I am pleased to share that my photo, “Dancer” is a part of the exclusive new Athena Collection of scarves from InFocus Canada. The series features some of North America’s most outstanding female photographers. Beautiful photography, elegant fashionable scarves, limited first edition, support of charity, sustainably and ethically produced.
The photo is of a traditional dancer from Udaipur, India inside a haveli. When I saw her twirling inside the magnificent architecture of the Rajasthan state, I was struck by her poetry. She too is one of the most powerful storytellers. Her vocabulary is based on gestures, movement, and expression. My hope is that the photo becomes a symbol of all the love, color, richness, and stories we all share.
Each scarf is produced from a custom milled fabric made from 100% recycled plastic and diverts 3 bottles from the waste stream. They are soft and flowy and feel beautiful around your neck. Only 200 scarves have been produced in this print as part of a First Edition. All scarves are sustainably produced and are developed and manufactured employing the highest ethical production standards.
10% of the sale price of each of my ‘Dancer’ scarves is donated to the BioRescue Project, an international project aiming to save the northern white rhino from extinction by developing methods of assisted reproduction and stem cell research under the leadership of the Leibniz Institute for Zoo and Wildlife Research (Leibniz-IZW).
Purchase yours and see all the other available scarves from photographic luminaries Viktoria Haack, Michelle Valberg, Melissa Groo, Kristi Odom, Deanne Fitzmaurice and Clare Hodgetts at InFocus Canada.
B&H published an in-depth feature on Ami Vitale, covering the story of her career trajectory from conflict photographer to documenting the natural world. Thanks to one well-timed assignment focusing on people’s relationship to nature in remote locations worldwide, Ami’s whole photographic career shifted.
“That chance for reflection, to look at the natural world, helped me put all the pieces together,” Vitale says of this project. “I realized that all the conflicts I had been covering were ultimately about our resources. That the biggest story, which I had been missing, was our natural world and what we’re doing to it. It was one of the most transformative moments in my career.”
After receiving a Master’s degree in filmmaking, the scope of Ami’s work expanded further, which the story explores along with sharing her advice for other photographers and information on the gear she prefers. It emphasizes her mission to share stories of hope and to encourage people everywhere to take action to preserve the world for future generations.
The National Geographic Storytellers Summit is a multi-day celebration of story, featuring the photographers, filmmakers, journalists, and data visualizers who witness the major events of our time, illuminate critical issues, and inspire action.
Photographer and National Geographic Explorer Ami Vitale delivered the talk, “How to Photograph Hope.” Ami has covered conflict, violence, and heartbreak—like photographing the last Northern white rhino during his dying moments—but she’s also made it her mission to find and capture stories of hope.
I took some time to write up a list of tips on travel photography for B&H Photo’s Explora Blog. Let me know what you think.
Photography is not about the camera. It’s not even about the beautiful images we create. It is about telling powerful stories. Photography is a tool for creating awareness and understanding across cultures, communities, and countries; a tool to make sense of our commonalities in the world we share. I believe the way to find common ground is by seeing yourself in others.
A lot of my work involves traveling to foreign countries and living in remote places. My job is to become invisible and get close to people and wildlife, so I can bring their stories to life. It’s no different being in my home state of Montana than it is being in a country ten thousand miles away. For me, the intimate moments always matter the most.
Photography has been my passport to meeting people, learning, and experiencing new cultures. I want to talk about the methods and sensibilities I use to bring back powerful, story-telling images without getting hurt in the process. Here are the top ten rules that I live by.
1.Research
Read everything you can about the place you’ll be visiting, especially local newspapers and social media. Local stories that may not reach the large international papers give me clues about what’s really happening in a place. Establish relationships before you even get on the plane. Make a point of befriending other photographers and sources. Nothing is as valuable as another photographer who has been there. I like to use social media to meet people, or through websites such as lightstalkers.org, where there’s a forum to connect and ask questions.
In this case, the story was about China releasing the first female giant panda back into the wild. With careful planning, we were given access to create a more powerful story that showed humanity’s relationship to the Giant Panda. With some thinking ahead and planning, I acquired a more unique image.
2.Go deep
I don’t view travel photography as solely an adventure. Although I get to witness extraordinary things, it’s not simply about jetting off to exotic places. The magic really begins when you stay in a place and give yourself enough time to gain insight and understanding. It requires tremendous persistence and patience, but I would rather spend more time in one place than try to see it all. One way to get beyond surface images is to plan a trip to one location, several times, if you can. Below are two anecdotes about how I gained access and went deeper into a story.
I spent a couple of days with Subita and her family. At no time were we alone; around us hundreds of digital cameras were firing away. Before dawn broke, as we huddled around a fire, at least a half dozen people were looking at her only through their lens. The only time any of them acknowledged me was to ask me a technical question, like what ISO would work best in the stingy light.
Later, Subita would tell me how dehumanizing the impact of eager tourists and their cameras were on her. They made her feel like an animal―this is how she expressed it. No one even said namaste, or hello, to her. Those who surrounded her were after only one thing—what they considered a great shot. It was a hunt and she was simply the prize.
