Three years. That is the timeframe for my visual diary.
As my followers on this website, or on my Twitter and Facebook know, every day current images are posted. The camera in my mobile phone makes this possible, as now I always have a camera at my side. As has been stated many times, your best camera is the one you have with you.
For the past year or so, I have been trying to theme my posts. The pictures have become less scattershot and, once I decide on the theme, it allows me to explore the chosen subject with a little more depth – close ups, different angles, more subtleness, etc.
The drawbacks of the camera in the phone are these:
1) A slight delay before the “shutter” goes off. One must anticipate the correct moment.
2) Cell phone cameras use the ISO (rendering the sensor more or less sensitive to light) to determine exposure. The aperture (f stop) is always the same – f stop 2.2. This does not allow for panning or selective focus. On a cell phone, the selective focus is done using software, and the camera, not you, does the selection.
3) The zoom function is digital, meaning that it is a crop of the image as the sensor captures it. As you zoom in, the image deteriorates. Some cell phones have two cameras to give you more quality with a “longer” lens. On iPhones, the second lens is only 52mm, the primary is 28mm. I rarely zoom more than 3X because of the loss of image quality.
4) This brings me to the lack of long lenses on the cell phones. There are clip-ons and apps that run an add on camera where you use the phone screen as the viewfinder, but both are inadequate and defeat the purpose of the phone-camera. When I am off to shoot wildlife or sailboats and know I will need longer lenses, I take a camera that has those features.
5) The highlights of images taken with mobile cameras tend to blow out. A digital sensor will simply “clip” at a certain point, rendering any luminance values that exceed it’s dynamic range as pure white. This is called highlight rolloff. HDR (High Dynamic Range) settings help this problem, but it is a known issue with all digital cameras. Many, many more pixels are needed to record the highlights than the shadows. And the sensor capture on most mobile phone cameras is small compared to cameras.
Will the camera phones get better? I recall an interview with Tim Cook, Apple’s CEO, where he said that the camera is the most used app on the phone and that there are 80 engineers (at that time) working on the camera. So yes. Probably the sensor will capture more pixels (better highlights), creation of software to minimize noise, more work on the delay factor, etc. In my view, digital zooms will remain an issue.
The pervasive use of mobile phone cameras has helped photographers photograph people. Today, most people have their picture taken on a daily basis, and showing up with a camera does not freak them out. The downside is that the glut of images that amateurs take has produced some excellent shots because “f2.2 and be there” gives them a 7/24 opportunity to be in front of some amazing situations. This lowers the monetary value of photography, as most amateurs are not in it for the money (they have real jobs), but are happy to see their pictures used, as it strokes their ego.
So how does this affect my daily visual diary? It doesn’t. As my partner says, “Photography is in Bob’s DNA.” She’s right!
AMC Summer Workshop, White Mountains – Photo by Steve Fabricius
I have given over 100 talks and served at many workshops as a staffer or the director. As the director, my workshops have ranged from a weekend at the Appalachian Mountain Club facility in the White Mountains of New Hampshire to a two week Photo Safari in Tanzania.
This memo will help determine which is the best workshop experience for you.
Chesapeake City, MD Workshop Through “Nat Geo Eyes”
Make sure that the photographic workshop that you are signing up for is centered on photography, and is not simply a tour that features photography. This means that there will be an on-site instructor who will be guiding you during your efforts.
One way to tell if this will be occurring is by examining the itinerary. If you will be out at dawn and stay through twilight (the golden hours), you are on the right track. If the workshop includes lunches at 3 star Michelin restaurants, you might look elsewhere. Fieldwork is essential. A classroom-styled workshop won’t cut it unless it is about a computer application. You should look for workshops that combine shooting with critiques of your work – real-time examinations – on a large screen – of what you are photographing during the workshop.
Leopard in Baobab Tree – Tanzania Safari PhotoWorkshop
Research the instructor. Would you like to emulate her style of photography? What is their teaching experience? This is more important than the location of the workshop. Are you taking the course to learn or is it just to have the instructor take you to his favorite spots? Look up testimonials from previous attendees, but realize that most instructors won’t publish the unfavorable ones.
At most workshops, the instructor is tied to an organization that coordinates the logistics. This includes payments, indemnities, finding guides and outfitters, transportation, etc. Major brands tout their abilities to deliver. Sometimes this just means that they get a cut for their name and marketing while local tour companies do all the work. You’ll pay both.
