WARNING: SOME IMAGES CONTAIN GRAPHIC CONTENT OR NUDITY In this showcase of some of Reuters' most memorable photos, the photographers offer a behind the scenes account of the images that helped define the year. 93 PHOTOS
Image 1 of 93: THOMAS PETER, Germany
“It was a sunny and calm Monday afternoon when I flew in a German army transport helicopter above a flooded region north of Magdeburg, the capital of the federal state of Saxony-Anhalt. The Elbe river had swollen to over seven meters above its normal levels and broken its banks and a dyke near the village of Fischbeck. Farmlands, forests and whole villages were inundated by its waters. Hundreds of people had to flee their homes.
Strapped to a bucket seat I sat beside the helicopter’s open sliding door and surveyed the water landscape below me: sunken buildings, tree tops and the tops of abandoned cars dotted the glistening, caramel-colored surface of the deluge. Here and there a street or a pristinely groomed hedge rose above the water as a reminder of the human order that had been submerged by the force of nature.
One week earlier I had waded through flooded villages upstream. Up to my waist in water I photographed the efforts of rescue teams and volunteers trying to contain the rising river and evacuate trapped inhabitants. When covering a natural disaster of this kind you have to be in the middle of it to capture the emotional dimension of the tragedy.
Yet a bird’s-eye view is equally as important. For only from above can you show the extent of a flood. Or as in the case of this picture, by picking certain graphic details, you can bring the absurdity of the situation to the viewer’s attention. When the world in which we are ensconced so happily with all our man-made facilities becomes submerged by dirty water, everything assumes an unreal quality. When people’s homes turn into forlorn boxes surrounded by a freak lake that stretches to the horizon, you understand that the order we take for granted is a mere illusion in the face of nature’s caprices.
At some point the helicopter made a right turn, dipping the side I was sitting on deep below the horizon. And there it was right below me, the epitome of the absurd flood picture: the baby-blue oval of a swimming pool evenly surrounded by muddy water. I trained my 300mm lens straight down and composed as well as I could, which was a challenge in the soaring air stream that nearly snatched my camera out of my hands. I fired off some 10 frames before the chopper leveled out. The picture was gone. No one else on board had seen it.”
Canon 1D Mark X, lens 300mm, f7.1, 1/2000, ISO 500
Caption: A garden with a swimming pool is inundated by the waters of the Elbe river during floods near Magdeburg in the federal state of Saxony Anhalt, June 10, 2013.
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"Es war ein sonniger, windstiller Montag als ich an Bord eines Bundeswehr-Hubschraubers über das Flutgebiet im Raum Magdeburg flog. Das Wasser der Elbe stand sieben Meter über dem Normalpegel und hatte einen Damm in der Nähe des Dorfes Fischbeck durchbrochen. Felder, Wälder und ganze Dörfer wurden überflutet. Hunderte von Menschen mussten evakuiert werden.
Ich sass angeschnallt an der offenen Schiebetür des Hubschraubers und liess mein Auge über die Wasserlandschaft gleiten, welche sich unter mir bis an den Horizont erstreckte. Ich sah untergegangene Häuser, Baumkronen und Autodächer waren verstreut über die glatte, karamelfarbene Wasseroberfläche. Manchmal ragte eine Strasse oder Ensemble von Hecken aus der Flut hervor, Zeugnisse der versunkenen menschlichen Ordnung.
Eine Woche zuvor watete ich durch überflutete Dörfer flussaufwärts von hier. Ich steckte sprichwörtlich mittendrin. Bis zur Gürtellinie im Wasser stehend dokumentierte ich wie Rettungsteams und ganze Armeen von Freiwilligen versuchten die Schäden der Flut zu begrenzen.
Jetzt sah ich aus der Vogelperspektive das wahre Ausmass der Flut. Einmal, als der Hubschrauber während seines einstündigen Fluges eine scharfe Rechtskurve flog und die Seite auf der ich sass sich tief gen Erde neigte, hatte ich es plötzlich vor mir: den Inbegriff des absurde Flutbildes. Ein babyblauer Swimmingpool umgeben von matschig-braunem Wasser. Ich richtete mein Teleobjektiv gerade nach unten und versuchte im starken Fahrtwind, der mir fast die Kamera aus der Hand riss, das Bild so gut wie möglich aufzufassen. Ich feuerte etwa 10 Bilder und dann, keine 3 Sekunden später, war er weg. Keiner an Bord ausser mir hat den Pool gesehen.”
“It was a sunny and calm Monday afternoon when I flew in a German army transport helicopter above a flooded region north of Magdeburg, the capital of the federal state of Saxony-Anhalt. The Elbe river had swollen to over seven meters above its normal levels and broken its banks and a dyke near the village of Fischbeck. Farmlands, forests and whole villages were inundated by its waters. Hundreds of people had to flee their homes.
Strapped to a bucket seat I sat beside the helicopter’s open sliding door and surveyed the water landscape below me: sunken buildings, tree tops and the tops of abandoned cars dotted the glistening, caramel-colored surface of the deluge. Here and there a street or a pristinely groomed hedge rose above the water as a reminder of the human order that had been submerged by the force of nature.
One week earlier I had waded through flooded villages upstream. Up to my waist in water I photographed the efforts of rescue teams and volunteers trying to contain the rising river and evacuate trapped inhabitants. When covering a natural disaster of this kind you have to be in the middle of it to capture the emotional dimension of the tragedy.
Yet a bird’s-eye view is equally as important. For only from above can you show the extent of a flood. Or as in the case of this picture, by picking certain graphic details, you can bring the absurdity of the situation to the viewer’s attention. When the world in which we are ensconced so happily with all our man-made facilities becomes submerged by dirty water, everything assumes an unreal quality. When people’s homes turn into forlorn boxes surrounded by a freak lake that stretches to the horizon, you understand that the order we take for granted is a mere illusion in the face of nature’s caprices.
At some point the helicopter made a right turn, dipping the side I was sitting on deep below the horizon. And there it was right below me, the epitome of the absurd flood picture: the baby-blue oval of a swimming pool evenly surrounded by muddy water. I trained my 300mm lens straight down and composed as well as I could, which was a challenge in the soaring air stream that nearly snatched my camera out of my hands. I fired off some 10 frames before the chopper leveled out. The picture was gone. No one else on board had seen it.”
Canon 1D Mark X, lens 300mm, f7.1, 1/2000, ISO 500
Caption: A garden with a swimming pool is inundated by the waters of the Elbe river during floods near Magdeburg in the federal state of Saxony Anhalt, June 10, 2013.
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"Es war ein sonniger, windstiller Montag als ich an Bord eines Bundeswehr-Hubschraubers über das Flutgebiet im Raum Magdeburg flog. Das Wasser der Elbe stand sieben Meter über dem Normalpegel und hatte einen Damm in der Nähe des Dorfes Fischbeck durchbrochen. Felder, Wälder und ganze Dörfer wurden überflutet. Hunderte von Menschen mussten evakuiert werden.
Ich sass angeschnallt an der offenen Schiebetür des Hubschraubers und liess mein Auge über die Wasserlandschaft gleiten, welche sich unter mir bis an den Horizont erstreckte. Ich sah untergegangene Häuser, Baumkronen und Autodächer waren verstreut über die glatte, karamelfarbene Wasseroberfläche. Manchmal ragte eine Strasse oder Ensemble von Hecken aus der Flut hervor, Zeugnisse der versunkenen menschlichen Ordnung.
Eine Woche zuvor watete ich durch überflutete Dörfer flussaufwärts von hier. Ich steckte sprichwörtlich mittendrin. Bis zur Gürtellinie im Wasser stehend dokumentierte ich wie Rettungsteams und ganze Armeen von Freiwilligen versuchten die Schäden der Flut zu begrenzen.
Jetzt sah ich aus der Vogelperspektive das wahre Ausmass der Flut. Einmal, als der Hubschrauber während seines einstündigen Fluges eine scharfe Rechtskurve flog und die Seite auf der ich sass sich tief gen Erde neigte, hatte ich es plötzlich vor mir: den Inbegriff des absurde Flutbildes. Ein babyblauer Swimmingpool umgeben von matschig-braunem Wasser. Ich richtete mein Teleobjektiv gerade nach unten und versuchte im starken Fahrtwind, der mir fast die Kamera aus der Hand riss, das Bild so gut wie möglich aufzufassen. Ich feuerte etwa 10 Bilder und dann, keine 3 Sekunden später, war er weg. Keiner an Bord ausser mir hat den Pool gesehen.”
Image 2 of 93: NOOR KHAMIS, Kenya
“The particular day I documented this image started very early as I was just getting back to the office after covering a small blast in the Mathare slum neighborhood on the outskirts of Kenya’s capital Nairobi. It’s at this juncture that my colleague, Thomas Mukoya, called to advise me of another alert from the Westgate Shopping Mall and he was rushing to the scene to check.
Minutes later he called to tell me it was bad and he was with Goran Tomasevic at the scene. I immediately picked up a safety vest for both of us, two helmets and a gas mask. On arrival at the shopping mall I met Goran, our regional chief photographer, taking cover at the front entrance of Westgate. I handed him the extra helmet and the gas mask and made my way to the back entrance.
What met my eyes was shocking. Experience was a guiding principle as I set my eyes on the woman writhing on the floor. With all the confusion surrounding us, I knelt down to assure her help was close by as I took several images at the same time.This particular image summarized for me the horror of the breaking news event and was the first image I transmitted.”
Canon 5D Mark III, lens 24-70mm, f3.5, 1/250, ISO 400
Caption: An injured woman cries for help after gunmen stormed the Westgate shopping mall in Nairobi September 21, 2013. REUTERS/Noor Khamis
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“The particular day I documented this image started very early as I was just getting back to the office after covering a small blast in the Mathare slum neighborhood on the outskirts of Kenya’s capital Nairobi. It’s at this juncture that my colleague, Thomas Mukoya, called to advise me of another alert from the Westgate Shopping Mall and he was rushing to the scene to check.
