When traveling for photography we all have accessories we prefer having with us. In this video, you will see a couple of those items. https://www.youtube.com/watch?v=IYDSn7Mg8WU What are you preferred accessories…
East of California’s Sierra Nevada, north of Mono Lake lies the abandoned mining town of Bodie, California. Bodie boomed after the discovery of gold ore in the 1870s, by 1920 the town was in a steep and never-reversed decline. In 1962 the area was designated a California state historic park and remains that today. Several aspects make Bodie a particularly interesting target for photographers intrigued by the Gold Rush era ghost towns.
First and foremost Bodie is maintained in a state of arrested decay, that is, the park attempts to maintain Bodie the way it was in 1962, repairing what’s necessary to maintain that state but no more so. Interiors of many of the town’s buildings buildings still contain original furniture and such. And because Bodie hasn’t been commercially developed, it’s easy to find many places to take unique, “timeless” photographs without anachronisms. (more…)
I recently returned from the coastal little town of Essaouira in Morocco, where the world-renowned 12th Festival of Gnaoua Music took place from June 25 to 28. This is an annual event, religiously attended by fans of international and African music since it’s the venue of many world-class musical groups, generally from Africa, Europe and the Americas. To me, the attraction was to photograph the exotic Gnaoua musicians during their performances, as I had heard they had small–almost private–seances in various parts of the little medina in the very heart of Essaouira.
Gnaoua (sometimes also spelled Gnawa) music is a mixture of sub-Saharan African, Berber, and Arabic Islamic religious songs and rhythms, and it combines music and acrobatic dancing. Aurally and historically, its main influence is traced back to sub-Saharan Africa, but its current practice is concentrated in north Africa, mainly Morocco and Algeria. However, I have discerned similarities between Gnaoua music and folk songs from Sudan, so perhaps its influence extends even further. (more…)
This is the second episode recounting my pursuit of authentic Zeqr, the Egyptian Sufi ceremony, after my first experience in a neighborhood of Old Cairo was somewhat diluted by a competing soccer match. This time, the Zeqr ceremony was supposed to be even more authentic because it was to take place on a Thursday night in a small rural village on the western banks of the Nile River called Matawat.
I am ready by the agreed-upon time of 10:30 pm, and wait for the hoarse honk of Abdel-Fattah’s (aka Kojak) rickety taxi. It sounds right on the dot; an extraordinary feat in Egypt where time-keeping is rarely part of the national DNA, and we are on our way, amidst gas fumes and an exhaust pipe ominously rattling against the Peugeot’s floorboards. My gear is primed and ready, and I am really excited at the prospect. I knew this was to be the real thing; especially since it was Badawi’s father who had arranged it for me to photograph and record the ceremony. (more…)
On my way to Cairo I developed a plan to photograph and document the zekr; a form of ritual performed by Sufis, a sect of Islam frequently considered as too liberal and too progressive by the more orthodox theological authorities in Egypt and the Islamic world. It was a tall order since I was after the authentic zekr, not some version diluted or prettified for the tourists and tour groups. It was therefore by pure luck that I discovered someone with strong connections to one of the Sufi tariqahs or sub-sects, and who promised me full access to a number of these rituals. The devotions of many Sufis center on the zekr, a ceremony at which music, body movements, and chants induce a state of ecstatic trance in the disciples. (more…)
One of the accessories I needed to get before leading my Theyyams of Kerala photo expedition earlier this year was the ::amazon(“B000Z8CUX2”,”Marantz PMD620)::. It is a small hand-held audio recorder, which I needed badly at the time because my aging M-Audio MicroTrack I was beginning to act erratically.
The PMD620 is attractively designed, with a grey metal front covering a black casing. In terms of size, it’s about the size of an older generation iPod, or about 4 inches by 2 inches and 3/4 inch in thickness. It sports two built-in mics into the top two sides of its body, and two 1/8-inch jacks are available for an external mic and headphones. A neat little trick is to use the Line-Out jack for your headphones instead of the one on top. This is more convenient, and avoids the headphones coming near the mics whilst recording. (more…)
I’m a fervent believer, a virtual “evangelist” if you will, in combining multimedia along with still photography. I can only speak to travel and documentary photography, but multimedia obviously lends itself to all visual disciplines such as wedding, landscape and other photography styles and directions.
I teach emerging photographers and photojournalists classes that shows them how to make quick work of slide show production, using their own images and audio generated in the field, to produce a cogent photo story under the simulation of publishing deadlines. Most of the class time is spent photographing in the field, while indoors time is devoted to weaving the material into photo stories, and the storytelling; the core of all multimedia productions. I will be teaching such a class at the Foundry Photojournalism Workshop in the Himalayan foothills of India in July 2009. (more…)
Photo ©Tewfic El-Sawy-All Rights Reserved.
I’ve just returned from Kerala, India where I was leading a 2 weeks photo-expedition to this area whose tourism slogan is “God’s Own Country”. Geographically, the region is called the Malabar Coast, and it includes most of Kerala state and the coastal region of Karnataka state. This is extremely diverse area, with ancient ties to maritime trading routes with the Arabian Gulf and much beyond.
The highlight of the expedition was the unique Theyyam rituals and performances, which are indigenous to a small rural area in north Kerala. This opportunity provided a window into a world of remarkable and ancient traditions, seldom seen (nor appreciated) by mainstream tourists. (more…)
Having been photographing Theyyams, the religious rituals indigenous to Northern Kerala in India a couple of weeks ago, I thought it’d be timely to share my approach when I photograph such public (and possibly sensitive) events such as those I witnessed.
The most important tip is a no-brainer. Employ the best fixer you can find and afford. I’m not talking of tourist guides who trawl tourists in their wake, but of fixers who are adept in solving problems, who can get you to where you need to be in less time with less hassle than you can on your own, and who have the requisite connections. Good fixers are not easy to find, and must develop a personal connection with the photographer. If you don’t like your fixer, chances are that he or she won’t do a good job. (more…)
One of the more mundane aspects of giving a photographic workshop is scheduling what days it’ll be given. Usually several considerations, both logistical and artistic play into the decision, and the workshop I’m currently giving in the Bandon, Oregon area is no exception.