River Taxi, Singapore Workshop – Photo by Tony Three
Look for workshops that have 10 clients or fewer per instructor. You are looking for personalized instruction and more than ten workshoppers will diminish the experience. Many workshop leaders line up their students (using tripods) to train their cameras on a subject like an old mill. Everyone gets the same shot. See if you can find a workshop where you determine the subject matter and the instructor helps you to achieve the photographic results you want.
Bull Elk – Yellowstone Photo Workshop
Cost can be an issue, especially for international workshops. Compare prices on the Internet. Sometimes operators tout a ten-day tour, but upon examination you find that the first and last days are travel days – no photography.
You do not have to go around the world to hone your skills. It is important to choose a workshop that features a specialty that is of interest to you (e.g. wildfowl, street photography, natural wonders, etc.).
AME Church, Chesapeake City, Maryland Photo Workshop
This newsletter also serves to notify you that I will not be organizing my own workshops in the future. The workshop field is quite crowded as freelance editorial photographers are looking for ways to expand their income streams. In addition, it is difficult to compete with large known entities that have many workshops and can scale up their marketing for all of them.
In 2016, I had to cancel several workshops for lack of participation and several others had the bare minimum of attendees. I feel badly about those students who signed up for one of my workshops that ultimately had to be cancelled.
I will continue to lead workshops, but not organize them. In the future, if you and five of your friends want to photographically explore an area with my instruction, contact me and I will set it up. I also will give personalized instruction for a fee. And you may see my name as a workshop leader with organizations such as the Smithsonian or National Geographic Expeditions.
My newsletter is being renamed “Madden’s Memo”, since in the future it will not be a monthly missive. In the past, it appeared each month to remind recipients of the current slate of workshops. I thank you for your interest in the newsletter. You are very loyal. I only have had three “unsubscribes” in almost two years of publication! But alas, few of you signed up for my workshops.
AMC Winter Workshoppers in the White Mountains – Photo by Tim Linehan
I am redesigning my website to tout my photography. I tweet an image every day as a personal diary and they will appear on my homepage. I also sell my pictures on the site and at National Geographic Creative and give lectures to interested groups for an honorarium.
I photograph on assignment and you will continue to see my images in publications and on Instagram and Facebook.
The Freer/Sackler Museums of Asian Art are a hidden jewel in the Smithsonian complex on the National Mall in Washington, DC. Yearly visitors at the Freer/Sackler number about a half of a million compared to the neighboring Air and Space Museum that exceeds 6.7 million visitors a year.
Several recent announcements from the museum are worth mentioning in this blog.
Huangshan Anhui Lois Conner
Mirror of Human Nature: The Photograph 1878 Toyohara Kunichika
The Freer/Sackler are the first Smithsonian museums to scan their entire collection (40,000 items) and place it on line in high resolution. The link is called Open F|S and it is the result of a massive staff effort to photograph and create digital records for all Freer|Sackler objects. It took over 6,000 staff hours in 2014 alone and resulted in over 10 terabytes of data. The program began in 1998.
All objects in the collection are digitally photographed and metadata is included in the search results. Unfortunately, all three-dimensional objects are reduced to a two-dimensional view. For instance there are 7,591 vessels, all photographed from one angle.
Why couldn’t the Smithsonian use a simple technique such as QuickTime VR? (Use your mouse or finger to spin the camera.) The Smithsonian produced “Cosmic Buddha” at the Freer using Autodesk 3D imaging , but where did this technique go?
On their website, the Museum says it hopes to create new features—such as 360-degree images and 3D models of every three-dimensional artwork—over the next few years, but times-a-wasting. As the public becomes more sophisticated and demands a “movie” of each object showing it in it’s entirety, they will have to trot out all the 3D objects in the near future and do it over again.
Flower Series Bahman Jalali
Of course this is not applicable with two-dimensional photography and art. The collection contains historic photographs of Asia. Shown here are a few of the more interesting images. If the artist is still alive, hi res images can’t be downloaded. Several photographers have work shown in low res and are dead, notably Raghubir Singh (1942-1999), so the collection needs to be updated.