Minutes later he called to tell me it was bad and he was with Goran Tomasevic at the scene. I immediately picked up a safety vest for both of us, two helmets and a gas mask. On arrival at the shopping mall I met Goran, our regional chief photographer, taking cover at the front entrance of Westgate. I handed him the extra helmet and the gas mask and made my way to the back entrance.
What met my eyes was shocking. Experience was a guiding principle as I set my eyes on the woman writhing on the floor. With all the confusion surrounding us, I knelt down to assure her help was close by as I took several images at the same time.This particular image summarized for me the horror of the breaking news event and was the first image I transmitted.”
Canon 5D Mark III, lens 24-70mm, f3.5, 1/250, ISO 400
Caption: An injured woman cries for help after gunmen stormed the Westgate shopping mall in Nairobi September 21, 2013. REUTERS/Noor Khamis
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Image 3 of 93: JIM URQUHART, United States
“I made this image of Hans van ‘t Woud, a mapping researcher from Germany on my first excursion out into the desert with a group of scientists working at the Mars Desert Research Station in southern Utah. On several occasions Hans climbed to the high ground and it was just too easy of a frame to make. Seriously, it was scientists dressed up in space suits in the Mars-like desert of southern Utah. You can't miss with that kind of visual candy in front of you.”
Canon 5D Mark III, lens 17mm, f4, 1/1000, ISO 100
Caption: Hans van ‘t Woud, a mapping researcher and the health and safety officer of Crew 125 EuroMoonMars B mission, collects geologic samples for study at the Mars Desert Research Station (MDRS) outside Hanksville in the Utah desert March 2, 2013.
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“I made this image of Hans van ‘t Woud, a mapping researcher from Germany on my first excursion out into the desert with a group of scientists working at the Mars Desert Research Station in southern Utah. On several occasions Hans climbed to the high ground and it was just too easy of a frame to make. Seriously, it was scientists dressed up in space suits in the Mars-like desert of southern Utah. You can't miss with that kind of visual candy in front of you.”
Canon 5D Mark III, lens 17mm, f4, 1/1000, ISO 100
Caption: Hans van ‘t Woud, a mapping researcher and the health and safety officer of Crew 125 EuroMoonMars B mission, collects geologic samples for study at the Mars Desert Research Station (MDRS) outside Hanksville in the Utah desert March 2, 2013.
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Image 4 of 93: DARRIN ZAMMIT LUPI, Malta
“The young man was just another of the hundreds of asylum-seekers I've photographed arriving in Malta over the years, sometimes disembarking from the boat that rescued them when their rickety vessels ran into trouble while crossing the Mediterranean, or sitting on a bus while waiting to be driven away to police headquarters for processing by immigration officials. But with a momentary glance, all that changed. His gaze straight at me was piercing and haunting, tearing through my camera lens and into my mind's eye, burrowing itself deeper into the innermost recesses of my psyche.
I tracked him down, met and interviewed him about a month later at a detention center. Seventeen-year-old Mohammed Ilmi Adam, from Mogadishu, fled Somalia to try to find his parents who he believes escaped to Europe when he was just a child. He had no recollection of seeing me shooting his picture when he arrived here - but he was glad I did. "Maybe my parents or someone who knows them will see me and recognize me," he said.
Though I often photograph arriving would-be immigrants, it's very rare that I'm able to speak to them afterwards and gauge their reaction to beingphotographed. Hearing what Mohammed had to say gives shooting these pictures a stronger sense of purpose than ever before, however remote the odds of his finding his parents through the photo may be.”
Canon 1D-X, lens 200mm, f2.8, 1/40, ISO 5000
Caption: A would-be immigrant looks out of a window on a police bus after arriving at the Armed Forces of Malta (AFM) Maritime Squadron base at Haywharf in Valletta's Marsamxett Harbour early July 10, 2013.
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“Dan iż-żagħżugħ hu wieħed mill-mijiet ta’ persuni li qed ifittxu l-ażil li waslu Malta f’dawn l-aħħar snin u li ħadtilhom ritratt waqt li neżlin minn fuq id-dagħjsa li tkun salvathom mill-baħar, jew fuq tal-linja waqt li jistennew biex jittieħdu l-kwartieri tal-pulizija biex ikunu ipproċessati mill-uffiċjali tal-immigrazzjoni.
Imma bil-ħarsa ta’ dan iż-żagħżugħ kollox inbidel. Ħarstu dritt f’għajnejja kienet penetranti u ma tintesix. Kienet ħarsa li nifdet il-lenti tal-kamera u tnaqqxet f’qalbi.Irnexxili nsibu xi xahar wara. Iltqajt miegħu u intervistajtu fiċ-ċentru ta’ detenzjoni. Kellu biss 17-il sena. Jismu Mohammed Ilmi Adam minn Mogadishu.Ħarab mis-Somalja biex jiprova jsib lill-ġenituri tiegħu li jemmen li ħarbu lejn l-Ewropa meta kien tifel. Lanqas induna li kont ħadtlu ritratt – imma feraħ meta sar jaf. “Forsi ommi u missieri, jew xi ħadd li jafhom jara r-ritratt u jarafni,” qalli.Minkejja li spiss nieħu ritratti tal-immigranti li jkunu għadhom kemm waslu, hu rari li jirnexxili nkellimhom wara ħalli nara r-reazzjoni tagħhom dwar il-fatt li r-ritratt ikun deher fil-midja.
Wara li smajt x’qal Mohammed, irrealizzajt kemm dawn ir-ritratti jiswew mitqlu deheb anki jekk iċ-ċans li jsib lill-ġenituri tiegħu permezz ta’ ritratt huma pjuttost remoti.”
“The young man was just another of the hundreds of asylum-seekers I've photographed arriving in Malta over the years, sometimes disembarking from the boat that rescued them when their rickety vessels ran into trouble while crossing the Mediterranean, or sitting on a bus while waiting to be driven away to police headquarters for processing by immigration officials. But with a momentary glance, all that changed. His gaze straight at me was piercing and haunting, tearing through my camera lens and into my mind's eye, burrowing itself deeper into the innermost recesses of my psyche.
I tracked him down, met and interviewed him about a month later at a detention center. Seventeen-year-old Mohammed Ilmi Adam, from Mogadishu, fled Somalia to try to find his parents who he believes escaped to Europe when he was just a child. He had no recollection of seeing me shooting his picture when he arrived here - but he was glad I did. "Maybe my parents or someone who knows them will see me and recognize me," he said.
Though I often photograph arriving would-be immigrants, it's very rare that I'm able to speak to them afterwards and gauge their reaction to beingphotographed. Hearing what Mohammed had to say gives shooting these pictures a stronger sense of purpose than ever before, however remote the odds of his finding his parents through the photo may be.”
Canon 1D-X, lens 200mm, f2.8, 1/40, ISO 5000
Caption: A would-be immigrant looks out of a window on a police bus after arriving at the Armed Forces of Malta (AFM) Maritime Squadron base at Haywharf in Valletta's Marsamxett Harbour early July 10, 2013.
Click here for a related blog
“Dan iż-żagħżugħ hu wieħed mill-mijiet ta’ persuni li qed ifittxu l-ażil li waslu Malta f’dawn l-aħħar snin u li ħadtilhom ritratt waqt li neżlin minn fuq id-dagħjsa li tkun salvathom mill-baħar, jew fuq tal-linja waqt li jistennew biex jittieħdu l-kwartieri tal-pulizija biex ikunu ipproċessati mill-uffiċjali tal-immigrazzjoni.
Imma bil-ħarsa ta’ dan iż-żagħżugħ kollox inbidel. Ħarstu dritt f’għajnejja kienet penetranti u ma tintesix. Kienet ħarsa li nifdet il-lenti tal-kamera u tnaqqxet f’qalbi.Irnexxili nsibu xi xahar wara. Iltqajt miegħu u intervistajtu fiċ-ċentru ta’ detenzjoni. Kellu biss 17-il sena. Jismu Mohammed Ilmi Adam minn Mogadishu.Ħarab mis-Somalja biex jiprova jsib lill-ġenituri tiegħu li jemmen li ħarbu lejn l-Ewropa meta kien tifel. Lanqas induna li kont ħadtlu ritratt – imma feraħ meta sar jaf. “Forsi ommi u missieri, jew xi ħadd li jafhom jara r-ritratt u jarafni,” qalli.Minkejja li spiss nieħu ritratti tal-immigranti li jkunu għadhom kemm waslu, hu rari li jirnexxili nkellimhom wara ħalli nara r-reazzjoni tagħhom dwar il-fatt li r-ritratt ikun deher fil-midja.
Wara li smajt x’qal Mohammed, irrealizzajt kemm dawn ir-ritratti jiswew mitqlu deheb anki jekk iċ-ċans li jsib lill-ġenituri tiegħu permezz ta’ ritratt huma pjuttost remoti.”
Image 5 of 93: CARLOS BARRIA, China
“As part of a long project on love in China I came across a mass wedding event being held in a shopping mall. The idea behind my photo project was to explore what it's like being young in China and dealing with intense social pressure to get married. It's not just parents who are impatient for their children to marry. Even local governments sometimes get into the act. This event was organized by the Shanghai government to promote the institution of marriage.
In China, there are several factors that prompt people to take this issue so seriously. The one-child policy, combined with an increasingly modern lifestyle, has brought birthrates down while China's elderly population grows. Analysts say China will need a big work force to support its seniors.
I went to this event looking for an image which would explain to me why so many Chinese say they're having a hard time finding the right partner. One of the things that had grabbed my attention was the way that many young people seemed to have a hard time interacting with one another. At the same time, they'd been exposed to a romantic ideal of love that may have seemed frivolous to older generations.
