become more open to me and my camera.

Regarding my limits at the moment of shooting people in need, I am challenged by the limitation of time. I often don’t get to spend time sharing life with, or ministering to people like I would want. I am often rushed to capture images and move on. This can be a frustrating challenge to me as it runs counter to the way I would like to engage and photograph people. In addition, the lack of a common language also makes it challenging to engage people like I would want to.

8. How important is social media for you? How do you manage it in your work? Any tips to share?

Social media services such as Twitter and Facebook are becoming increasingly important to me as they are allowing me to connect with other photographers/creatives and potential clients. These services also provide a quick and convenient way to share content that may be valuable to the larger community, as well as find valuable content that others share. In fact, I look at my RSS feeds less and less because the people I follow on Twitter usually point me to the best blog entries, websites and other resources to read. My Twitter feed has become my main source of content aggregation. I also am in the process of using my own blog as a way to share about the work that I am doing and the lessons I am learning as I continue my journey as a photographer. And of course I am using my own website portfolio as a way to present my work and connect with others.

As valuable as social media can be, it can also be such a time waster if not used well. For me, it is important to schedule specific times during the day to use social media as well as establish a strategy for why and how I’m using the services. I don’t want my use of Facebook and Twitter (the two primary services I use) to simply be a soapbox for me to talk to no one in particular. I try to think well about sharing content that can provide valuable contributions to the online community.

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

I have bought a fair amount of gear this year that has proven very valuable while traveling, but one piece of gear that quickly comes to mind is my Think Tank Urban Disguise 60. I’m kind of a nerd when it comes to bags and packing equipment, and the Urban Disguise is one of my favorites. In terms of camera equipment, the Nikon D700 was a great purchase for me. It’s a solid camera that has served me really well in the field, and I definitely appreciate having the full frame sensor.

I’m not sure I can point to a specific piece of gear that has been most important to me thus far in my career. Most of the gear I use has been important to me, especially when it allowed me to create the image I was after. One piece of gear that isn’t quite as sexy as the camera equipment, but is just as valuable to me, is my Moleskin. I carry it around with me everywhere and use it to write down my thoughts, record stories, sketch out ideas, etc. I can’t imagine working without it.

10. What are the characteristics that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

Vision. Passion. Compassion. Perseverance. Humility. Good humanitarian photographers must always seek to honor the people they would like to photograph, even if that means not taking the photograph. They should value the person and relationship more than the photograph. They should always be engaging the ethical questions and tensions that exist every time they create an image in difficult circumstances. They should learn to see past the surface to see and communicate the beauty and dignity, as well as the brokenness, of the people and cultures they engage.

Regarding advice, 1) finish reading this interview and get out and shoot. Keep shooting. 2) Learn the craft of photography. 3) Slow down and think more intentionally about every image you create. 4) Learn the principles of good storytelling. 5) Find a mentor who will walk alongside you as you grow in this field. 6) Don’t be afraid to make mistakes. They are an important part of your journey. 7) Know yourself – your values, passions, strengths, weaknesses, boundaries, limitations, goals, vision.

10.Q Interviews: Jake Lyell – Documentary & Humanitarian Photographer

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Jake Lyell:

“Jake Lyell is a documentary photographer based in between Soroti, Uganda and Arusha, Tanzania, East Africa. He has photographed in twenty five different countries throughout the world but is now focused on Sub-Saharan Africa. Experienced in editorial photography, he specializes in work for non-profit groups, documenting social issues, and promoting greater understanding between cultures.” [More about Jake...]

1. Tell us about you and your photography. What kinds of shooting have you done? Have you worked for any humanitarian organizations/magazines etc.? Could you name any current or former clients?

Since I’ve moved to Africa I find I do all kinds of work. I do a lot of editorial jobs for various clients from European business magazines to Marie Claire, a US women’s magazine, to Ugandan musicians and singers. Last year I worked as a still photographer on Christy Turlington-Burns’ “No Woman, No Cry” documentary. I also license my work through Alamy and Demotix. Most of the work, however, is still with NGOs. Currently I work with PSI, BRAC, Baptist World Aid Australia, Bill & Melinda Gates Foundation and Water Aid UK.

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography mean to you? What’s your vision for it?

That’s a tough one. It’s very difficult to know whether or not your work makes an impact. That’s the idea, right? I suppose NGOs wouldn’t hire you if it didn’t. However, I just recently did a project on a very sick child named Grace, who died of the AIDs virus, and the mother that mourned her. I got a lot of feedback on it in the way of phone calls and emails. People even sent me money through Paypal to pass on to the mother, Sarah, to help her bury her daughter and get back home. Most of the time I don’t know how my work impacts people but I have to hope that it does.

I have my own humanitarian projects in Tanzania and Uganda that I document and raise money for anualy among friends and family back in the States. I’m also trying to get my church back in Virginia to be involved in youth mentoring and educational projects here in Uganda. A cynical person would say that attitudes of people in the world remain the same no matter what pictures are shown to them. I’d like to think that actions and lifestyle have changed among my own circle of friends and family in the US since I began doing what I do.