For non-commercial purposes you can download any image in the collection and do whatever you want to do with it. The website even suggests that if you want to cut the images up and make shower curtains out of them, the Smithsonian is not only open to this, but wants a photograph of your “creation” sent to their website.
Sir Pratap Singh of Idar 1900-1920
Fortunately we will have this online collection at our disposal, as in January 2016 the Freer/Sackler will close for a complete building renovation and will not open again until the summer of 2017.
So why a post about the Freer/Sackler Museums in my photography blog?
How are your images archived? Are they in folders or projects in a application like Adobe Lightroom? What kind of meta data is included?
Not to belittle the photographic mission of the Freer/Sackler, but to record still images of 40,000 items with the same lighting setup was a small part of the project. Researching and adding the metadata (descriptive information) to the photographs was the most time-consuming effort.
I once was sent a booklet of original albumen prints with funny captions written across each image by Peter Spang, curator of the Historic Deerfield Museum. When I expressed surprise at using the originals in such a way, Peter said, “We don’t know who took them or who the subject is, so they are worthless.”
Steve McCurry and the National Geographic went on an exhaustive search to find the famous “Afghan Girl” 20 years later. As I said to Steve, if he had taken better caption information, the search would have been much shorter!
Recently I saw the photographic exhibit “OBJECT:PHOTO at the Museum of Modern Art in New York City. It is essentially the Thomas Walther Collection, a selection of 341 ”modern” photographs by 148 artists made from 1909–1949.
The prospectus says that the collection “represents the innovative vision of the 1920s and ’30s, a transformative period of modern photography and the foundation of our photo-based world.”
As presented by MOMA, it is much more.
Lore Feininger “Erich Solomon” 1929
In 2010, the Andrew W. Mellon Foundation gave the Museum a grant to encourage deep scholarly study of the Walther Collection and to support publication of the results.
The MOMA coined the study “The Project” and spent several years developing new ways to relate to a collection of photographs. This exhibit is not a leisurely stroll through rooms of prints with arrogant captions written by the curator.
From the website: “Creating new standards for the consideration of photographs as original objects and of photography as an art form of unusually rich historical dimensions, the project affords both experts and those less familiar with its history new avenues for the appreciation of the medium.”
This is a turn-about from 1960, where as an example, in the United Kingdom photography was not recognized as a fine art. Dr. S.D. Jouhar said, when he formed the Photographic Fine Art Association at that time – “At the moment photography is not generally recognized as anything more than a craft.”.
The Thomas Walther collection consists of 347 photographs. Each photo contributes to an appreciation of the excitement that these 148 artists must have felt at the time. Loring Knoblauch at the Collector Daily (a great reference to locations and information on all current major photography exhibits) has this to say about the images in OBJECT:PHOTOGRAPHY:
Herbert Bayer – “Humanly Impossible” 1932
“For those enamored with the burst of innovation we have recently seen with the digital revolution, the 1920s and 1930s were an equally exciting and disruptive time for photography. Those years saw the introduction of the hand held camera (and the flexibility it offered), the broadening of photojournalism (and the magazines that featured it), the growth of filmmaking, and the expansion of the avant garde. It was a time of intense experimentation both in Europe and America, with new technical developments quickly opening up new areas of artistic exploration and new visual vocabularies. Photographers from across the globe were connecting and cross pollinating in exhibitions, publications, and face to face meetings, taking advantage of their new found freedoms.”
Although the visceral quality of the images is the real way to see the art (why they are displayed in museums), many of you will not make it to the MOMA for this exhibit. However, all photographs are available on the OBJECT:PHOTO website. And there one can experience the Mellon Foundation study in many ways.
On the site there is a collection of essays on aspects of the exhibit, there is a section on Mapping the Photographs, on Comparing the Photographs, on Connecting the Artists and on Mapping the Artist’s Lives. All organized to enrich one’s appreciation of the Thomas Walther collection.
Mapping Artist Bernice Abbott
Here is a visualization mapping Bernice Abbott’s life to other artists. The website says,” This visualization illustrates the artists’ relationships with the various meeting points — influential exhibitions, publications, schools, studios, and industrial and cultural centers — that linked them in this era.”
So who is Thomas Walther? MOMA provides little information. I found a piece by Vince Aletti in the NYC Village Voice where he interviewed Walther.