Walking about the shopping mall, I saw a couple waiting for a mass wedding to begin. They were sitting together in a display area for living room furniture. I spent some time watching them, waiting for them to interact. After five minutes I understood that the picture that I was looking for was already there, in front of me.”
Canon EOS 5D Mark III, lens 50mm, f1.2, 1/1000, ISO 2000
Caption: A couple waits to participate in a staged mass wedding, organized as part of a matchmaking event to inspire singles to get married, in a suburban area of Shanghai May 18, 2013.
“在拍摄“爱在中国”特辑的时候，有一次，我遇到了一个在商场里举办的集体婚礼。我希望能够透过我拍摄的照片表现出中国的年轻人在婚姻方面受到的社会压力。除了父母对孩子早日结婚的期待之外，甚至连当地政府也有时会做出努力。这场集体婚礼就是上海市政府为了宣传婚姻机构而组织的。
在中国，有很多因素促使人们非常严肃地对待感情问题。计划生育政策，以及越来越现代化的生活方式，拖低了出生率。然而，老年人口却持续地在增长。
去集体婚礼的时候，我一直在寻找答案：为什么那么多中国人都在艰难的寻找他们的另一半。引起我注意的是，许多年轻人不太会和别人相处。他们一直沉浸在理想化的浪漫主义爱情思想中。
在那个商场中闲逛，我看到一对情侣齐坐在卧室家具的展厅中，等待婚礼开始。我在旁观察了一段时间，看他们如何相处。过了五分钟以后，我才明白，其实我要等的所谓“互动”就是我眼前的那样。”
“As part of a long project on love in China I came across a mass wedding event being held in a shopping mall. The idea behind my photo project was to explore what it's like being young in China and dealing with intense social pressure to get married. It's not just parents who are impatient for their children to marry. Even local governments sometimes get into the act. This event was organized by the Shanghai government to promote the institution of marriage.
In China, there are several factors that prompt people to take this issue so seriously. The one-child policy, combined with an increasingly modern lifestyle, has brought birthrates down while China's elderly population grows. Analysts say China will need a big work force to support its seniors.
I went to this event looking for an image which would explain to me why so many Chinese say they're having a hard time finding the right partner. One of the things that had grabbed my attention was the way that many young people seemed to have a hard time interacting with one another. At the same time, they'd been exposed to a romantic ideal of love that may have seemed frivolous to older generations.
Walking about the shopping mall, I saw a couple waiting for a mass wedding to begin. They were sitting together in a display area for living room furniture. I spent some time watching them, waiting for them to interact. After five minutes I understood that the picture that I was looking for was already there, in front of me.”
Canon EOS 5D Mark III, lens 50mm, f1.2, 1/1000, ISO 2000
Caption: A couple waits to participate in a staged mass wedding, organized as part of a matchmaking event to inspire singles to get married, in a suburban area of Shanghai May 18, 2013.
“在拍摄“爱在中国”特辑的时候，有一次，我遇到了一个在商场里举办的集体婚礼。我希望能够透过我拍摄的照片表现出中国的年轻人在婚姻方面受到的社会压力。除了父母对孩子早日结婚的期待之外，甚至连当地政府也有时会做出努力。这场集体婚礼就是上海市政府为了宣传婚姻机构而组织的。
在中国，有很多因素促使人们非常严肃地对待感情问题。计划生育政策，以及越来越现代化的生活方式，拖低了出生率。然而，老年人口却持续地在增长。
去集体婚礼的时候，我一直在寻找答案：为什么那么多中国人都在艰难的寻找他们的另一半。引起我注意的是，许多年轻人不太会和别人相处。他们一直沉浸在理想化的浪漫主义爱情思想中。
在那个商场中闲逛，我看到一对情侣齐坐在卧室家具的展厅中，等待婚礼开始。我在旁观察了一段时间，看他们如何相处。过了五分钟以后，我才明白，其实我要等的所谓“互动”就是我眼前的那样。”
Image 6 of 93: JORGE CABRERA, Honduras
“It was 1 o’clock in the morning; we were driving around in San Pedo Sula until we got a call from a colleague. He told us about the body of a woman who was found dead with shots in her back and head. She was wearing a yellow blouse and she looked like she had been coming from a party. A car was parked near her body but it looked abandoned. She received two shots to her head and one in the back and it looked like she had been begging for her life. I found the reaction of the other journalists astounding; they seemed to have lost all sensitivity and gathered around the body. After a while I got closer as well. Minutes later we received another call letting us know of another crime scene.We left the scene of the dead woman, only a police officer stayed behind in the total darkness waiting for the forensic technicians.”
Canon Mark IV, lens 50mm, f2.8, 1/230, ISO 800
Caption: The dead body of a woman who was killed with three gunshots is seen at a crime scene in San Pedro Sula March 21, 2013.
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“Eran la una de la madrugada y estábamos dando vueltas por la ciudad de San Pedro Sula cuando recibimos una llamada diciéndonos de que habían encontrado el cuerpo de una mujer, con tiros en la espalda y la cabeza.
Ella llevaba una blusa amarilla y parecía haber salido de una fiesta. Un carro estaba parqueado cerca pero se veía como que no funcionaba.
Ella recibió dos disparos en la cabeza y uno en la espalda, por la posición en que se encontraba parecía haber estado pidiendo a sus asesinos por su vida.
Me parecía sorprendente la perdida de sensibilidad de parte de los colegas periodistas cuando rodearon el cuerpo, después de un rato me acerque también. Minutos después recibimos mas llamados de muertes violentas y salimos hacia el siguiente lugar, dejando a un solo oficial a espera del forense en medio de una oscuridad absoluta.”
“It was 1 o’clock in the morning; we were driving around in San Pedo Sula until we got a call from a colleague. He told us about the body of a woman who was found dead with shots in her back and head. She was wearing a yellow blouse and she looked like she had been coming from a party. A car was parked near her body but it looked abandoned. She received two shots to her head and one in the back and it looked like she had been begging for her life. I found the reaction of the other journalists astounding; they seemed to have lost all sensitivity and gathered around the body. After a while I got closer as well. Minutes later we received another call letting us know of another crime scene.We left the scene of the dead woman, only a police officer stayed behind in the total darkness waiting for the forensic technicians.”
Canon Mark IV, lens 50mm, f2.8, 1/230, ISO 800
Caption: The dead body of a woman who was killed with three gunshots is seen at a crime scene in San Pedro Sula March 21, 2013.
Click here for a related blog
“Eran la una de la madrugada y estábamos dando vueltas por la ciudad de San Pedro Sula cuando recibimos una llamada diciéndonos de que habían encontrado el cuerpo de una mujer, con tiros en la espalda y la cabeza.
Ella llevaba una blusa amarilla y parecía haber salido de una fiesta. Un carro estaba parqueado cerca pero se veía como que no funcionaba.
Ella recibió dos disparos en la cabeza y uno en la espalda, por la posición en que se encontraba parecía haber estado pidiendo a sus asesinos por su vida.
Me parecía sorprendente la perdida de sensibilidad de parte de los colegas periodistas cuando rodearon el cuerpo, después de un rato me acerque también. Minutos después recibimos mas llamados de muertes violentas y salimos hacia el siguiente lugar, dejando a un solo oficial a espera del forense en medio de una oscuridad absoluta.”
Image 7 of 93: RAFAEL MARCHANTE, Portugal
“I met Nelson Tavares by chance; his neighborhood is on the outskirts of Lisbon where I went to do a story about the neighborhood parties. His neighborhood has a reputation for being contentious, so many organizations wanted to provide it with a face-lift. This is why they contacted several graffiti artists to work in the neighborhood. I was strolling through the neighborhood when I turned a street and suddenly found Tavares, who was working on his fantastic graffiti of Nelson Mandela. Tavares’ neighborhood is mostly populated by Cape Verdean and Angolans, so Tavares’ graffiti was like a tribute to the origins of the neighborhood’s residents. All the residents were happy with having Nelson Mandela smiling in their neighborhood. While Tavares was putting the final touches to his work, curious people were looking at his piece and I went to them in order to ask them about their opinion about Tavares’ work. A gentleman of Angolan origin told me that Tavares 's work was like "a ray of light in a dark neighborhood". This comment made me think a lot about the role we play in our difficult environment. There are people who have the gift of giving light to difficult environments, such as the case of Mandela in South Africa, and also why not, Nelson Tavares in his neighborhood.”
Canon EOS 1DX, lens 16-35mm, f2.8, 1/1600, ISO 200
Caption: Nelson Tavares, 24, originally from Cape Verde, works on a graffiti of Nelson Mandela which he painted during festivities in his neighborhood in Lisbon June 20, 2013. Tavares works at a printing company where he charges the Portuguese minimum wage of 485 Euros. He studied at the school of arts, and is now preparing his first exhibition of paintings. Tavares lives with his parents.
Click here for a related package on earning minimum wage
“Conheci por acaso o Nelson Tavares no seu bairro, que fica nos arredores de Lisboa, onde eu estava a fazer uma reportagem sobre festas de bairro. O seu bairro tem a reputação de ser algo conflituoso e, por isso, várias organizações queriam melhorar a sua imagem e contactaram vários grafiteiros para fazer diversas obras. Eu estava a passear pelo bairro quando, ao virar uma rua, encontrei de repente o Tavares trabalhando no seu fantástico graffiti de Nelson Mandela. O bairro do Tavares é maioritariamente habitado por pessoas originárias de Cabo Verde e Angola, de modo que o graffiti de Tavares é como que um tributo à origem dos vizinhos. Todos os vizinhos ficaram felizes tendo um Nelson Mandela sorridente no seu bairro. Enquanto Tavares estava a dar os toques finais ao seu trabalho, não faltavam curiosos a ver como trabalhava. Fui ter com eles para saber o que achavam da obra do Tavares. Um senhor de origem Angolana disse-me que o trabalho dele era como "um raio de luz num bairro escuro". Este comentário fez-me pensar muito sobre o papel que as pessoas desempenham no nosso ambiente. Em que há pessoas que têm o dom de trazer luz para ambientes difíceis, como é o caso de Mandela na África do Sul, e também porque não, do Nelson Tavares no seu bairro.”