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

I taught ESL one summer in Tanzania ten years ago with a program for college students. I took so many photos that summer that if I wanted to print them all I had to switch my major from business to photography, which I soon did. I kept returning to Tanzania and other parts of Africa as a volunteer throughout college. I developed a passion to help people and raise awareness about the things I saw in the developing world. I decided that I should endeavor to do this through my photography. As luck would have it, I had a college professor who had done a fair amount of work for NGOs. He first introduced me to the idea of humanitarian photography and he was able to give me some ideas about possible steps to take to start getting work. It would turn out to take a while before that began to happen. When I graduated from university I assisted other commercial photographers, did freelance Photoshop work and would take trips to places like Haiti, Peru and Tanzania on my own dime. I would approach NGOs that were working in those countries and pitch work to them. Sometimes I was more successful than others in getting work, but throughout the process I gained a broad portfolio that I used to market myself, which I did relentlessly when at home in the States. My first international assignment where I didn’t have to foot the bill myself in getting there was in Ukraine with Heifer International. Once I felt comfortable enough that I’d continue to get work, I moved out to Africa, which is something I’d always wanted to do. I spent last year based out of Tanzania. This year I’m in Uganda but continue to work in Tanzania as well as throughout Africa.

4. What are the challenges of shooting for NGO’s or non- profit organizations?

The biggest challenge I find when working with NGOs is dealing with usage and copyright. Many times NGOs want to heavily restrict the photographer’s own subsequent use of commissioned images. It can be a challenge to earn fees that merit such restrictions. I’ve had to stop shooting for two organizations who I really enjoyed working with as a result of not being able to come to a mutual understanding with regard to these issues.

Another factor when shooting with NGOs is your inability to remain unbiased, though this isn’t a problem solely confined to NGO work. Sometimes you’re reporting, sometimes you’re doing advertising. I’ve seen a lot of NGOs work up-close. Usually it’s awesome and truly remarkable. Sometimes it’s lackluster, but you’ve got to make it look good anyway.

5. How much do you travel every year? How do you manage your family time.

I used to travel to Africa a lot from the States but since moving here full-time two years ago I find I get a lot of assignments around the continent. This year I’ve been everywhere from South Africa to Liberia, Sierra Leone, Cameroon, Mali, Kenya, Tanzania, etc. Occasionally I get the odd job outside of Africa. I rent a house in Soroti, Uganda. I have an awesome girlfriend who’s very understanding of my work schedule, or lack there of. I used to spend most of my free time traveling around and shooting personal work in far-flung places whenever I got the chance. Lately, outside of assignments, I’ve settled down a bit more and kept the personal work closer to my place here in Soroti.

I’ll travel to the States this year for Christmas and see my parents. My mom and dad are wonderful people and I wish I could spend more time with them. I’d have given up on career aspirations of being a photographer a long time ago if they hadn’t supported and encouraged my work. They’re paying for it now though, since they have to run from the mailbox to the bank and deposit checks for me.

Child carrying water in a village - Amuria District, Uganda.

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

I don’t usually read blogs. I’m a news junkie and that’s about all I read on the internet. I also find that I get discouraged when I look at too many other talented photographer’s work. “Why can’t I see things that way?” I always ask myself. Nevertheless, Evelyn Hockstein, Finbarr O’Reilly, and Kuni Takahashi are some of the shooters whose work I am consistently awed by and can’t resist following.

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

Speaking the language, or being sure that you have someone beside you that does, is the most important thing when shooting people from other cultures. I speak Swahili, so that helps here in East Africa to explain to my subjects the motivation and purpose behind my work before I start shooting. At 5′ 6” I’m also a very unintimidating guy. I think I have a good rapport with people and I can make them feel very comfortable. It doesn’t always work, however. Last month I landed myself in a police station in Cameroon by taking too much liberty with my camera in a crowded market.

The world has become desensitized to much of the suffering that exists here. Simply taking a picture in most cases won’t cut it any more. For the story I did on Grace, the child that died of AIDS, I found that in order to make it ring, I had to make it deeply personal and show that Grace and her mother were just like a mother and child in Europe or the US. I did this by interviewing, gathering quotes and showing the intense emotions felt throughout the process. I also recorded video on this project, which I felt was much more effective in the portrayal of humaneness and grief. There were times when it was so difficult that I couldn’t take pictures and I had to instead stand by and cry with Sarah, Grace’s mother. After Grace’s death, Sarah gave me a piece of cloth that belonged to her daughter. I knew that I hadn’t overstepped my bounds but instead perhaps helped her get through some dark hours.

8. What are the characteristics that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

It’s essential to learn to live very simply and avoid as much debt as possible. (I would also offer this advice to anyone, not just aspiring humanitarian photographers.) For the first couple years only plan on spending your money to invest in equipment and travel. Save up a bit so you can take some personal trips abroad to build up your portfolio. When starting out it’s important to have a lot of patience and determination. Make sure your current job is flexible enough so that when the assignment does come along, you can drop everything and leave. I struggled for a number of years to try to get the ball rolling on photojournalism and humanitarian photography. As I mentioned earlier, I did freelance Photoshop work and commercial assisting for other photographers to support myself. If I got really slow I’d even take up substitute teaching. These as-needed jobs allowed me to be available when things started coming up. Eventually they did and I was ready for it.

As I said, a good humanitarian photographer needs an excellent rapport with people. At the same time he or she should feel very comfortable with getting up-close and intimate shots. Sometimes it’s obvious that the photographer, not the subject, was intimidated. Most of all, one’s heart needs to be in the right place. You should have a genuine concern for your subject and their well-being and be motivated to advocate for their cause.

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

The most important step I took in the last year was to start employing video. I’m still learning but I always tell clients, “by the way, why don’t we throw some video footage onto the shoot?” Many of them take me up on it. So the Canon 5D Mark II and the two microphones that I’ve bought to go along with it have been very worthy purchases. I’m getting ready to purchase a 7D as a backup video camera. Video is an area where I have the potential to greatly expand my business and I look forward to doing so in the coming months and years.