“Walther, heir to a German machine-tool manufacturing fortune, is publicity-shy and evasive about the extent of his larger collection—he estimates its number at “somewhere between 1000 and 2000 pictures.
For now, the place he’s found is New York. Walther still describes himself as a Berliner, but he’s lived here since the early ’80s—he’s currently in a Soho loft—and feels at home the way he no longer does in Europe.
…he regularly adds rarities to what he calls his “core collection”—including a sublime, mid-19th-century daguerreotype of clouds by Southworth and Hawes that he snapped up at Sotheby’s last spring (1999) for $354,500…Speaking of his core collection, he says, “I was attracted to peculiar emanations of the human spirit,”
Thank you, Thomas for making your wonderful collection available to us.
My interpretation of museum print. George Hoyningen-Huene – “Henri Cartier Bresson” 1935
When Twitter first appeared, I felt like many others that I did not need to know how someone I was following was enjoying breakfast. But my views have changed.
Now, I tweet almost daily, and each tweet has an image attached. What these tweets have become is a visual diary of images that are special to me and I want to publish. Publishing is the key here.
On this page, I have included only pictures from tweets from the last month. I have published 18 others during the month, but the images selected here show the variety of my subject matter.
Dali Museum, Tampa
Just Ducky, Orlando
In my career, photography was a way to share experiences with an audience, and publishing in National Geographic magazine guaranteed millions of viewers worldwide.
In the global, networked community of today, the Internet is a nascent communications tool, which provides expanding opportunities for us to share information and experiences. We have the opportunity to re-define how stories are communicated or published; hence, the visual diary.
There are many ways to use social media to publish. Facebook, blogs, Twitter, Instagram, YouTube, Snapchat, and Vine are some of the current opportunities. As a photographer, I need to use those that feature photography as an integral part of the published piece.
Hotel, Both Tweet and Instagram
Sailing, Tampa Bay
Valentine Duck, Orlando
Following is how I determine the best way to communicate my work.
Twitter. As explained above, this is for daily photography, some of it quite pedestrian, but I try to make it interesting. Many but not all of my tweets are taken with my smart phone. The captions need to be succinct, which is a good thing. I use many hashtags that increase the distribution of the tweet.
Instagram. I publish some of my better images here, usually timing them with specific events. As a member of The Photo Society, my Instagrams have over a million followers, and more than 15,000 likes (not looks, likes!). The qualities of the images on this site are exceptional, and I try to have comparable pictures up as Instagrams. Sometimes I also publish them tweets.
Oil Slick with Contrails
Shovel for Dollars
I use Facebook to let people know what I am up to. My tweets are automatically republished there, and because of this, I post often.
My YouTube channel is filled with themed slideshows of images from around the world – Patagonia. Venice, Peru, Tanzania – as well as workshops where student work is featured.
I have a monthly newsletter where I explore photographic subjects of interest. You can sign up for it on this page.
My blog (you are reading one) about many things, from instructional tutorials to items such as photographic exhibits that I have recently seen.
Car Hood Tweet/Instagram
Gulls on Ice
White Horse, White Snow
I have turned Twitter into my daily visual diary, I find that it keeps me alert to the world around me, and through my images I try to make sense of it all.
Recently, I tested a Panasonic LUMIX Gh4 with two important features that affect how still photographers will be capturing images in the near future. Firmware now offered by Panasonic for the Gh4 makes it possible when shooting 4k video to set any shutter speed for each video frame.
The LUMIX Gh4 also is a WIFI hub and the Jpg images taken by the camera can be transferred to a smart phone immediately for distribution.
I put together a two and a half minute video that graphically shows how it all works. It can be found here.
8.5Mb Still at 1/1000 sec.
I took the LUMIX Gh4 to Disney World where, as an experiment, I shot only 4k video. I selected a number of frames that I extracted as stills for illustrations in my monthly newsletter. Sign up on this page. I have included several other successful images below.
1/400 of a second, ISO 200
1/400 of a second, ISO 400
1/400 of a second ISO 200
1/400 of a second, ISO 200
1/30 of a second, ISO 800
Get my monthly newsletter by signing up on the right hand side of this page.