“I met Nelson Tavares by chance; his neighborhood is on the outskirts of Lisbon where I went to do a story about the neighborhood parties. His neighborhood has a reputation for being contentious, so many organizations wanted to provide it with a face-lift. This is why they contacted several graffiti artists to work in the neighborhood. I was strolling through the neighborhood when I turned a street and suddenly found Tavares, who was working on his fantastic graffiti of Nelson Mandela. Tavares’ neighborhood is mostly populated by Cape Verdean and Angolans, so Tavares’ graffiti was like a tribute to the origins of the neighborhood’s residents. All the residents were happy with having Nelson Mandela smiling in their neighborhood. While Tavares was putting the final touches to his work, curious people were looking at his piece and I went to them in order to ask them about their opinion about Tavares’ work. A gentleman of Angolan origin told me that Tavares 's work was like "a ray of light in a dark neighborhood". This comment made me think a lot about the role we play in our difficult environment. There are people who have the gift of giving light to difficult environments, such as the case of Mandela in South Africa, and also why not, Nelson Tavares in his neighborhood.”
Canon EOS 1DX, lens 16-35mm, f2.8, 1/1600, ISO 200
Caption: Nelson Tavares, 24, originally from Cape Verde, works on a graffiti of Nelson Mandela which he painted during festivities in his neighborhood in Lisbon June 20, 2013. Tavares works at a printing company where he charges the Portuguese minimum wage of 485 Euros. He studied at the school of arts, and is now preparing his first exhibition of paintings. Tavares lives with his parents.
Click here for a related package on earning minimum wage
“Conheci por acaso o Nelson Tavares no seu bairro, que fica nos arredores de Lisboa, onde eu estava a fazer uma reportagem sobre festas de bairro. O seu bairro tem a reputação de ser algo conflituoso e, por isso, várias organizações queriam melhorar a sua imagem e contactaram vários grafiteiros para fazer diversas obras. Eu estava a passear pelo bairro quando, ao virar uma rua, encontrei de repente o Tavares trabalhando no seu fantástico graffiti de Nelson Mandela. O bairro do Tavares é maioritariamente habitado por pessoas originárias de Cabo Verde e Angola, de modo que o graffiti de Tavares é como que um tributo à origem dos vizinhos. Todos os vizinhos ficaram felizes tendo um Nelson Mandela sorridente no seu bairro. Enquanto Tavares estava a dar os toques finais ao seu trabalho, não faltavam curiosos a ver como trabalhava. Fui ter com eles para saber o que achavam da obra do Tavares. Um senhor de origem Angolana disse-me que o trabalho dele era como "um raio de luz num bairro escuro". Este comentário fez-me pensar muito sobre o papel que as pessoas desempenham no nosso ambiente. Em que há pessoas que têm o dom de trazer luz para ambientes difíceis, como é o caso de Mandela na África do Sul, e também porque não, do Nelson Tavares no seu bairro.”
Image 8 of 93: JOHN KOLESIDIS, Greece
"That morning I woke up to the deafening sound of thunder. The rain was pouring hard. I watched the rain out the window flood the surrounding streets and wondered how I could get to the office without getting soaked. After a few minutes I looked out the window again, and things had taken a dramatic turn. A bit further down the street I could see an immobilized car getting swollen by the flood. I took my cameras, and tried to get there. I walked through a small park, but that led me behind barbed wire which I couldn't get over. I saw a woman trying to hold on to her car door, while the water was at waist level. The woman's leg was trapped among the branches that were being washed away under her car door, and she could easily get swept away too. She was panicky, and the look on her face was crying for help. Then a man on the same side of the street climbed on top of her car and tried to help her. I took this picture behind the barbed wire, and then I tried to find a way to to get closer. When I got in front of the fence, it was impossible to get closer to her because there was a cascade between me and the woman, as she was on the other side of the road. During the whole thing the thought that the flood could wash her away made my blood freeze and I felt extremely uncomfortable as I captured this scene."
Canon EOS 5D Mark III, lens 24mm, f3.2, 1/80, ISO 800
Caption: A woman is rescued from flood waters by a resident standing on top of her car during heavy rain in Chalandri suburb north of Athens February 22, 2013.
"Εκείνο το πρωί ξύπνησα από τον εκκωφαντικό θόρυβο των αστραπών. Έξω γινόταν χαλασμός και έβρεχε καταρακτωδώς. Παρακολουθούσα τη βροχή από το παράθυρό μου να πλημμυρίζει τους γύρω δρόμους και σκεφτόμουν πως θα κατάφερνα να πάω στο γραφείο χωρίς να βραχώ. Μετά από λίγα λεπτά ξανακοίταξα από το παράθυρο και η κατάσταση είχε αλλάξει δραματικά. Δυο δρόμους μακρύτερα έβλεπα ένα σταματημένο αυτοκίνητο να το καταπίνουν τα νερά της βροχής. Πήρα τις φωτογραφικές μου μηχανές και προσπάθησα να φτάσω στο σημείο. Προχώρησα μέσα από το πάρκο που μεσολαβούσε, αλλά αυτό με οδήγησε πίσω από ένα συρματόπλεγμα από όπου δεν μπορούσα να πλησιασω. Είδα μια γυναίκα να πασχίζει να κρατηθεί από τη πόρτα του αυτοκινήτου της ενώ τα νερά περνούσαν τη μέση της. Το πόδι της είχε πιαστεί από τα παρασυρόμενα κλαδιά κάτω από τη πόρτα και το νερό ήταν εύκολο να την παρασύρει. Ήταν πανικοβλημένη και το ύφος της ικέτευε για βοήθεια. Αμέσως μετά ένας άντρας από τη δική της μεριά σκαρφάλωσε στο αυτοκίνητό της προσπαθώντας να την βοηθήσει. Τράβηξα αυτή τη φωτογραφία πίσω από το συρματόπλεγμα και αμέσως μετά έψαξα τρόπο για να μπορέσω να πλησιάσω. Όταν βρέθηκα μπροστά από το συρματόπλεγμα ήταν αδύνατον να φτάσω κοντά της, μας χώριζε ένα ορμητικό ποταμι. Σε όλη τη διάρκεια της διάσωσή της η σκέψη ότι το ρεύμα μπορούσε να την παρασύρει έκανε το αίμα μου να παγώνει και αισθανόμουν απίστευτα άβολα καθώς κατέγραφα τη σκηνή.”
"That morning I woke up to the deafening sound of thunder. The rain was pouring hard. I watched the rain out the window flood the surrounding streets and wondered how I could get to the office without getting soaked. After a few minutes I looked out the window again, and things had taken a dramatic turn. A bit further down the street I could see an immobilized car getting swollen by the flood. I took my cameras, and tried to get there. I walked through a small park, but that led me behind barbed wire which I couldn't get over. I saw a woman trying to hold on to her car door, while the water was at waist level. The woman's leg was trapped among the branches that were being washed away under her car door, and she could easily get swept away too. She was panicky, and the look on her face was crying for help. Then a man on the same side of the street climbed on top of her car and tried to help her. I took this picture behind the barbed wire, and then I tried to find a way to to get closer. When I got in front of the fence, it was impossible to get closer to her because there was a cascade between me and the woman, as she was on the other side of the road. During the whole thing the thought that the flood could wash her away made my blood freeze and I felt extremely uncomfortable as I captured this scene."
Canon EOS 5D Mark III, lens 24mm, f3.2, 1/80, ISO 800
Caption: A woman is rescued from flood waters by a resident standing on top of her car during heavy rain in Chalandri suburb north of Athens February 22, 2013.
"Εκείνο το πρωί ξύπνησα από τον εκκωφαντικό θόρυβο των αστραπών. Έξω γινόταν χαλασμός και έβρεχε καταρακτωδώς. Παρακολουθούσα τη βροχή από το παράθυρό μου να πλημμυρίζει τους γύρω δρόμους και σκεφτόμουν πως θα κατάφερνα να πάω στο γραφείο χωρίς να βραχώ. Μετά από λίγα λεπτά ξανακοίταξα από το παράθυρο και η κατάσταση είχε αλλάξει δραματικά. Δυο δρόμους μακρύτερα έβλεπα ένα σταματημένο αυτοκίνητο να το καταπίνουν τα νερά της βροχής. Πήρα τις φωτογραφικές μου μηχανές και προσπάθησα να φτάσω στο σημείο. Προχώρησα μέσα από το πάρκο που μεσολαβούσε, αλλά αυτό με οδήγησε πίσω από ένα συρματόπλεγμα από όπου δεν μπορούσα να πλησιασω. Είδα μια γυναίκα να πασχίζει να κρατηθεί από τη πόρτα του αυτοκινήτου της ενώ τα νερά περνούσαν τη μέση της. Το πόδι της είχε πιαστεί από τα παρασυρόμενα κλαδιά κάτω από τη πόρτα και το νερό ήταν εύκολο να την παρασύρει. Ήταν πανικοβλημένη και το ύφος της ικέτευε για βοήθεια. Αμέσως μετά ένας άντρας από τη δική της μεριά σκαρφάλωσε στο αυτοκίνητό της προσπαθώντας να την βοηθήσει. Τράβηξα αυτή τη φωτογραφία πίσω από το συρματόπλεγμα και αμέσως μετά έψαξα τρόπο για να μπορέσω να πλησιάσω. Όταν βρέθηκα μπροστά από το συρματόπλεγμα ήταν αδύνατον να φτάσω κοντά της, μας χώριζε ένα ορμητικό ποταμι. Σε όλη τη διάρκεια της διάσωσή της η σκέψη ότι το ρεύμα μπορούσε να την παρασύρει έκανε το αίμα μου να παγώνει και αισθανόμουν απίστευτα άβολα καθώς κατέγραφα τη σκηνή.”