10. How important is social media for you? How do you manage it in your work? Any tips to share?

For marketing I use an old fashioned website and blog. I’m not on Twitter and my Facebook account is just for personal use. I do update my blog regularly with new stories, photos and videos. I find it’s effective in showing clients my latest work and it’s currently my only platform for showing video. It’s also allowed me to be more noticed among the large pool of photographers doing similar work. According to my Google stats my blog gets almost twice as many hits as my portfolio website.

10.Q Interviews: Matthew Oldfield – Underwater & Humanitarian Photographer

[NOTE from Heber: Sorry for my absence in this Blog, but I'm currently working on a multimedia project for PreemptiveLove.org, and also adjusting to my new place in Chile. I'll be here until next January. I will be blogging probably in a week. Thanks!]

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Matthew Oldfield:

“I started life as a Zoologist, graduating from Worcester College, Oxford University, with a degree in Biology. However, academia soon lost its attraction and since finishing in 1993, I have been heavily involved in both photography and diving. I acted as Science Officer for a reef-survey expedition to Sabah, Malaysian Borneo, in 1994, before joining Science Photo Library as a Picture Researcher. In 1996 I worked for one year as a dive guide on the remarkable island of Sipadan in the Celebes Sea, where I finally realised that life in the UK was no longer for me. After a short stint back in the UK with Corbis as a Picture Researcher in 1997, I returned to Sabah and the island of Mabul to join Scubazoo as a Photopro.” [More about Matthew...]

1. Tell us about you and your photography. How long have you been shooting? What kinds of shooting have you done?

I have been taking photos since my early teens, but only really began shooting professionally around 1997/1998. At the time I was heavily involved in diving and the vast majority of my photography was done underwater. The company I worked with, in Sabah, Malaysia, was also involved in filming, location management and ‘fixing’ for other production companies, and so in reality I spent little time actually shooting stills. It is only in the last couple of years, after going freelance, that I have moved away from underwater photography and have begun to reinvent myself, and my career.

My motivation for making such a career change is my love of photojournalism and documentary photography, and a desire to achieve a great deal more with my photography. A couple of years back I had one of those moments – an epiphany, flash-of-light, mid-life crisis, whatever you want to call it – when I realised that the photography I was doing was seriously missing something. Someone made a comment that I think really hit the nail on the head – my photography was beautiful, but lacking in emotion. And I decided to change that. Perhaps it stems from the fact that for 10 years or so, I essentially shot as a tourist – in-and-out then move on to the next location. The very nature of the medium you are working in means that underwater photographers have little opportunity to make ‘in-depth’ studies of particular subjects – pun intended! And it is prohibitively expensive to do it any other way, something that is reflected in the fact that there is just a very small group of underwater photographers out there that are shooting anything other than glorified stock – and I don’t include myself amongst them unfortunately.

I am currently in the process of building up a portfolio of ‘topside’ photography, focusing mainly on the work of non-profits. Earlier this year I had my first big commission working for a charitable foundation set up by a global telecoms company. They sponsor several projects in Africa and I was sent out to cover the work of these different charities. It was an extremely useful experience – both in terms of learning how to define what I wanted to achieve in a limited period and difficult conditions, and also learning a great deal about the business side of a big commission. It was the first time I have ever dealt with such a large corporation as a client, and I learnt a huge amount in a very short time. The trip also confirmed just how much I love this type of work, and how difficult photojournalism is. I think the ability to shoot beautiful images that tell a story or capture an emotion, simply and without bias or agenda, is an incredible talent. I am a LONG way from achieving that, but at least I now have a better idea of what I want to be achieving. In all honesty I have thrown myself in at the deep end when it comes to this type of photography and I recognise that I need to get a lot more experience. But I think that is one of the things I love about photography – you are always learning. And if you believe in yourself and are committed to what you are doing, you can reinvent yourself.

Holiday club classes run by volunteer teachers, Thika, Kenya.

2. How and where did you get your vision for it, and what are your dreams?

I think I have yet to develop a well-defined visual style or identity. And my dreams and goals are still evolving – I suspect they always will! I don’t consider myself a travel photographer, a humanitarian photographer, an underwater photographer – I have too many different interests to define myself like that. I think of myself as a photographer that cares about and is fascinated by a great many things. For starters, I’m a scientist at heart, but one that is passionate about the arts. So I think one of the things I am aiming towards is to call myself a ‘working photographer’, one that is capable of capturing an event, or a story – simply and beautifully. And by doing so, effect some sort of change for the better. For me, thats what it is all about – if you care about something enough, get up and do something about it. My goal is to do that through my photography.

My ideal is to focus on environmental issues and the people and cultures, habitats and species, that are directly impacted by environmental problems. I am also very interested in documenting the way scientists and researchers work – particularly those involved in conservation. I originally studied Biology and have always been passionate about the environment so if I can combine what I am now learning about photojournalism, with my knowledge and experience of the environment, I think I will have found my niche at last.

However I think keeping yourself open is very necessary nowadays – particularly in terms of making a living. Over the next few weeks I have some commercial shoots for a big advertising agency in the UK, I am volunteering with a conservation organisation and I am doing some corporate shots for a local community foundation. And I will then head off on two trips spread over 4 months. It is quite an exciting time for me – I am earning a living, learning from everything that I do and putting in place plans for the future that will see me focusing on environmental subjects a great deal more. All part of a master plan!