On Martin Luther King Day, I posted this Instagram with the following caption”
MLK Monument Washington, DC
“Monument in Washington DC. An awe-inspiring statue of an extraordinary man. He was killed before the current wave of terrorism, but through his words his legacy lives on — and addresses the recent atrocities in France #jesuisCharlie. We still hear his voice promoting justice and #love for all mankind. Two quotes from him come to mind: ‘We must live together as brothers or perish together as fools’ and ‘The arc of the moral universe is long, but it bends towards justice’. Please heed his wisdom!
Of course the Instagram was published worldwide – many followers are outside of insular America. I received over 15,400 “likes” and 144 comments, thirty or so from the same three people.
Most impressive in this publishing venture was the dialog that the caption generated. Some were profane, some silly, but many debated views on freedom, racism, religion, etc. We should take note that many rational people see things in a different light.
Excerpts follow, with the actual Instagram monikers obscured for privacy reasons.
Awesome statue !!… people still live by his words !! CO
When people insult black people, it’s racism, when people fight the rights of the opposite gender, it’s sexism, but when people insult Muslims and its founder, it’s freedom of speech. To hell with every supporter of JeSuisCharlie. MD
Do you really think that the world is better off with those cartoonists dead? You think they were bad people for making jokes? You can’t be serious. Just because someone believes something strongly doesn’t mean that it is free from criticism. Freedom of religion is very important. But freedom of religion is a part of having freedom of ideas, and freedom of ideas will always include tolerating any criticism of any given idea. MR
MLK Jr. would have been disgusted by the violence committed, but he would have also been even more horrified by the consistent and systematic marginalization of Arabs in the present social, political and economic context. It is disingenuous and disrespectful to use his legacy in this way. PW
Those cartoonists died horribly but their deaths are nowhere near the injustice inflicted upon the poor and mistreated minorities the world over. Please choose your comparisons wisely. HM
Don’t think because you have that wrap on your head it makes you an expert on Muslims, black American history, especially X. I will school your ass anytime you want to come to Morehouse College and have a REAL debate with REAL black men. SGJ
Real black men, college? Debate? Dude you sound angry, take a chill pill….I suggest that you watch Selma. I recommend this movie to all young disenfranchised angry Muslim men to go see it and learn how to achieve success amid hopelessness. Many good lessons to learn from this movie. HM
Until your race starts fighting the racist ideas that your people have, and stop focusing on black’s resentment to the was they’ve been treated in the past and currently, we will always hate you deep down. SJG
Bro you can get your point across without insults. You might have knowledge but no one’s gonna listen if you dish out whatever you don’t like. AK92
…hate creates violence, the extent of the hate determines the headlines not the victims then revenge is created the vicious cycle begins, again. We have had and still do (have) individuals worldwide who go beyond just thinking but also do for freedom, injustice and inequalities, all should be praised… SH
MLK and Malcolm X put their lives on the line for what they believed. Anyone can talk a good game, which one of you would die for yours? MP230
King, Gandhi and Mandela…I salute you!! Cheers on #mlkday!! ASH
So sad that such a wonderful post was soiled by such hatred. This monument is truly amazing and I appreciate the posting as a reminder to us that hatred is not the way. SK49
I don’t agree that my post was “soiled”. I think it started a discussion.
Recently I looked back at the archive of blogs that I posted in 2014. Although there were a couple of outliers, most blogs fit into specific photographic themes. Please click on the links to revisit these blogs.
Objects in Disguise
White Mountains Sunset
In the month of July I concentrated on tutorials on photographing things above the earth’s surface staring with fireworks just before the Fourth and followed up with the moon (a super moon in July), the sun and a rather complicated blog on star photography. Much fun and hopefully helpful. Photojournalists As I consider myself one, photojournalists that literally put their life on the line enamor me. These blogs on Tyler Hicks (January) and Bob Edelman and his civil rights coverage (April) attempted to explore their vision and their bravery while photographing difficult subjects.
Thoughts for Photojournalists These blogs explored methods and suggestions for budding photojournalists and included one on finding locals to help you (October), and returning to a location that one senses will make good images (Also in October).
Technological Advances in Photography 2014 saw new innovations on many fronts, from new cameras (July) to new software solutions by Getty Images (March). I also highlighted what social media is doing with our previously private information (February), and talked about good digital practices by backing up (January) and the value of having a tablet (February).