Image 9 of 93: LUCAS JACKSON, United States
“Watching this building go up over the last several years has been one of the more fun assignments I have had. Every few months we go down to see another milestone met and the installation of the spire was a big one. It was crowded and with all of the media and all of the visiting dignitaries I had to tilt the camera to crop out a giant pile of cameramen. This one worker holding the spire steady as it was raised off the ground was probably the most interesting thing that happened this day because after that the spire was just pulled straight up by a crane with no more human interaction. It's always nice to see an image capture a moment like this because it probably only lasted several seconds yet is now frozen forever.”
Canon 5D MKIII, lens 16-35mm at 16mm, f8, 1/800, ISO 400
Caption: An ironworker uses a line to steady the final piece of a spire, affixed with a U.S. flag, before it is lifted to the top of One World Trade Center in New York, May 2, 2013.
“Watching this building go up over the last several years has been one of the more fun assignments I have had. Every few months we go down to see another milestone met and the installation of the spire was a big one. It was crowded and with all of the media and all of the visiting dignitaries I had to tilt the camera to crop out a giant pile of cameramen. This one worker holding the spire steady as it was raised off the ground was probably the most interesting thing that happened this day because after that the spire was just pulled straight up by a crane with no more human interaction. It's always nice to see an image capture a moment like this because it probably only lasted several seconds yet is now frozen forever.”
Canon 5D MKIII, lens 16-35mm at 16mm, f8, 1/800, ISO 400
Caption: An ironworker uses a line to steady the final piece of a spire, affixed with a U.S. flag, before it is lifted to the top of One World Trade Center in New York, May 2, 2013.
Image 10 of 93: MUZAFFAR SALMAN, Syria
“Shortly after the war erupted in Aleppo and with the outbreak of the conflict in Syria, I was determined to cover the people’s daily struggle and to transfer it to the outside world through my photos. Given that very few photographs were focusing on the humanitarian affairs, and the daily struggle of the Syrians. The main focus of the news agencies was given to the fighters on the frontline.
Once I joined Reuters, I had to move to Beirut from where I traveled to Turkey in order to enter Aleppo. I took this photo some ten days after I arrived in Aleppo. On that day, while I was sending the photos I took earlier, a huge explosion shook the house where I was staying with other reporters and photographers. I thought that a missile had targeted our building, and I rapidly ran to the scene which was approximately ten yards away from my place. Fire and destruction was all over, chaos and fear were at the highest level. People were expecting more artillery to target the scene. However, I started to take photos, and suddenly this man appeared while weeping hysterically and ripping his clothes. His friends were trying to calm him down.
I learned that the missile hit his house while he was away. Two of his children were killed.”
Canon EOS- 1D Mark IIII, lens 16-35mm, f2.8, 1/250, ISO 2000
Caption: A father reacts after the death of two of his children, whom activists said were killed by shelling by forces loyal to Syria's President Bashar al-Assad, at al-Ansari area in Aleppo January 3, 2013.
“Shortly after the war erupted in Aleppo and with the outbreak of the conflict in Syria, I was determined to cover the people’s daily struggle and to transfer it to the outside world through my photos. Given that very few photographs were focusing on the humanitarian affairs, and the daily struggle of the Syrians. The main focus of the news agencies was given to the fighters on the frontline.
Once I joined Reuters, I had to move to Beirut from where I traveled to Turkey in order to enter Aleppo. I took this photo some ten days after I arrived in Aleppo. On that day, while I was sending the photos I took earlier, a huge explosion shook the house where I was staying with other reporters and photographers. I thought that a missile had targeted our building, and I rapidly ran to the scene which was approximately ten yards away from my place. Fire and destruction was all over, chaos and fear were at the highest level. People were expecting more artillery to target the scene. However, I started to take photos, and suddenly this man appeared while weeping hysterically and ripping his clothes. His friends were trying to calm him down.
I learned that the missile hit his house while he was away. Two of his children were killed.”
Canon EOS- 1D Mark IIII, lens 16-35mm, f2.8, 1/250, ISO 2000
Caption: A father reacts after the death of two of his children, whom activists said were killed by shelling by forces loyal to Syria's President Bashar al-Assad, at al-Ansari area in Aleppo January 3, 2013.
كانت الحرب قد بدأت منذ عدة شهور، في حلب، كنت أسعى لتصوير المعاناة اليومية للناس في سوريا، التي قليل جداً ما تظهر في الصور، وفي الوقت نفسه، نرى كل يوم عشرات الصور للمقاتلين على خط النار الأول.
بعد أن بدأت العمل مع رويترز، اضطررت للخروج من دمشق، إلى بيروت، ثم إلى استنبول في تركيا، حتى أستطيع الدخول إلى حلب.
في هذه الصورة، وبعد عشرة أيام من العمل اليومي، في حلب، وبينما كنت في منزل خاص بالصحفيين، أرسل بعض الصور، ارتج المنزل، بشكل مفاجئ، فظننت أن قذيفة قد أصابت البناء الذي نحن فيه، هرعت مسرعاً إلى مكان
القصف، الذي كان على بعد 100 متر تقريباً، وكان هناك حريق وذعر من احتمال القصف مرة ثانية، بدأت بالتقاط الصور، وبعد ذلك بدقائق ظهر رجل يمزق ثيابه باكياً وأصدقاء له يحاولون تهدئته، بعدها علمت منهم أن صاروخ
الطائرة أصاب منزل هذا الرجل، الذي كان خارج المنزل، لحظة الحدث، ومات اثنين من أبناءه، نتيجة ذلك.
Image 10 of 93:
Image 11 of 93: SAJID HOSSAIN, Bangladesh
“It was 10 pm. Suddenly, I got a call from my office and I had to move to Savar, and the Rana Plaza building site immediately. The way to Savar from Dhaka was silent, dark and full of fear. I found an ambulance heading to the site. I started to follow it on my bike. The nearer I got to the site the whole environment was full of the smell of dead bodies. I started taking pictures as soon as I reached the area. After that I took a break and sat on a pile of bricks. The rescue workers were tirelessly pulling up bodies from the rubble of the collapsed Rana Plaza building.
The sun was rising. The rescue operation continued. Suddenly a rescue worker shouted, “A body is under the rubble.” I attempted to get closer but a member of the army stopped me because of security reasons. I kept waiting and came back to the same place after a while, looking for an opportunity. The security personnel had changed over the last few hours. I continued to wait there to take a photograph.
There were some other photographers arriving from Dhaka. It was 11 am. Suddenly, rescue workers found a different body, and the photographers began taking pictures. I stayed back and slowly moved toward the body. I saw the hand of a garment worker through the rubble. It seemed like the person was struggling hard to live. I started taking pictures of the hand amid a strong dead body smell. But the security force returned and stopped me.
The whole thing reverberated in my mind on my way back to Dhaka. I was thinking how soon the other survivors would be rescued. I couldn’t remove it from my thoughts - not ever, as the tragedy of Rana Plaza cannot be erased from our minds.”
Canon 1D MKIV, lens 28-105mm, f10, 1/400, ISO 1600
Caption: The hand of a garment worker is seen among the rubble of the collapsed Rana Plaza building in Savar, 30 km (19 miles) outside Dhaka April 30, 2013.
“It was 10 pm. Suddenly, I got a call from my office and I had to move to Savar, and the Rana Plaza building site immediately. The way to Savar from Dhaka was silent, dark and full of fear. I found an ambulance heading to the site. I started to follow it on my bike. The nearer I got to the site the whole environment was full of the smell of dead bodies. I started taking pictures as soon as I reached the area. After that I took a break and sat on a pile of bricks. The rescue workers were tirelessly pulling up bodies from the rubble of the collapsed Rana Plaza building.
The sun was rising. The rescue operation continued. Suddenly a rescue worker shouted, “A body is under the rubble.” I attempted to get closer but a member of the army stopped me because of security reasons. I kept waiting and came back to the same place after a while, looking for an opportunity. The security personnel had changed over the last few hours. I continued to wait there to take a photograph.
There were some other photographers arriving from Dhaka. It was 11 am. Suddenly, rescue workers found a different body, and the photographers began taking pictures. I stayed back and slowly moved toward the body. I saw the hand of a garment worker through the rubble. It seemed like the person was struggling hard to live. I started taking pictures of the hand amid a strong dead body smell. But the security force returned and stopped me.
The whole thing reverberated in my mind on my way back to Dhaka. I was thinking how soon the other survivors would be rescued. I couldn’t remove it from my thoughts - not ever, as the tragedy of Rana Plaza cannot be erased from our minds.”
Canon 1D MKIV, lens 28-105mm, f10, 1/400, ISO 1600
Caption: The hand of a garment worker is seen among the rubble of the collapsed Rana Plaza building in Savar, 30 km (19 miles) outside Dhaka April 30, 2013.
Image 12 of 93: CHEN ZHONGQIU, China
“Qiantang River is the biggest river in Zhejiang province, and it became famous recently because of the odd scenery of the Qiantang River Tide. Every year around the eighteenth day of the eighth month in the Chinese Lunar Calendar, the tidal waves reach their peak level, attracting tens of thousands of tourists to witness the event. It was my first time covering the tidal waves. Before my assignment, I knew there were many nice images from there. Most of them were of people running away from the surging tides. It gets tiring seeing so many similar images. Therefore, I was determined to shoot something different.