If some of the people who surrounded Subita had taken the time to spend even a few hours with her, learning a bit more about her life, they would have had a story and not just an image.
3.Be authentic and sensitive
The easiest way to make compelling, real photographs of people is by being authentic. Making candid images of people is not a trick. It’s a skill a photographer can develop, which requires respect for the subject and building a relationship in the time you have together. Successful pictures of people almost never happen from a distance. Put away the telephoto lens and become part of the moment.
Talk to people. Whether it’s simply a nod of acknowledgement, a greeting, an explanation of what you’re doing, or a long involved conversation, connect with the people you are photographing. Remember, we have more in common with each other than you might think. Don’t look at people as different or exotic. Rather, focus on the things that unite and bind us.
Children are one of the most universal themes that unite us all. This is a group of children who were displaced by conflict in the state of Gujarat, in Ahmedabad, India.
4.Know your equipment
If you exude apprehension or tension, people pick up on it and cannot relax with the added element of a camera. Know your equipment so that you can focus on relating to your subjects. Your confidence in yourself will instill confidence in them. For me, simplicity is the key to success. I never bring new gear on an assignment or a trip, it’s always tested at home first, and I bring backups on the real trip. Simple is always better. It’s okay to use the latest and greatest technology, but know how to use it before you start your trip.
I’ve been using Nikon equipment for many years. I test my cameras and lenses thoroughly, as soon as I get them. I want to be so comfortable with them that I could operate the gear in the dark. This image of the wrestlers had beautiful but extremely tricky lighting. I had to adjust my settings quickly to capture this shot successfully before the light was gone.
5.Keep good notes
You think you will remember everyone you meet, but time and age fade the memory. In the past, I used to take down people’s names and a short description of what they were wearing, or some distinguishing feature about them. I would get back home, start looking through my notes and discover many of the girls I was photographing wearing similar-looking pink dresses. Now I carry my phone, loaded with a model-release app called EZ Release, which allows me to take pictures and get their consent at the same time. I also make a habit of writing captions and labeling images right after a trip ends, and not procrastinating.
Use your phone to take notes, get releases, and remember the people you meet on your travels.
6. Dress appropriately
Fit in with the scene. Understated is always best. Again, sensitivity for the mores and norms of where you are goes a long way to being accepted. A female photographer may want to wear a scarf to cover her head in some cultures. It’s one of the most visible ways to show respect for local sensibilities. I also avoid looking like the stereotypical photographer (black cargo pants or vests with lots of pockets).
When the first female panda was being released into the wild, I dressed myself up as a tree so as not to scare her. The director of the panda program was touched. He came running up to me, hugged me, and exclaimed, “You get to hold two baby pandas! President Obama, he only held one baby panda.” The doors opened and we got excellent access for the rest of the story, and got far stronger images because of it.
Later, we all dressed as pandas so we could get behind-the-scenes access to the panda training center where they train captive-born pandas to go back into the wild.
7. Meet the leaders
Whether you’re in a slum or a city, there’s always a hierarchy. If you take the time to explain why you’re there and get the blessings of the leaders or elders in any community, it will keep you safer than wandering around aimlessly. As a woman, I also take time to meet the women leaders in a community, too.
One evening, after photographing angry protesters, a rogue group of young men decided that they wanted to use me as an example to show their anger towards US policy. I had spent the day with the women leaders in the village, and they came to my rescue when they saw the mob scene developing around me. After that, I always spend the first day of any trip meeting local leaders wherever I’m working, and get their blessing. I’m always amazed at how quickly the news of my project spreads in a community. Everyone knows why I am there and doors open.
Getting close and intimate with people requires time and understanding. Building relationships is the most important aspect of what we do. This is an image of a mother being consoled by her family at her daughter’s funeral, in Kashmir, India. I spent four years documenting this culture, and because I took time and built relationships, I was invited into people’s lives and was able to reveal the sometimes difficult, yet always intimate moments.
8. Trust your instincts
I rely on the kindness of strangers everywhere I go. It is real and out there—most people are lovely and kind. It’s a wonderful world out there, but remember to be on guard, as unfortunately, bad clouds can form and tensions can escalate. Trust your instincts and don’t ever assume or be lulled into a false sense of security. Even if it feels safe, don’t let your guard down. I have found that establishing relationships in advance is the best way to prepare.
Just like this man built trust with the camel, you need to trust and work on the relationship on the other side of the lens.
9. Give back
Your subjects are giving of themselves. Don’t abuse their gift of sharing their lives. Don’t treat them like models. Send back some prints, cherish the moment, and treat them well. Don’t promise if you don’t intend to deliver. In this age where many people are digitally connected, it has become easier than ever to email a jpeg to an address for your subjects to share.
Whether you bring back prints or simply spend time talking to people, it’s important to make photography not just about taking images, but giving back, too. This is Subita and her sister as I am teaching them how to use my camera.
10. Have fun
Yes, getting the shot is important, but be thankful that you have the opportunity to even be where you are. Pinch yourself and enjoy the moment. It relaxes everyone, and the pictures and stories are better for it.