Cloud Gate Sculpture
I have personally entered a number of shows and exhibits and with a blog tried to impart some knowledge about how they are organized in May, but also highlighted exhibits in Mexico that show differences in approach with photography (March).
This Fragile Earth Two blogs covered the international land grab (November), and how the Bureau of Land Management in the US is trying to mitigate the hordes of visitors that descend on sensitive areas (January). These blogs bookended 2014.
“The Second Wave”, Arizona
I hope you enjoyed these ruminations and find that my future blogs in 2015 are of value. Before I put one up, I think about the photographic community at large, and try to decide if the blog may be of interest to them.
If you enjoy the site and find something of interest, please let me know.
A small bit of history to tether the current phenomena of land acquisition around the world.
Indian Reservation Map
In 1803, the United States bought what became known as the Louisiana Purchase from France. It consisted of 530,000,000 acres of land bought for about $15 million dollars (about 42 cents an acre in today’s dollars.). Although France reaped this income, the approximately 600,000 Native Americans, whose ancestors had lived on these lands for thousands of years, got nothing. Soon, their numbers would decline with the onslaught of European diseases.
Manifest Destiny (the belief that settlers were destined to expand across the country) put more pressure on the native population. Between 1800 and 1875 the US government sold off 400 million acres of Native American land (that had been “re-given” to them). See the map by Sam B. Hilliard of LSU here.
Much of this was accelerated by the Dawes Act of 1857 that created “checkerboards” of land allotted to the Native Americans. The act was created by reformers to achieve the primary goal of the breaking up of tribes as a social unit and opening the remainder of the land to white settlers for profit.
Indian Lands for Sale
The checkerboards were 640-acre plots of Native American land interspersed with 640-acre plots of US government land. Finally, the US government sequestered the remaining Native Americans on reservations.
Different Perspectives Regarding Land
Land is an economic commodity. The major reasons for ownership are access and worth. While this concept is accepted by administrators and economists, much is an antithesis to the beliefs of indigenous people. For them, land rights are important for many reasons including ancestral inheritance, spiritual development and social status. Being sacred, the bounty of their lands is given to them by their gods. Losing their lands causes a loss of identity for indigenous people, affecting their worldviews and belief systems – a loss of contact with Mother Earth.
“Public lands” are administrated by sovereign states. They are designated as national parks, reserves, national forests, wilderness areas, domains of the king, etc. All have definitions and legal status, which can change depending on the political climate and needs of the state. Pressure is applied if the economic value of the land outstrips its designated value.
Today, we are witnessing major land grabs throughout the world. These include acquisitions and encroachment in national parks, ancestral lands, farmland and wilderness areas. The purpose of this blog is to highlight some of the more egregious violations occurring in areas where there are historically indigenous populations.
• Big Hunting Authorities in Tanzania have ordered the eviction of 40,000 Maasai people so their ancestral home can be turned into a hunting ground for Middle Eastern royals. A 1,500sq/km ‘wildlife corridor’ around Loliondo, next to the Serengeti national park, will be handed over to a commercial hunting and safari company based in the United Arab Emirates.
Activists have accused the government of reneging on a promise after it last year said it had backed down on the plans following intense global public opposition. Go here to connect with an organization that was opposed last year and may be currently involved. It’s possible that in 2014 they have given up.
Unlike last year, the government is offering compensation of 1 billion shillings ($460,000), not to be paid directly but to be channeled into socio-economic development projects. The Maasai have dismissed the offer. See a longer story on this issue in The Guardian.
“I feel betrayed,” said Samwel Nangiria, co-coordinator of the local Ngonett civil society group. “One billion is very little and you cannot compare that with land. It’s inherited. Their mothers and grandmothers are buried in that land. There’s nothing you can compare with it.
• Big Agriculture Ethiopian authorities since 2010 have embarked on a plan known as “villagization” to move some 45,000 households. The plan takes scattered families and consolidates them into fewer settlements. It is sold as a scheme for better schools, clinics, cleaner water, and, authorities say, more democracy.
Yet simultaneously Ethiopia is trying to lease up to 42 percent of Gambella – a state the size of the Netherlands – for agricultural investors. India’s Karutui Global Ltd and Saudi Star are the most prominent. Both have started huge farms for export of rice and other crops. Saudi Star is owned by Ethiopian-born Saudi billionaire Mohamed al-Amoudi and is the nation’s largest single investor. See a story on this issue in the Christian Science Monitor.