The first day, because of the lack of experience, I was knocked to the ground by a huge wave. My cell phone, bag, wallet were all soaked, and my shoes were also washed away. On the second day, which happened to be the eighteenth day of the eighth month, I believed the waves would be much stronger especially with Typhoon Usagi approaching China at the same time. After learning a great deal from the embarrassing previous day, I reached the observation area earlier. I decided not to get too close but to be behind the tourists. I thought that the bigger waves and the bigger crowd might be able to fit in one frame.
Then it was all about luck, I was lucky that the tide hit and surged right in front of my camera, and also lucky enough that all the people all raised their mobile phones or camera trying to take pictures. Many may wonder why these tourists didn’t run from the waves. Actually, the police had closed the river bank to tourists because of possible risks, so I can assure everyone these people were safe, and every one of them probably had pretty good pictures.”
Canon EOS-1D Mark IV, lens 16-35mm, f9, 1/1000, ISO 400
Caption: Visitors take pictures of tidal waves under the influence of Typhoon Usagi in Hangzhou, Zhejiang province, September 22, 2013.
姓名：陈中秋钱塘江是中国浙江省最大的河流，其入海口呈喇叭状，每逢涨潮海水倒灌，水势受阻，便形成著名的奇观“钱塘潮”，与印度恒河潮、亚马孙潮，并称“世界三大涌潮”。每年农历八月十八，钱塘江涌潮最大，潮头可达数米，潮来时的推力，能把数吨重的巨石推至十多米高。自古以来，观潮就是当地民间的一项传统习俗，现在甚至已成为一项旅游产业，每年吸引了海内外数十万的游客赶来观潮。 而关于钱江潮的精彩照片也会经常出现，大多都是潮起人逃的狼狈景象，看多了也难免有点视觉疲劳。就在拍摄这幅照片的前一天，第一次拍潮的我，因为靠得太近，拍完照片后，自己也被潮水扑倒在地，手机、摄影包、钱包等全部被泡湿，鞋子也被冲走了。 经历了狼狈的“第一次”后，第二天，9月22日，是农历的八月十八日，也是观赏钱塘江大潮的最佳时间。加上恰巧受到台风“天兔”外围影响，我断定，当天的潮水一定更加壮观。 离大潮奔腾而来还有很长时间，我赶到了杭州七格观潮点，那里已经聚集了无数观潮者，大家手里拿着相机或手机，焦急而又兴奋地等待着潮水的到来。为了安全起见，警察特地把危险地段的江堤封锁起来，禁止任何人进入。所有人都在安全范围内等待，确保潮水冲上岸时不会被打到。
“Qiantang River is the biggest river in Zhejiang province, and it became famous recently because of the odd scenery of the Qiantang River Tide. Every year around the eighteenth day of the eighth month in the Chinese Lunar Calendar, the tidal waves reach their peak level, attracting tens of thousands of tourists to witness the event. It was my first time covering the tidal waves. Before my assignment, I knew there were many nice images from there. Most of them were of people running away from the surging tides. It gets tiring seeing so many similar images. Therefore, I was determined to shoot something different.
The first day, because of the lack of experience, I was knocked to the ground by a huge wave. My cell phone, bag, wallet were all soaked, and my shoes were also washed away. On the second day, which happened to be the eighteenth day of the eighth month, I believed the waves would be much stronger especially with Typhoon Usagi approaching China at the same time. After learning a great deal from the embarrassing previous day, I reached the observation area earlier. I decided not to get too close but to be behind the tourists. I thought that the bigger waves and the bigger crowd might be able to fit in one frame.
Then it was all about luck, I was lucky that the tide hit and surged right in front of my camera, and also lucky enough that all the people all raised their mobile phones or camera trying to take pictures. Many may wonder why these tourists didn’t run from the waves. Actually, the police had closed the river bank to tourists because of possible risks, so I can assure everyone these people were safe, and every one of them probably had pretty good pictures.”
Canon EOS-1D Mark IV, lens 16-35mm, f9, 1/1000, ISO 400
Caption: Visitors take pictures of tidal waves under the influence of Typhoon Usagi in Hangzhou, Zhejiang province, September 22, 2013.
姓名：陈中秋钱塘江是中国浙江省最大的河流，其入海口呈喇叭状，每逢涨潮海水倒灌，水势受阻，便形成著名的奇观“钱塘潮”，与印度恒河潮、亚马孙潮，并称“世界三大涌潮”。每年农历八月十八，钱塘江涌潮最大，潮头可达数米，潮来时的推力，能把数吨重的巨石推至十多米高。自古以来，观潮就是当地民间的一项传统习俗，现在甚至已成为一项旅游产业，每年吸引了海内外数十万的游客赶来观潮。 而关于钱江潮的精彩照片也会经常出现，大多都是潮起人逃的狼狈景象，看多了也难免有点视觉疲劳。就在拍摄这幅照片的前一天，第一次拍潮的我，因为靠得太近，拍完照片后，自己也被潮水扑倒在地，手机、摄影包、钱包等全部被泡湿，鞋子也被冲走了。 经历了狼狈的“第一次”后，第二天，9月22日，是农历的八月十八日，也是观赏钱塘江大潮的最佳时间。加上恰巧受到台风“天兔”外围影响，我断定，当天的潮水一定更加壮观。 离大潮奔腾而来还有很长时间，我赶到了杭州七格观潮点，那里已经聚集了无数观潮者，大家手里拿着相机或手机，焦急而又兴奋地等待着潮水的到来。为了安全起见，警察特地把危险地段的江堤封锁起来，禁止任何人进入。所有人都在安全范围内等待，确保潮水冲上岸时不会被打到。
Image 13 of 93: MARKO DJURICA, Serbia
“Cemeteries can be disturbing for some people. Then you hear that someone has decided to live in one, and you simply can’t believe it. Then it turns out that this man has decided to sleep in someone’s grave – now that really blows your mind.
That man is Bratislav Stojanovic. Aged 43, he began living in a place that people in Serbia try to avoid at night.
We spent the whole day together, walking, talking about his life, joking. Finally he’d gathered enough candles and we entered his home. I remember feeling, as I photographed him, like I was in the middle of a horror film.”
Canon EOS 1DX, lens 24mm, f2.0, 1/15, ISO 3200
Caption: Bratislav Stojanovic, a homeless man, holds candles as he sits in a tomb where he lives in southern Serbian town of Nis February 9, 2013. Stojanovic, 43, a Nis-born construction worker never had a regular job. He first lived in abandoned houses, but about 15 years ago he settled in the old city cemetery.
“Groblja ponekad mogu da budu vrlo strasna mesta za neke ljude. Onda cujete da je neko odlucio da zivi na groblju i prosto ne mozete da verujete. A na kraju saznate da je taj covek odlucio da spava u necijem grobu – e to vas prosto obori sa nogu.
Bratislav Stojanovic je taj covek. Sa njegove 43 godine preselio se da zivi na mesto koje ljudi u Srbiji zaobilaze nocu.
Ceo dan smo proveli zajedno, setali, pricali o njegovom zivotu, salili se. Na kraju je skupio dovoljno sveca i usao u svoj dom. Pamtim dok sam ga slikao da sam imao osecaj kao da sam u sred nekog horror filma.”
“Cemeteries can be disturbing for some people. Then you hear that someone has decided to live in one, and you simply can’t believe it. Then it turns out that this man has decided to sleep in someone’s grave – now that really blows your mind.
That man is Bratislav Stojanovic. Aged 43, he began living in a place that people in Serbia try to avoid at night.
We spent the whole day together, walking, talking about his life, joking. Finally he’d gathered enough candles and we entered his home. I remember feeling, as I photographed him, like I was in the middle of a horror film.”
Canon EOS 1DX, lens 24mm, f2.0, 1/15, ISO 3200
Caption: Bratislav Stojanovic, a homeless man, holds candles as he sits in a tomb where he lives in southern Serbian town of Nis February 9, 2013. Stojanovic, 43, a Nis-born construction worker never had a regular job. He first lived in abandoned houses, but about 15 years ago he settled in the old city cemetery.
“Groblja ponekad mogu da budu vrlo strasna mesta za neke ljude. Onda cujete da je neko odlucio da zivi na groblju i prosto ne mozete da verujete. A na kraju saznate da je taj covek odlucio da spava u necijem grobu – e to vas prosto obori sa nogu.
Bratislav Stojanovic je taj covek. Sa njegove 43 godine preselio se da zivi na mesto koje ljudi u Srbiji zaobilaze nocu.
Ceo dan smo proveli zajedno, setali, pricali o njegovom zivotu, salili se. Na kraju je skupio dovoljno sveca i usao u svoj dom. Pamtim dok sam ga slikao da sam imao osecaj kao da sam u sred nekog horror filma.”
Image 14 of 93: DAMIR SAGOLJ, Myanmar
“On the bare concrete floor of an abandoned factory, Roma Hattu was feeding her two children a simple meal of rice with nothing. The “dirty as hell” factory, with its black walls and broken windows made beautiful light and that was the first thing I noticed. I peeked from behind a flimsy, tattered yellow rice sack used as a curtain for her private space and had a quick moment of eye contact with the woman. I showed my camera, she nodded her head, yes so I came in to take pictures.
The 30-year-old is a stateless Muslim Rohingya displaced by violence between Buddhists and Muslims and is spending her time with thousands of others in a strip of basic camps just outside Sittwe, in Myanmar’s Rakhine states. Being Rohingya today is like being a Bosnian in the nineties, but a thousand times worse – killed and expelled for ethnicity and religion, cornered, besieged, powerless, hungry… It is the ugly and important part of a huge story I cover – changes in a country that is waking up from decades of isolation.