3. What are the biggest challenges in your photography business?

Currently – getting your images noticed from amongst the crowd, building up client contacts, building a suitable portfolio, finding the time and funds to pursue the stories you want to – and still pay the bills. In some respects I consider myself lucky – I don’t own any property and have no serious overheads. This should probably worry me a great deal more than it actually does, but for now I am happy doing what I do and it does give me a lot more freedom and flexibility.

For me personally, I think probably the greatest challenge is getting myself noticed, making people aware of what I am doing and what I want to do in the future. To do this you obviously need to have strong images and interesting and well-researched stories, but you also need to market them successfully. Despite the fact that I believe content is king, without marketing, you’ll only get so far – even with remarkable or unique images. I also find juggling all the different elements of being a freelance photographer very difficult. You have to manage your time so carefully if you want to get ahead, something that does not come naturally to me. I am very committed to what I am doing, and put in far too many hours, but I suppose I am naturally disorganised – too many things going on in my head at any one time! Like any other business there are so many different facets that you have to understand and get on top of to succeed, and it is a very steep and time-consuming learning curve – especially if what you actually want to be doing is getting out with your camera. But ultimately, it is absolutely essential that you master the business of being a photographer.

Cameraman with a free-swimming monitor lizard, Pulau Tiga, Sabah, Malaysia.

4. How do you normally approach people for your photography? Is story-telling important in your photography? How is your approach to subject-story?

They only way to photograph a subject successfully is to first build up some sort of rapport or understanding – and this applies to photographing people, animals or environments. It is easy to snap a quick picture and come away with something pretty, but it won’t really tell the viewer much about the subject. You need to take the time to learn and understand what is at the heart of a subject. Trying to balance this with the necessity of covering a range of subjects in a short time is very tricky and something I am learning to do. And ultimately it comes down to having the luxury of time spent in a location or with a particular person or community.

Story-telling has become central to what I now do but I have so much to learn, it scares me sometimes! As I said previously, I spent many years essentially shooting as a tourist and my photography reflected that. The jobs I have coming up in the near future mean I will be working to very tight schedules and briefs but I will always try to incorporate the idea of giving the people I am with or the environments I am exploring the opportunity to tell their own story, not inflict my own preconceptions and ideas on a subject – a very lah-de-dah, high-and-mighty way of saying I need to spend a great deal more time listening and observing, and giving people the opportunity to express what is important to THEM.

Portrait of a Dinka child in an unfinished classroom at the Marol Academy, Luonyaker, Sudan.

5. How much do you travel every year? How do you manage your family time?

Previously I would travel whenever I can afford to and would visit a location without any particular idea of what I wanted to achieve there. Not ideal. Now I think more about the story or subject than the particular location and only travel on the basis of going to a location to cover something in particular. I have just been commissioned by a previous client and will be traveling to several different countries in Africa, Peru and Haiti, to cover the work of individuals and charities that the client sponsors. This sort of work is always a challenge as you need to work to their brief – which might include shooting more commercial-style shots for advertising use – in an environment that you know little about or may find pretty difficult to work in. But situations like this are where you learn the most. Unfortunately/fortunately, depending on you point of view, I am single at the moment and so I am just focused on work!

Pristine coral reef, Misool, West Papua, Indonesia.

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

I am inspired by so many different photographers and spend a great deal of time browsing online and reading magazines and newspapers – I get inspiration every day. What I aspire to is photography like that found in the World Press Photo archive, but I get inspiration from a huge range of different photographers and styles. I hugely admire the underwater photography of Paul Nicklen, surf photographers like Morgan Maassen, wedding photographers like Louis Pang in Sabah, photographers like Joe McNally, Eric Lafforgue, Ami Vitale, James Nachtwey, David and Peter Turnley, and my recent discoveries like Esther Havens, Alixandra Fazzina and Mitchell Kanashkevich. Given that I consider myself relatively inexperienced and still learning so much, I find inspiration all over!
Regular reading is mostly news, plus I normally read the British Journal of Photography and the Photojournalism Links site by Mikko Takkunen.

Teachers from The Marol Academy, Luonyaker, Sudan.

7. What are the characteristic that a good photographer in your field needs to have?

Perseverance, courage, commitment, knowledge, sensitivity, passion, humour, humility, and an inquisitive mind – and commitment again. If you want to succeed you need to stick at it through thick and thin. You will have bad times and you will be broke, but it is more than worth it. Photography is incredibly satisfying and you will meet amazing people, explore different places and experience things that the vast majority of people will only be fortunate enough to experience through looking at photography or staring at television. You will experience these things yourself, first-hand. And as a result, have the opportunity to bring about change.

Cameraman entering a cave system, Rurbas, West Papua Indonesia.

Cameraman filming the wreck of a Catalina flying boat, Biak, West Papua, Indonesia.

8. Is social media/Internet important in promoting your work? How much time daily do you invest in it?

I think nowadays the internet and social media is extremely important for marketing, particularly when you are first building a presence, a name. But I will be the first to confess that I have not yet got to grips with it and find it difficult to invest the time necessary to do it all justice. I spent a lot of time building a site but recently have not had the time to update it on a regular basis. Twitter and facebook etc? I use them but am still keeping an open mind. Over the last 6 months or so I know I have spent far too much time worrying about SEO, followers etc etc. Content will always be king – you can tweet all you like but without a solid body of work, a well-defined style and a commitment to achieving what you want, then I am not sure you will get far. That is my focus at the moment, along with building up a few solid contacts and clients.

Teenager with a home-made instrument, Luonyaker, Sudan.