Distorted world map according to the relative amount of land grabs on each country. The rescaling in this map is in proportion to the amount of land acquired by foreign investors after 2006. See the original map here.
• Big Oil In 2013 Ecuador’s President Correa announced an end to the moratorium on oil drilling in the Yasuni National Park, opening it – and lands inhabited by Huaorani (the indigenous population) – to oil drilling once again. The stage is set for an oil invasion by companies from China, Brazil, Argentina and the USA in conjunction with the state oil company Petroamazonas. US company Halliburton has signed long-term contracts to construct roads and camps, recover oil from existing wells and discover new reserves. Oil production is planned to commence in 2016. Most of the oil is destined for the U.S. (previous oil reserves discovered on Huaorani land were estimated to be worth $1.5 billion – enough to keep cars rolling in the U.S. for 13 days).
Twenty years ago Christopher Walker, Gordon Durnin and Tony Avirgan were filmmakers and told the story of the fight against Big Oil in the Amazon basin of Ecuador. Filmed over three years, it covered the fight by the Huaorani people to remove the oil companies from their lands and preserve the Yasuni Park – one of the most biologically diverse regions of the world. The resultant film, TRINKETS & BEADS won many major prizes worldwide, highlighting the Huaorani’s struggle around the world.
They are now engaged in a sequel to TRINKETS and BEADS and are soliciting donations here.
Martin Carbonell, a spokesman for the Yasunidos, (a collection of groups fighting the plan to exploit oil in Yasuni) said: “It’s very worrying what has happened. It is the end of the facade of democracy in Ecuador. Since the beginning of the process we have been subject to physical and verbal attacks, so this was not unexpected.”
These are just a few instances of worldwide pressure on indigenous locales.
When takeovers of public lands occurs, the indigenous people of the area for the most part are not informed of what is about to happen, and ill-equipped to fight it. Internet transparency helps identify these land grabs that are fueled by state corruption, avaricious individuals and companies with their own economic agendas, but rarely has had an affect on the final outcome. The details of the land deals – made among high-ranking government officials with little consultation of local people – are often nebulous. And in many cases, land that officials have said was “unused” was actually managed in traditional ways.
After the decimation of the Native Americans, the famous Oglala Lakota Red Cloud now an old man on a reservation said: “They made us many promises, more than I can remember, but they never kept but one; they promised to take our land, and they took it.”
The percentage of the Native American population in the US is now .08 percent.
If you personally feel as I do that indigenous populations are underrepresented, please donate to one of the causes cited above, or when learning about similar indignations, find out how you can help.
I was going to call this blog “Waiting It Out”, but the term that Chris Johns, the Editor of the National Geographic and a photographer uses is “circling back”.
What Chris means by this is that the perfect time to capture the subject in front of you may not be now. It may happen in a few minutes, a few hours, days or never. The important thing is to have faith that this particular subject will make a fine photograph, because it speaks to you as being something of importance.
One and a Half Hours
15 Min. Later
This does not mean the subject is “newsworthy”, an amazing scene, or a fantastic event. It just speaks to you. This gives it importance. And if it is really important, are you ready to walk away because the light isn’t right, the subjects aren’t in place or you need to be someplace else?
Fred Maroon, a fine Washington, DC photographer said, “There is always another plane”. It is a good way of saying that many great images take patience to make them.
During all of my workshops I spend some time talking about managing one’s photographic expectations. If you are with a non-photographer or on a tour or heavily scheduled, you have little opportunity to hang back and wait.
And it can be tiresome waiting at a particular location for hours – especially with wildlife, as the moment you were waiting for generally happens very quickly and you cannot stay focused (pun intended) for long time periods. Frans Lanting, a terrific wildlife photographer was once asked how he stays focused to make those wonderful shots. His answer? “Ninety five percent of the time I miss it!”
To keep fresh, do as Chris Johns says and circle back. Leave that location for a bit and then come back to it. But remember to return, as perseverance pays. An article was once done or several of the photographers at National Geographic and after the author interviewed us she entitled the article “A Terrifying Dedication.”
Throughout this blog I have posted a number of images with captions that indicate the “wait times” necessary to capture the image.
Join me for a domestic or international workshop where there is a continuing conversation on subjects like this.