Literally dive in and immerse yourself wherever you are. Find ways to connect with people. This is in Madagascar, and I’m just having fun.
If there is only one thing you take away from this, I hope it’s the understanding that all of us are not only photographers, but we are storytellers. There is a beautiful, universal truth everywhere and, if you peek under the veil, you’ll find a wondrous commonality between us. I hope that in your travels, you use your camera not just as an extension of your eye but also as an extension of your heart.
If there is only one thing you take away from this, I hope it’s the understanding that all of us are not only photographers, but we are storytellers. There is a beautiful, universal truth everywhere and, if you peek under the veil, you’ll find a wondrous commonality between us. I hope that in your travels, you use your camera not just as an extension of your eye but also as an extension of your heart.
For photographer Ami Vitale, the pivotal moment occurred in Guinea-Bissau.
It was the start of her career and she was visiting her sister in the Peace Corp. Vitale expected Africa to be filled with war, famine, plague or the other extreme, exotic safaris.
Living in West Africa for six months showed her not only “how the majority of people on the planet live their day-to-day life,” but that people were not as hopeless as the newspapers portrayed. There was “a great deal of joy there.”
It is a revelation that has guided Vitale through 80 countries and a 13-year career.
Her original desire to take “beautiful pictures” was transformed into a desire to do justice to people and their stories. As a photographer Vitale’s focus has centered on issues surrounding women, poverty and health. The common denominator to all of her stories, she realized, is nature, specifically climate change. And it’s women who bare the brunt of those changes.
But when a woman is offered the tools to improve her situation, she runs with the opportunity. She transforms communities. “It’s a ripple effect,” says Vitale.
It’s the desire to see change that led Ami Vitale to join Ripple Effect Images, a photography organization started by Annie Griffiths that shares imagery with other changemakers.
“We are telling the stories that are so important and get lost in the headlines,” says Vitale. “They are the key to connecting things and allowing people to get engaged and make a difference.”]
The talented Steve Casimiro, a photographer and editor for National Geographic’s Adventure magazine has created a wonderful blog called the Adventure Life. I was honored that he invited me for this interview.
This is an interview by Susan Markisz for the Digital Journalist, a virtual online almanac for visual journalists created by Dirck Halstead. It was written when I was just beginning my career as a photojournalist in 2003. http://www.digitaljournalist.org/issue0301/av_intro.html
Blueeyes Magazine is an online documentary photography magazine devoted to publishing new long-term project work. It is a labor of love created by a dedicated group of people including John Loomis, Chris Vivion, Matthew Ratajczak, Seth Bro and Jill Thomas.
This was one of the very first interviews I gave for Photobetty.com, which was a true labor of love started by the legendary and lovely Stephanie Sinclair and carried on by Serena Stucke, who is also an incredibly dedicated and talented photographer and editor. http://www.photobetty.com/amivitale
Just back from Ladakh, India where I had the privilege of working with David Duchemin,Matt Brandon and 8 extremely talented photographers. We explored the bustling back streets of Old Delhi, the Sufi shrine of Nizamuddin and then headed up to the Khardungla Pass to cross the worlds highest motorable road at 18,380 feet. The road is situated on an ancient trade route from Leh to Kashgar in Central Asia, and it is also the gateway to the beautiful Nubra Valley. Some of the guys did it on motorcycles which looked spectacular but I’m a wimp after living in India for so many years. After witnessing the insanity that ensues on their roads, I’d prefer to make the journey on a camel. Yet, they were intrepid travelers and it was a delight to be able to work with such a spirited group. I can honestly say that we all learned from each other and I believe everyone became better photographers on this journey. I’ll be posting photos soon but I’m on my way to Prague.
Over the past 60 years, the beauty of Kashmir has been overshadowed by tension and violence. Despite the wishes of Mahatma Gandhi, regarded as the father of Indian independence, the sub-continent was divided along religious lines and two nations were born: the secular but Hindu-dominated India and the Islamic Republic of Pakistan.
Indian men practice the three thousand year old sport known as “Kushti”, a form of wrestling, in its traditional form in Kolhapur, India. In this south-eastern Indian city Kushti has a long tradition. Wrestlers continue the rigorous schedule of waking up at 3:30am six times a week and practicing more than 6 hours every day. They live together in one small room above the arena and their only belongings are a blanket, a few items of clothes. They have been compared to holy men because of their celibacy and dedication to the sport.
This was my first attempt at shooting video with a still camera. I used the Nikon D300s and experimented in different situations from riding on the hood of a taxi in Mumbai, India to the deadly, blowing sands of the Thar desert in Rajasthan. Or maybe its the other way around.. more deadly is sitting on the top of an Indian taxi just to get a few images. Dai Sugano, an absolute genius and wonderful journalist, helped me with the editing. Check out his work. Its very inspiring. David Barreda and Ashima Narain assisted me in the field. Not only are they both talented photographers and story tellers, but they also happen to be lovely people. I’ll be posting a blog soon to discuss how I created the video as well as some tips I have for still photographers making the transition into shooting video. These cameras are revolutionizing the business of photography and opening up more avenues for us to develop our story telling.
