Posts tagged ‘stories’

The key? Intimacy.

Kathleen Hennessy is the Director of Photography at the San Francisco Chronicle and has just joined PhotoPhilanthropy as the Activist Award Director for 2010.

I asked her everything that came rushing into my head. What is your editing process like? And how do you think photography creates social change? And what advice do you have for people submitting photo essays to PhotoPhilanthropy?

Here’s what she said:

Some of the essays I looked at from last year’s submissions were not as strong as they could be because they don’t really have a focus. What I’m seeing is that people are photographing things that are happening around them, but I don’t know what the story is. I don’t know what they’re trying to say.

If you were going to document a pediatric surgical team, for example, it would be really great to have some theme that you follow—maybe a doctor, or a patient—so that you connect with somebody.

I think it’s really important to establish that connection with another individual. Because if you don’t, if the viewer doesn’t get to connect with any person in a deeper way, then everybody becomes sort of anonymous. And that’s a problem. I think you get a much more emotional reaction when you really feel like you got to know someone and their story. And then that one story illustrates the larger organization and the larger issue.

When I was working with Deanne Fitzmaurice on the Pulitzer prize winning story, she got very close to the subject.

It was as story about an Iraqi boy named Saleh, who picked up a bomb he thought was ball. It exploded, killing his brother and severely injuring him. He was eventually brought to Oakland, California for treatment. She worked on that story for about a year and got close to the family. It was impossible not to.

And even though she didn’t want to, she had to show the moments where he was acting up or getting frustrated because that was the whole story. She had to stay somewhat detached. Because the goal of photojournalism is to have the credibility that you are telling the truth.

An artist, on the other hand, is seeking their own truth, in my opinion.

So when you are doing this kind of collaborative work with an organization, you really have to believe in what that organization is doing. If you go in there and you think, “Wow, what are they doing?” then maybe you shouldn’t do it.

It’s also important to really do your homework. You should talk to people who run the organization, who are in the field, and ask them what they see every day. And sometimes you have to be a filter, because they may tell you what they think is a great story, and it may not be. For example, it may not be visual. It has to be a visual story. And it has to prompt an emotional reaction that connects the viewer to the subject

The best thing to do is observe. Spend some time before you ever pick up the camera, observing what they do. You need to think about what it is that attracted you to the story. What is the story that you want to tell?

And take notes. I always say to photographers—who are not necessarily writers—take notes. Jot down words that represent what you are feeling, and then think about how to capture that feeling.

You asked about creating social change as an editor. Well, we were having a staff meeting, and talking about ideas. I wanted to do some stories related to the economy, because that is one of the big issues of the year.

So Brant Ward, one of our staff photographers at the Chronicle, said, “I really want to do something in Chinatown. It’s very difficult to get access to stories there, and there is a lot going on.”

He’s been at the Chronicle for 25 years. He found his own contact and she connected him with the Mo family, who live in a one room flat.  The room has no private bathroom or kitchen so they share with the other families living in the building, which is called an SRO: single room occupancy.

He worked through a community activist who spoke the language and was trusted by the community. I think that’s a very important connection, so that when you are introduced to the community, you are also trusted.

The father, Zhihua, a carpenter and plumber, was out of work. The mom, Lifen, was making minimum wage handing out restaurant coupons to tourists. The grandfather, who lived a block away in another SRO, had a nurse taking care of him but when Zhihua lost his job they could no longer afford the nurse and Zhihua starting taken care of his dad daily.

The grandfather couldn’t walk, and his son told Brant, “When I take him to the doctor, I have to put him on my back and carry him up two flights of stairs.” And so Brant knew that was the picture he needed to get. And so he kept waiting and waiting for that day to come, and it finally did.

When the story was published, it was on the front page with two inside pages full of photographs. There was a real out-pouring of support. Brant received many emails from people who wanted to help, both monetarily and with job offers. Zihua is now working again.

So you hope that you have an impact, and it can be something small like one person getting a job. Or it could be a larger impact, like with Deanne’s story. After her story was published, Saleh’s family received thousands and thousands of dollars in donations and his mother and sisters were granted asylum in the U.S.

And that’s the beauty of documentary photography: hopefully your goal is to have some sort of impact.

Brant told the story of Chinatown through one family. Which gets back to what I was saying in the beginning. You’re more connected through one family than if it was a series of pictures of multiple families who lived in single rooms. I feel more connected to that issue because I know what this one family’s life is like.

If you stay with one story, if you stay with one focus, there’s more intimacy there. And to me that is the key to a successful story or a successful photo essay, intimacy.

And a lot of times you may see a collection of photographs, and they may be beautiful, but I’m left wondering what are they trying to say. Other than, here’s a nonprofit, or here’s a lot of suffering people.

I loved Dmitry Markov‘s story, which won the amateur award, because it was so focused. One group of kids, one place—I really got a sense of what their lives were like. Beautiful intimacy with the shaving of the head, wonderful use of light. I felt a sense of connection with the community there because I could see how the boys reacted to each other. I thought that was really successful.