9. Tell us about the last piece of gear that you deemed important enough to buy

When I first went freelance I had a some money to invest and bought a D3. I wanted to buy a body that will last me for many years and went with the D3 on the basis of its high ISO capabilities, and because I have used Nikons for some years and feel comfortable with them - I know where all the buttons are! It is a wonderful camera and am very happy with the results.

Over the last few months I rented a 70-200mm for specific jobs and just recently decided to buy the new VR II. It’s a very useful lens for general work. I much prefer to shoot wide and close rather than using a telephoto, but I need an all-round, ‘working’ kit and I know I have missed some shots that I would otherwise have gotten with that lens in my bag – and these are shots that the client could have used. So the 70-200mm was a pretty essential purchase for me – I now have the kit I think I will need on a daily basis.

Nurse examining a Masai patient, Meserani, Tanzania.

10. What would be your advice for a photographer who is just starting out in this field? What is the biggest obstacle you see facing new photographers who want to work on this type of photography?

To simply follow your dreams, you passions. Stay focused and don’t give up. Slightly cliched I know, but valid. The photographic industry as a whole is incredibly turbulent at the moment and there has been a great deal of discussion about the death of photojournalism and the evils of microstock business models. Don’t let these deter you. Stick to what you love doing.
I suspect the greatest hurdle is to make the jump from being a photographer passionate about what they do, to a photographer that is making a living from their passion! I DON”T have any sage advice about how to do this as I am muddling through this situation at the moment. But I believe photography is as relevant now as it has ever been – its just that the industry is evolving and changing at an incredibly rapid rate and I for one am not 100% sure what this means for the future. But I think it makes it a pretty exciting time to be involved.

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September 10, 2010 by heber vega

10.Q Interviews: Magda Rakita – Travel & Humanitarian Photographer

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Magda Rakita:
“Magda is London based photographer with passion for people, travel and adventure.” [More about Magda...

1. Tell us about you and your photography. What kinds of shooting have you done? Have you worked for any humanitarian organizations?

My interest in photography developed as complimentary part of my passion for travel. My aim was to capture all those wonderful moments I witnessed when travelling and I wanted to share some of those experiences with others. I switched point and shoot for my first DSLR in 2007 and since then photography became major part of my life.
I am interested in remote areas of our planet and people who live there . My interest in local culture, way of life and current events in places I visit was natural path to becoming interested in work of NGO’s and charities which are helping local communities. Using my skills seemed like good way of supporting work of those organizations. I photographed for African Youth Initiative Network, The Aids Support Organisation in Uganda, Seeds of Peace UK. I also support work of Survival International with my images.

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography means to you? What’s your vision for it?

In my case it definitely offers amazing feeling of fulfilment and satisfaction. I hope that at least some of my images will help improve living conditions of people I photograph. But equally important for me is the possibility of raising awareness among the viewers. For many people with extremely busy lives it can be easier option to isolate themselves from the reality of other people lives, especially if their own is fairly comfortable. As well many people feel oppressed while looking at depressing images from around the world, therefore I believe it is extremely important to show positive results of NGO’s work.

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

I think there are couple of factors contributing to this choice. Firstly – NGO’s and charities are part of the landscape when one travels off beaten track in most of so called third world countries. To understand how they operate is part of understanding local reality, the mechanisms behind people’s lives.
Second factor was a documentary photography workshop organised by Momenta Workshops I took a part in. It was truly inspirational experience and great introduction to work with NGO’s.

4. What are the challenges of shooting for NGO’s or non – profit organizations?

For person like me – relatively new in this area of photography – researching organizations can be challenging. My advice would be photographing NGO’s which work you truly support and believe in. Do your homework – sadly, sometime we can see misguided efforts of some organisations, which create even bigger dependency on AID.
Negotiations of your pay and budget can be very difficult especially when working with small, local organisations. While working with such organisations can give you tremendous feeling of satisfaction, your role can go beyond photographing. It is important to discuss what are the goals of your project and shoot with that in mind, buy you may need to explore possibilities for your photo shoots other then suggested by organisation hiring you, so show initiative.
Small organizations may be as well unaware of many ways of using the images and I am sure they will appreciate your advice.

5. How much do you travel every year? How do you manage your family time?

I love to travel and I wish I could travel more. Photography is not my full time job so other work obligations can be limiting when planning expeditions and photographic projects. I am single so that on the other hand allows lots of flexibility.
I always try to plan two trips a year, but I would like to point out one fact – you don’t have to travel far to work with NGO’s and charities. I am currently working on a project in London, where I am based, and I am confident if you are interested in social issues and documentary photography you can find organisation and projects near your home.

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

The most inspirational photographer for me is Sebastiao Salgado – I find he’s work breathtaking whenever I look at it. I like Steve McCurry’s work and I visit he’s blog frequently. I recommend everyone to look at incredibly powerful work of Tom Stoddart.
I am very often inspired by work of many less known or completely unknown photographers– that the great thing about internet and social media like Flickr!
I look for inspiration outside photography as well – before each trip I read as much as I can about the region I am going to visit. I love reportage style books and they are great source of information! One of my favourite authors is Ryszard Kapuscicnski.

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

Respect for others and for local culture is very basic thing and should never be ignored. Friendly smile and few words in local language definitely help break the ice and build relationships.
When working in the field it is worth asking NGO worker to explain people you may want to photograph, what is your role and that’s the purpose of taking those photos. This can help people open and welcome you in their lives.
I think it’s easy to sense if someone doesn’t want to be photographed and we should respect that right. I see it as part of process of building relationship with that person or group of people. You may miss that single opportunity, but hopefully it will lead you to many others.