What I didn’t see at first was how seriously the woman was pregnant. I asked a few questions through my assistant and she told me it was her ninth month and the baby could come out at any time. Roma’s husband was out looking for something to eat – they had no money for food or to pay a doctor. She would deliver her baby here, on the concrete floor of an abandoned rubber factory.
I left the shelter to find my colleagues from the Reuters team traveling with me and when we came back the woman was rolling around on the floor breathing heavily and moaning, obviously in great pain. Her husband was back and we realized how desperate the situation was. I took a few more pictures but then it was time to put the cameras down and help the helpless.”
Canon EOS 5D Mark III, lens 24mm, f2.2, 1/100, ISO 400
Caption: Roma Hattu, a Rohingya Muslim woman who is nine months pregnant and is displaced by violence, grimaces while experiencing labor pains on the bare floor of a former rubber factory now serving as her family's shelter near Sittwe April 28, 2013.
“On the bare concrete floor of an abandoned factory, Roma Hattu was feeding her two children a simple meal of rice with nothing. The “dirty as hell” factory, with its black walls and broken windows made beautiful light and that was the first thing I noticed. I peeked from behind a flimsy, tattered yellow rice sack used as a curtain for her private space and had a quick moment of eye contact with the woman. I showed my camera, she nodded her head, yes so I came in to take pictures.
The 30-year-old is a stateless Muslim Rohingya displaced by violence between Buddhists and Muslims and is spending her time with thousands of others in a strip of basic camps just outside Sittwe, in Myanmar’s Rakhine states. Being Rohingya today is like being a Bosnian in the nineties, but a thousand times worse – killed and expelled for ethnicity and religion, cornered, besieged, powerless, hungry… It is the ugly and important part of a huge story I cover – changes in a country that is waking up from decades of isolation.
What I didn’t see at first was how seriously the woman was pregnant. I asked a few questions through my assistant and she told me it was her ninth month and the baby could come out at any time. Roma’s husband was out looking for something to eat – they had no money for food or to pay a doctor. She would deliver her baby here, on the concrete floor of an abandoned rubber factory.
I left the shelter to find my colleagues from the Reuters team traveling with me and when we came back the woman was rolling around on the floor breathing heavily and moaning, obviously in great pain. Her husband was back and we realized how desperate the situation was. I took a few more pictures but then it was time to put the cameras down and help the helpless.”
Canon EOS 5D Mark III, lens 24mm, f2.2, 1/100, ISO 400
Caption: Roma Hattu, a Rohingya Muslim woman who is nine months pregnant and is displaced by violence, grimaces while experiencing labor pains on the bare floor of a former rubber factory now serving as her family's shelter near Sittwe April 28, 2013.
Image 15 of 93: SIPHIWE SIBEKO, South Africa
“The Oscar Pistorius murder trial is one of the biggest stories South Africa has ever had. Covering it as a Reuters photographer was one of the most demanding and frustrating assignments.
We were given strict orders by the court not to take photographs of anything or anyone while the magistrate was in the courtroom. This limited our access to Oscar and made it difficult to take good pictures.
On his first court appearance he stood in the dock and looked straight at the magistrate, avoiding looking at photographers and the people in the gallery. The magistrate read out that Oscar had been charged with murdering his girlfriend, Reeva Steenkamp. Oscar bowed his head and breathed heavily, struggling to contain his emotions and wept. I think this was when it hit him that it was not a dream but reality.
On the second day we were allowed in the court during proceedings, but again we weren’t allowed to take any photographs. I sat in front of the dock, an arm’s length from Oscar. Because of the poor light in the courtroom I positioned myself in such a way that should I get a chance to photograph him I would make use of the available light.
I positioned myself to have him in the center and also get the people in the background to illustrate the atmosphere of the courtroom. It did not take long: the magistrate called for a short break and as he left the court I stood up as quickly as I could and took a few frames of Oscar standing and facing the direction of the magistrate. I then gave my camera card to a TV colleague to pass it on to my manager who was outside the court waiting to file the images.”
Canon EOS-1D Mark IV, lens 16-35mm at 18mm, f2.8, 1/200, ISO 1250
Caption: "Blade Runner" Oscar Pistorius awaits the start of court proceedings in the Pretoria Magistrates court February 19, 2013. Pistorius, a double amputee who became one of the biggest names in world athletics, was applying for bail after being charged in court with shooting dead his girlfriend, 30-year-old model Reeva Steenkamp, in his Pretoria house. Standing behind Oscar (3rd L), wearing a scarf, is his sister Aimee and his brother Carl (4th L). To his right in green, are members of the ANC Women's League.
“The Oscar Pistorius murder trial is one of the biggest stories South Africa has ever had. Covering it as a Reuters photographer was one of the most demanding and frustrating assignments.
We were given strict orders by the court not to take photographs of anything or anyone while the magistrate was in the courtroom. This limited our access to Oscar and made it difficult to take good pictures.
On his first court appearance he stood in the dock and looked straight at the magistrate, avoiding looking at photographers and the people in the gallery. The magistrate read out that Oscar had been charged with murdering his girlfriend, Reeva Steenkamp. Oscar bowed his head and breathed heavily, struggling to contain his emotions and wept. I think this was when it hit him that it was not a dream but reality.
On the second day we were allowed in the court during proceedings, but again we weren’t allowed to take any photographs. I sat in front of the dock, an arm’s length from Oscar. Because of the poor light in the courtroom I positioned myself in such a way that should I get a chance to photograph him I would make use of the available light.
I positioned myself to have him in the center and also get the people in the background to illustrate the atmosphere of the courtroom. It did not take long: the magistrate called for a short break and as he left the court I stood up as quickly as I could and took a few frames of Oscar standing and facing the direction of the magistrate. I then gave my camera card to a TV colleague to pass it on to my manager who was outside the court waiting to file the images.”
Canon EOS-1D Mark IV, lens 16-35mm at 18mm, f2.8, 1/200, ISO 1250
Caption: "Blade Runner" Oscar Pistorius awaits the start of court proceedings in the Pretoria Magistrates court February 19, 2013. Pistorius, a double amputee who became one of the biggest names in world athletics, was applying for bail after being charged in court with shooting dead his girlfriend, 30-year-old model Reeva Steenkamp, in his Pretoria house. Standing behind Oscar (3rd L), wearing a scarf, is his sister Aimee and his brother Carl (4th L). To his right in green, are members of the ANC Women's League.
Image 16 of 93: DAVID MCNEW, United States
“The Silver Fire erupted mid-afternoon on August 7 in the San Jacinto Mountains, south of Banning, California. Before long, I was on assignment for Reuters and progressing slowly through rush hour traffic as a massive smoke column pushed into the sky 80 miles away.
The fire was growing at a rate of about a thousand acres per hour. Reporters in the sky estimated the front to be ten miles wide. Structures were burning. Firefighters had already been injured and a resident was badly burned. Low humidity and drought-depleted vegetation were feeding this latest in a series of wildfire disasters to hit the West this year.
By the time I punched through the fire front and made my way up the winding two-lane mountain road to the backcountry homes and ranches of the Twin Pines Road area, many were already fully engulfed in flames, walls collapsing, impossible to save. The scene was typical of major wildfire disasters in California: firefighters rushing past burning structures in search of something or someone to save; an occasional resident holding an impotent-looking garden hose; a few news crews and photographers assessing the situation, looking for safe zones and deciding where to go next.
Night fell quickly and as the last remaining walls of one flaming house caved in, it illuminated two firefighters with a hose trying to keep an old oak tree next to it from igniting. I moved on to the next burning home and stars filled the sky as a strong wind blew the smoke aside, fanning countless burning stumps and embers that blanketed the hot, dark hills like fallen stars or peaceful crackling campfires.”
Canon EOS-1D Mark IV, lens 70-200mm, f2.8, 1/64, ISO 2000
Caption: Firefighters spray water near a burning house in the Twin Pines Road area at the Silver Fire near Banning, California August 7, 2013.
“The Silver Fire erupted mid-afternoon on August 7 in the San Jacinto Mountains, south of Banning, California. Before long, I was on assignment for Reuters and progressing slowly through rush hour traffic as a massive smoke column pushed into the sky 80 miles away.
The fire was growing at a rate of about a thousand acres per hour. Reporters in the sky estimated the front to be ten miles wide. Structures were burning. Firefighters had already been injured and a resident was badly burned. Low humidity and drought-depleted vegetation were feeding this latest in a series of wildfire disasters to hit the West this year.
By the time I punched through the fire front and made my way up the winding two-lane mountain road to the backcountry homes and ranches of the Twin Pines Road area, many were already fully engulfed in flames, walls collapsing, impossible to save. The scene was typical of major wildfire disasters in California: firefighters rushing past burning structures in search of something or someone to save; an occasional resident holding an impotent-looking garden hose; a few news crews and photographers assessing the situation, looking for safe zones and deciding where to go next.
Night fell quickly and as the last remaining walls of one flaming house caved in, it illuminated two firefighters with a hose trying to keep an old oak tree next to it from igniting. I moved on to the next burning home and stars filled the sky as a strong wind blew the smoke aside, fanning countless burning stumps and embers that blanketed the hot, dark hills like fallen stars or peaceful crackling campfires.”
Canon EOS-1D Mark IV, lens 70-200mm, f2.8, 1/64, ISO 2000
Caption: Firefighters spray water near a burning house in the Twin Pines Road area at the Silver Fire near Banning, California August 7, 2013.
Image 17 of 93: LUCY NICHOLSON, United States
“I went to Sun City, Arizona to tell the story of the first wave of retirees from America's post-war baby boom. I wasn't sure what to expect in a town of only old people, but ended up being inspired by the residents' vitality and joie de vivre.