March 3, 2010 at 5:30 am Leave a comment

PhotoPhilanthropy in the field: observations from Haiti

This week, PhotoPhilanthropy founder Nancy Farese is in Haiti, documenting the work of NGO’s as they provide disaster relief. She sent us this bulletin:

I am here shooting on behalf of the IRC (International Rescue Committee).  Their primary expertise in emergency response is water and sanitation, though they are quickly laying the groundwork for partnering with Haitian agencies to provide Gender Based Violence prevention programs in the settlements, child-friendly playing areas, and family identification databases to help people find their loved ones.

In Piste Camp a man collects rebar to straighten out and reuse.

There are approximately 500 spontaneous settlement camps in Port au Prince; people gathered out of the desperation of having lost everything in the crumbles of their house, or the simple fear of sleeping under concrete structures identical to those in ruins around them.  There was a 4.5 aftershock on Monday night, followed Tuesday by a 4.7 earthquake from a new source, that had us all running from our beds.

Spontaneous Settlement camp in Port au Prince

Spontaneous Settlement in Villambetta

The settlements are crowded and desperate; erected on every piece of available open land in the city  from parks to golf courses, out of any material at hand. Giant bladders indicate that the French Red Cross and UNHCR are supplying water, and  a cluster of people waiting in lines near a settlement indicates a distribution of tents or food vouchers.  The IRC and UNICEF are quickly building latrines with the help of campers where space is available, but they readily admit that the urban disaster constraints of this many people displaced in such tight confines is unique and challenging. Everyone fears the outbreak of disease if the latrines are not built quickly and used effectively, and everyone knows that each additional day spent in a camp means more resistance to a transfer to a safer, more physically intact location as communities develop and nearby jobs are secured. Everyone fears the onset of rain.

So what is going right?  The compassion and resilience of these remarkable Haitian people.  You can’t help but admire their strength. By far the most positive thing that we see is an openness, warmth, and a desire to connect. People want to talk with me, to tell their story, to hold my hand, to have a few words. There is much appreciation by locals for the help from people around the world.

Spontaneous Settlement in Villambetta

And children are playing in the camps; making kites out of plastic sheeting, toy trucks out of trash, playing soccer barefoot amidst the rocks and debris of an abandoned field.

In Piste Camp a man sells phone charging time, powered off of a generator.

Spontaneous Settlement in Villambetta, a girl takes a quiet moment to read. The schools are all closed, some physically collapsed in the quake killing hundreds of children.

February 28, 2010 at 4:59 am 2 comments

A different kind of picture

It is easy to get depressed by the news (intractable problems, inscrutable wars, a failing healthcare system). It’s also easy to escape it completely (my vices = Gossip Girl, Grey’s Anatomy, Mad Men). But where do we go to understand the challenges facing the world right now, without feeling paralyzed by them?

One answer is to focus on individual stories. When you look at an issue through the lens of a single life, you get a different kind of picture. You get depth, and humor, and inspiration as well as education about the issues of our time.

There are a lot of people making incredible work like this; work that introduces us to each other. It’s the positive side of globalization. You can meet people from anywhere, just by looking around.

You’ve got On Being, from the Washington Post, which is a section of the online edition that presents poignant, nuanced interviews with all sorts of people about all sorts of human dilemmas and experiences.

on being

There is 6 Billion Others, a project created by French photographer Yann Arthus-Bertrand, which displays 5,000 interviews conducted with people all around the world. The interviews were built on forty questions like, What have you learnt from your parents? What do you want to pass on to your children? What difficult circumstances have you been through? and What does love mean to you?

6billionothers

I believe it is this kind of conversation that builds the strong communities that allow people to live better lives. So I really enjoy these projects on a lot of levels. It’s fun to hear people talk, and it’s fun to think about a lot of people all listening to each other.

PhotoPhilanthropy is doing this kind of work by focusing on one organization at a time. A lot of people are doing a lot of incredible work to create change on all different scales, from building one-on-one relationships to creating massive networks of social services. We need to hear those stories! What’s working? What isn’t? Who needs more help? What can we do for each other?

The photo essays that are available to see at www.photophilanthropy.org tell remarkable stories. From a prison arts program in California to an opera house’s outreach program in Belgium to the Global Fund for Children in Peru, people have created organizations all over the world to build stronger communities.

This is a moment when all sorts of people are reaching out to help others. Sometimes those “others” are halfway around the world, sometimes they are all the way around the corner. But it’s exciting to see all the great work being done right now. Get inspired. Take a look! And let us know your thoughts.

Comment below or email eliza@photophilanthropy.org

November 3, 2009 at 11:32 am 2 comments


"In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level." --Charles Schultz on Mikhael Subotzky

PhotoPhilanthropy’s blog is written by Eliza Gregory

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