8. What are the characteristic that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

Empathy and compassion are characteristics which i think are extremely helpful. I believe being able to put yourself into someone else’s position will help to capture the emotions and situation better.
Aways support projects and work of organisations you really believe in. This will help you overcome the difficulties, stick to your goals and give you amazing sense of satisfaction when you see the final result. If you choose to work in remote areas be prepared for basic conditions, lack of electricity etc. As well it is very important to develop ways of dealing with psychological impact of situations you may find yourself in.

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

The type of photos and conditions I like to shoot in were main reason for choosing some of the gear I have – Canon 5d mark II is amazing, sturdy camera producing great results in low light. It is resistant to bad weather conditions and it is smaller and lighter then many other pro level full frame cameras. The possibility of producing video is another advantage. I like using prime lenses – 35mm 1.4 is my favourite for low light shooting and 85mm 1.2 is amazing for portraits

10. How important is social media for you? How do you manage it in your work? Any tips to share?

I like social media. Flickr, facebook and twitter allow me to stay in touch with friends and people interested in photography. I met some amazing photographers trough Flickr, and supportive group of people who can help with constructive critique and advice is very important. I like twitter as well – this incredible platform to share and find recourses and inspiration. I do not have blog and I promote my work using my web, flickr and twitter. I think key here is to enjoy yourself, show your personality and don’t get lost in the social media reality – don’t do things just because someone says it’s right thing to do – it maybe right for them but not for you!

My Social Media

Magda in Twitter: @magdarakita
Magda in Flickr

Archive

September 3, 2010 by heber vega

10.Q Interviews: Spencer Stoner – Humanitarian Filmmaker & Photographer

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Spencer Stoner:

“Spencer Stoner is an award-winning filmmaker and photographer based in Austin, Texas. He specializes in providing distinct and personal approaches to visual storytelling and awareness-raising for non-profit and private-sector clients alike.” [More about Spencer...]

1. Tell us about you and your photography. What kinds of shooting have you done? Have you worked for any humanitarian organizations/magazines etc.? Could you name any current or former clients?

I starting shooting as a teenager, took some darkroom courses in college, and spent six months in Argentina and Brazil shooting stills for a children’s book series before I fell into the world of documentary filmmaking. I cut my teeth in DC shooting for the Discovery Channel and have since worked on shoots for TLC, A&E, Blender, and a variety of non-profit clients. When I found my way back to photography it was with the perspective of a documentarian. It’s really cool to operate between the two disciplines. One’s an epic poem, the other’s a haiku. They both hit you in different ways.

There’s not really a specific “thing” that I shoot, but lot of my work centers around the relationship between people and their environment. People who work the land, people who fish it, people who are forced to endure it. I’ve worked with farmers and fishermen in El Salvador and with non-documented refugees in Morocco who froze every night, and every day were afraid that the gendarme would discover them, load them up into a van and abandon them in the Sahara. I find it really interesting how basic that relationship is, between us and the land and how alienated we urban-dwellers tend to be from it.

I’ve shot for the Sierra Club, EcoViva, the Conseil de Migrants Subsahariens au Maroc, Putney Student Travel, among other broadcast clients. My photos have also appeared in the Washington Post and the DC current. When I’m not on a humanitarian or documentary shoot, I also have several commercial clients to look after back in Austin with the production company that I co-own.

© Spencer Stoner | www.spencerstoner.com

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography means to you? What’s your vision for it?

For me, humanitarian photography is about curating an understanding of a particular place, situation, or moment in time that’s based in reality, not stereotype. It brings tremendous responsibility with it as well, since I think it’s one of the key media forces in terms of shaping a general understanding of the developing world within our culture.

I still remember the old Sally Strothers infomercials from the 80s with all the images of hungry kids with flies in their eyes. That’s sort of the antithesis for what I want to achieve in my work.

I think there’s a well-intentioned but patronizing attitude that people in the developing world are just passive victims of their situations, when the reality is that most of the people you meet facing those kinds of hardships are anything but passive. Yet that sort of attitude, that people are just “helpless victims” goes on to inform a good chunk the giving and relief work that goes on, and I would argue often helps create the same culture of dependency on foreign aid that it’s supposed to combat..

If I can show people through my work that my subjects are normal, intelligent people full of hope and compassion and, with support, capable of building an independent future for themselves, then I think that’s a success.

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

I went to school in DC to study to be a diplomat. I wanted to feel that my work was having an impact on the quality of life of people in other countries and our relationship to them. It took me one summer internship at a consulate to realize that I wouldn’t be able to accomplish that through the gears of government. Through media you’re able to reach so many more people and have an impact on how they experience the world.

I got into photography as a career somewhat backwardly. I started working on the camera department of various motion pictures before landing in documentary work for the Discovery Channel and TLC. When you’re shooting docs for clients, everyone wants photos to go along with the video. Photography emerged as a natural extension of this video work. I’ve been shooting with an SLR since I was 15, so adding photography to the repertoire was relatively seamless.

4. What are the challenges of shooting for NGO’s or non- profit organizations?

It goes without saying that compared to commercial clients, most NGOs have very limited budgets, which means shooting can be pretty guerrilla. You’re frequently working in rural locations and rarely staying in hotels, so finding secure storage for your equipment, access to electricity and internet can all be challenges. Replacing or adding gear on the fly can be next to impossible. We had a documentary shoot in North Africa and sent our fixer out to find a USB cable, and it took the better part of a day. You really have to plan out the worst case scenario, come up with a backup plan and then assume your backup plans fall flat.

That said, I have found most of my non-profit clients to be exceedingly liberating when it comes to creative control of content. From my experience, they tend to trust in your vision more and let you run with it.

5. How much do you travel every year? How do you manage your family time?

I typically travel between two and three months a year, split up across 8 or so smaller trips. I’m pretty young still and just have a girlfriend and dog to worry about, so I’m lucky to have some flexibility there, but it’s certainly something that’ll become much more challenging in a few years time.

Thanks to the relative ubiquity of internet, it’s so much easier to stay in touch with loved ones when you’re on the road. A community center in rural El Salvador where was staying at just happened to have wi-fi recently installed, so every night I was able to chat with folks and give them a little skype video tour of where I was working. It was nice to have that kind of visual contact.

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

I really love classic photographers. I love the structured candidness of Max Demain’s portraits. More recently, I really admire Rebekka Guðleifsdóttir’s use of natural light and depiction of people interacting with their landscapes.

At Georgetown, my Professor Bruce McKaig always used to emphasize that there was no “right or wrong” in photography, “Everything was technique”. Of course, this led to a lot of crazy experimentation, pinhole cameras and “painting” stop across undeveloped photo paper, etc., but it’s probably the one piece of advice from school that I still refer to regularly. It’s liberating, and true.

Though he’s a cinematographer, I think Emmanuel “Chivo” Lubezki’s success in treating each project as an entity totally separate from his previous work is really important. Everything he shoots has a distinct look and feel that’s totally unique and appropriate for the content. The conventional wisdom is that you need to establish a specific style for yourself, but I think Lubezki’s work shows how important it is to let the content drive the visuals rather than the other way around.

One of my favorite ways to stay inspired is to dig through old photographs and see what jumps out at me in a new way. So often what seems interesting to us at a particular moment is just a function of our mental state at the time. Seeing images that were previously “uninteresting” in a new light helps us appreciate that aspect of photography for future shoots, and better recognize those hidden gems when they appear.

That said, I don’t think I can emphasize how helpful it is for me to just disconnect sometimes, take a trip, leave the camera at home, and appreciate my surroundings without always trying to filter it. When I pick up the camera again, my work always feels fresher.

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

I think informal communication and a connection between the shooter and subject are vital. It’s what makes the difference between you being some foreigner who has come to potentially exploit the situation versus a fellow person working to solve the problem alongside them.

I speak fluent Spanish and Portuguese, and am very grateful for the flexibility and freedom it offers me in shooting in Latin America and Portuguese-speaking Africa. I can chat one on one without the help of a fixer or translator, and explain exactly what it is that we need to get to make the project a success. It really strips down the barriers between “us” and “them” – it becomes a co-production.

I think that as long as you approach the shooting on that kind of equal footing, then the limits to shooting “people in need” come naturally. It makes you more sensitive to the fine line between documenting hardship and exploiting misery.

8. What are the characteristic that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

Content matters, and it pays to know your background. Read a couple of history books or the local newspaper before going somewhere new. A substantive understanding of the situation that you’re in helps you make informed judgments about what’s actually worth documenting versus that which just seems “exotic” or “different”. As humanitarian and cultural photographers, we have a responsibility to not “otherize” our subjects. Understanding the uniqueness of a shoot makes the difference between photography with true insight versus some kind of “disaster porn”.

For new photographers, there’s no substitute for experience in the field. Despite the international travel, few of my shoots could be described as “vacation-like”. Living conditions can be tough. You often don’t know where you’ll sleep, what resources you’ll have access to. Schedules rarely work as planned.

Once we were staying in a spare room in a house in Rabat and came back from a shoot just totally exhausted and ready to pass out on the spot. As we got closer we started hearing music coming from the direction of the house. Our hosts hadn’t told us they were holding a wedding party in the house that evening. The party was going until the early hours of the morning, and our room was one of the main areas the other guests were sitting in. It can all be extremely frustrating if you’re not used to it. Sometimes the hard part of the job comes from just getting by day in and day out.

Photography skills are clearly crucial in this field, but I think the sorts of adapting skills you pick up as a traveler or backpacker can often be more important in making a shoot a success than necessarily having top of the line gear or superior lighting skills. Again, content is king – the toys and the talent are the icing on the cake.

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

I just added in the 5D MK II to the roster. For the ease of being able to switch back and forth between stills and video seamlessly, it’s an easy call. That it’s compact size (for video) helps the non-professional talent/locals feel more comfortable and act much more naturally is a huge boon.

Not sure if this is a “duh” moment or not, but the piece of gear that’s been most important in my career has been my laptop, currently a 17” MacBook Pro Unibody. The ability to review, retouch, and edit photos and video in the field, bus, or plane is essential, and the unibody can go 8 hours plus without recharging. The screen displays images beautifully for clients review as well. I love it.

10. How important is social media for you? How do you manage it in your work? Any tips to share?

In terms of professional development, it’s hard to beat social media when it comes to staying on top of everything going on in the world, current events, new resources, new toys, etc. I find that when it comes to business development, the vast majority of new work comes in through client referrals and personal connections. The world of social media helps you see the big picture through the clutter, but in the end, it’s hard to beat the importance of personal relationships.

My Social Media

Spencer in Twitter: @spencerstoner
Spencer in Facebook
Spencer in Flickr
IGVP profile IGVP
Spencer in Vimeo
Spencer in Photoshelter
Spencer in LinkedIn

Guillem Lopez “Travel & Editorial Photographer”.

1. You say in your website that you have been traveling with a camera for more than 10 years now, Do you call yourself a travel photographer? Is that what you do?

2. How did you come up with this idea of photographing while traveling? Where did this vision come from?

3. What does a normal photographer have to think about before stepping into a career like yours? What does it take? How and to whom do you sell your work?

4. Do you believe in the concept of having a vision for the work you do? Can you tell us a little bit about yours?

5. How do you prepare (photographically speaking) before taking a trip? I mean, do you go to a place already knowing what you want to shoot, or do you improvise while there? What is that process?

6. Tell us a place that you have felt bound to, or let’s say more inspired than in others? Why was it so? What do you think?

7. How do you engage people in so many different places? What’s your secret?

8. What’s the most difficult part of living the life you have chosen to live?

Probably being away from family and friends for long periods of time.

9. Are there any things that you would have done differently if you would start all over again? What would advice would you give to other photographers thinking about this type of life?

10. OK. This is free speech. If you could have 5 minutes in front of a big crowd of photographers, what would you tell them?

You can follow Guillem Lopez at: Facebook Twitter 500px

PIPER MACKAY, “WORLD, WILDLIFE AND CULTURAL PHOTOGRAPHER.”

How is it that you are both a wildlife photographer and a cultural photographer at the same time? Which happened first, and how is it that you added the other one later? (Assuming that it happened that way…)

If you were forced to choose only one of these fields, which one would you pick? Why?

How do you normally handle those two photographic fields during one trip? Do you have separate trips for them?

How did you start in photography? What brought you there?

Do you agree on the necessity of having a vision for photography? Why so?

How do you get inspired? What things make your ideas spin in your head?

What’s the most difficult part of being a photographer?

What’s our responsibility as photographers in this world?

Is there any importance in getting the “story” in your photography? Do you see yourself as a storyteller? If so, why?

How do you engage with your subjects?

Reading your “about” you said: ‘The world has enough images of poverty, pain and disaster.’ What’s wrong with that? In your opinion, what other type of images do we need to focus on?

Finally, what are your final words to encourage or to critique the community of photographers around you?

You can follow Piper Mackay in: Facebook Twitter

© 10.Q Interviews | D. Shun-Luoi Fong

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

1. Tell us about you and your photography. How long have you been shooting? What kinds of shooting have you done?

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography means to you? What’s your vision for it?

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

4. What are the challenges of shooting for NGO’s or non-profit organizations?

5. How often do you travel every year? How do you manage your family time?

6. Who’s been an inspiration for your photography? How do you stay inspired?

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

8. How important is social media for you? How do you manage it in your work? Any tips to share?

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

10. What are the characteristics that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

1. Tell us about you and your photography. What kinds of shooting have you done? Have you worked for any humanitarian organizations/magazines etc.? Could you name any current or former clients?

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography mean to you? What’s your vision for it?

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

4. What are the challenges of shooting for NGO’s or non- profit organizations?

5. How much do you travel every year? How do you manage your family time.

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

7. How do you normally approach people from other cultures? What are your limits at the moment of shooting people in need, or in a complicated situation?

8. What are the characteristics that a good humanitarian photographer needs to have? What would be your advice for a photographer who is just starting out in this field?

9. Tell us about the last piece of gear that you deemed important enough to buy. How about the one that’s been most important in your career?

10. How important is social media for you? How do you manage it in your work? Any tips to share?

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Matthew Oldfield:

1. Tell us about you and your photography. How long have you been shooting? What kinds of shooting have you done?

2. How and where did you get your vision for it, and what are your dreams?

3. What are the biggest challenges in your photography business?

4. How do you normally approach people for your photography? Is story-telling important in your photography? How is your approach to subject-story?

5. How much do you travel every year? How do you manage your family time?

6. Who’s been an inspiration for your photography? How do you stay inspired? Do you read blogs? If so, which ones would you recommend?

7. What are the characteristic that a good photographer in your field needs to have?

8. Is social media/Internet important in promoting your work? How much time daily do you invest in it?

9. Tell us about the last piece of gear that you deemed important enough to buy

10. What would be your advice for a photographer who is just starting out in this field? What is the biggest obstacle you see facing new photographers who want to work on this type of photography?

My Social Media

Matthew in Twitter: @matthewoldfield Matthew in Flickr Matthew in LinkedIn Matthew in Facebook

Welcome to 10.Q Interviews.This section usually features interviews to Humanitarian, Cultural & Travel Photographers, their work and photography.

This week in 10.Q Interviews, Magda Rakita: “Magda is London based photographer with passion for people, travel and adventure.” [More about Magda...

1. Tell us about you and your photography. What kinds of shooting have you done? Have you worked for any humanitarian organizations?

2. We all know that you don’t get into humanitarian photography to become rich, so what does humanitarian photography means to you? What’s your vision for it?

3. How did you get into humanitarian photography? Where did you get the idea to shoot these kinds of people and groups?

4. What are the challenges of shooting for NGO’s or non – profit organizations?

You can follow Guillem Lopez at:
Facebook
Twitter
500px

How is it that you are both a wildlife photographer and a cultural photographer at the same time?
Which happened first, and how is it that you added the other one later? (Assuming that it happened that way…)

You can follow Piper Mackay in:
Facebook
Twitter

Matthew in Twitter: @matthewoldfield
Matthew in Flickr
Matthew in LinkedIn
Matthew in Facebook

This week in 10.Q Interviews, Magda Rakita:
“Magda is London based photographer with passion for people, travel and adventure.” [More about Magda...