Sun City was built in 1959 by entrepreneur Del Webb as America's first active retirement community for the over-55s. Del Webb predicted that retirees would flock to a community where they were given more than just a house with a rocking chair in which to sit and wait to die.
Today's residents keep their minds and bodies active by socializing at over 120 clubs with activities such as square dancing, ceramics, roller skating, computers, cheerleading, racquetball and yoga.
There are 38,500 residents in the community with an average age of 72.4 years. One hundred of the residents of Sun City are over the age of 100, more than any other place in the world. Another 2,350 residents are over the age of 85.
More than 20% of them are widowed. Women outnumber men by a ratio of about three to one.
At a Saturday night dance, people were dressed to impress. It was dark on the dance floor, so I waited by the small patches of light, for couples to dance into them. Donald Smitherman, 98, swung his wife Marlene, 78, around the dance floor, before dipping her for a kiss. “I’ll be 99 in April, and I played 18 holes of golf today,” he told me proudly later.”
Canon EOS-1D X, lens 50mm, f1.4, 1/320, ISO 4000
Caption: Donald Smitherman, 98, kisses his wife Marlene at the end of a dance in Sun City, Arizona, January 5, 2013. Sun City was built in 1959 by entrepreneur Del Webb as America’s first active retirement community for the over-55's. Del Webb predicted that retirees would flock to a community where they were given more than just a house with a rocking chair in which to sit and wait to die. Today’s residents keep their minds and bodies active by socializing at over 120 clubs with activities such as square dancing, ceramics, roller skating, computers, cheerleading, racquetball and yoga. There are 38,500 residents in the community with an average age 72.4 years.
“I went to Sun City, Arizona to tell the story of the first wave of retirees from America's post-war baby boom. I wasn't sure what to expect in a town of only old people, but ended up being inspired by the residents' vitality and joie de vivre.
Sun City was built in 1959 by entrepreneur Del Webb as America's first active retirement community for the over-55s. Del Webb predicted that retirees would flock to a community where they were given more than just a house with a rocking chair in which to sit and wait to die.
Today's residents keep their minds and bodies active by socializing at over 120 clubs with activities such as square dancing, ceramics, roller skating, computers, cheerleading, racquetball and yoga.
There are 38,500 residents in the community with an average age of 72.4 years. One hundred of the residents of Sun City are over the age of 100, more than any other place in the world. Another 2,350 residents are over the age of 85.
More than 20% of them are widowed. Women outnumber men by a ratio of about three to one.
At a Saturday night dance, people were dressed to impress. It was dark on the dance floor, so I waited by the small patches of light, for couples to dance into them. Donald Smitherman, 98, swung his wife Marlene, 78, around the dance floor, before dipping her for a kiss. “I’ll be 99 in April, and I played 18 holes of golf today,” he told me proudly later.”
Canon EOS-1D X, lens 50mm, f1.4, 1/320, ISO 4000
Caption: Donald Smitherman, 98, kisses his wife Marlene at the end of a dance in Sun City, Arizona, January 5, 2013. Sun City was built in 1959 by entrepreneur Del Webb as America’s first active retirement community for the over-55's. Del Webb predicted that retirees would flock to a community where they were given more than just a house with a rocking chair in which to sit and wait to die. Today’s residents keep their minds and bodies active by socializing at over 120 clubs with activities such as square dancing, ceramics, roller skating, computers, cheerleading, racquetball and yoga. There are 38,500 residents in the community with an average age 72.4 years.
Image 18 of 93: JORGE DAN LOPEZ, Guatemala
“Two nuns wait sitting in a fast food restaurant in downtown Guatemala City…”
This was the caption I used for the photograph. Maybe it was too simple, just a description. I normally don’t go to fast-food places, it’s against my personal and very particular habits, even if it can sometimes be the only option because if there’s nothing else, there will always be an open fast-food joint.
It was in one of the branches of the “Pollo Campero” in the heart of downtown Guatemala City where I took the picture. I did it without looking for it, if I’d looked for it, I would have never found it.
It was a sunny day; I was looking for some pictures with that beautiful light and the blue sky that happens occasionally in the city. I grabbed a cab and went downtown when I suddenly heard the striking sound of an ambulance’s siren which sped past, almost driving on the sidewalk. When the ambulance stopped two paramedics jumped out and went into a fast-food restaurant. My cab was stuck in traffic so I got out of the car, ran and entered the fast food restaurant before the guards could close the door.
Inside, the situation was relaxed, one of the paramedics turned out to be an old acquaintance and a friend. He always calls me when there is something interesting. He works as a paramedic and firefighter and the firefighters in Guatemala are the first ones to be everywhere.
My friend mentioned that a person had fainted but everything was under control. While he was talking to me I looked over his shoulder and saw two nuns sitting underneath photographs showing a hamburger and a fried chicken leg. I asked my friend the firefighter and paramedic “Do you see this beautiful picture?” and I took two steps forward and took the shot.
One of the nuns had already noticed and tilted her head slightly as she was somewhat disapproving of what I was doing.
I left with the paramedics, we said goodbye and I thanked them once more. I had taken a great picture and I was as excited as a child.
The simple and unexpected things sometimes taste better than anything else; it’s also a fact that every photograph will always have its special story, regardless of a simple caption.”
Canon 5D Mark III, lens 16-35mm, f2.8, 1/100, ISO 400
Caption: Nuns sit at a fast food restaurant downtown of Guatemala City August 28, 2013.
“Este es el caption con el cual envié la foto, demasiado simple creo, solo descriptivo. No suelo visitar fast-food, va en contra de mis muy personales y particulares costumbres, aunque esta comida puede ser una ultima opción, puesto que en lugares donde no hay otra cosa siempre hay un uno de estos negocios abiertos.
Fue en una de las sucursales de “Pollo Campero” y en la parte más céntrica de la Ciudad de Guatemala donde hice la foto. La hice sin buscarla, que evidentemente si buscaba nunca iba a aparecer.
Era un día soleado, buscaba hacer un par de fotos con esa bonita luz y cielo azul que en ocasiones hay en la ciudad. Pase a bordo de un taxi por la calle donde está la oficina de correos cuando todo se ve interrumpido por los sonoros y llamativos ruidos de la sirena de una ambulancia, que rápidamente pasa casi subida sobre la banqueta. , Cuando para bajan velozmente 2 paramédicos, ya no podía pasar en el taxi así que corrí una cuadra hasta llegar al fast-food y entre, el guardia yo no tuvo tiempo para impedirme la entrada.
Adentro la situación ya era relajada, uno de los paramédicos resulto ser un viejo conocido y amigo. Siempre me avisa cuando hay algo fuerte porque trabaja como paramédico y bombero y en Guatemala los bomberos son los primeros en llegar a todo.
Mi amigo me comento que una persona se había desmayado pero que ya estaba bien y mientras lo dice miro por encima de sus hombros y veo a dos monjas sentadas como esperando bajo unos fotografías con una hamburguesa y una pierna de pollo frito, le pregunte a mi amigo el bombero “Ya viste que bonita imagen?” y avanze dos pasos e hice la foto.
Una de las monjas ya esta al tanto e inclina un poco la cabeza como desaprobando lo que estoy haciendo.
Salí junto a los paramédicos, nos despedimos y una vez más les di las gracias. Había logrado una buena foto y me fui, tan entusiasmado como si fuera un niño. Las cosas simples e inesperadas a veces saben mejor de lo que cualquiera pudiese entender, también es un hecho que cada foto tendrá siempre una historia más especial, sin importar lo simple que pueda ser el caption.”
“Two nuns wait sitting in a fast food restaurant in downtown Guatemala City…”
This was the caption I used for the photograph. Maybe it was too simple, just a description. I normally don’t go to fast-food places, it’s against my personal and very particular habits, even if it can sometimes be the only option because if there’s nothing else, there will always be an open fast-food joint.
It was in one of the branches of the “Pollo Campero” in the heart of downtown Guatemala City where I took the picture. I did it without looking for it, if I’d looked for it, I would have never found it.
It was a sunny day; I was looking for some pictures with that beautiful light and the blue sky that happens occasionally in the city. I grabbed a cab and went downtown when I suddenly heard the striking sound of an ambulance’s siren which sped past, almost driving on the sidewalk. When the ambulance stopped two paramedics jumped out and went into a fast-food restaurant. My cab was stuck in traffic so I got out of the car, ran and entered the fast food restaurant before the guards could close the door.
Inside, the situation was relaxed, one of the paramedics turned out to be an old acquaintance and a friend. He always calls me when there is something interesting. He works as a paramedic and firefighter and the firefighters in Guatemala are the first ones to be everywhere.
My friend mentioned that a person had fainted but everything was under control. While he was talking to me I looked over his shoulder and saw two nuns sitting underneath photographs showing a hamburger and a fried chicken leg. I asked my friend the firefighter and paramedic “Do you see this beautiful picture?” and I took two steps forward and took the shot.
One of the nuns had already noticed and tilted her head slightly as she was somewhat disapproving of what I was doing.
I left with the paramedics, we said goodbye and I thanked them once more. I had taken a great picture and I was as excited as a child.
The simple and unexpected things sometimes taste better than anything else; it’s also a fact that every photograph will always have its special story, regardless of a simple caption.”
Canon 5D Mark III, lens 16-35mm, f2.8, 1/100, ISO 400
Caption: Nuns sit at a fast food restaurant downtown of Guatemala City August 28, 2013.
“Este es el caption con el cual envié la foto, demasiado simple creo, solo descriptivo. No suelo visitar fast-food, va en contra de mis muy personales y particulares costumbres, aunque esta comida puede ser una ultima opción, puesto que en lugares donde no hay otra cosa siempre hay un uno de estos negocios abiertos.
Fue en una de las sucursales de “Pollo Campero” y en la parte más céntrica de la Ciudad de Guatemala donde hice la foto. La hice sin buscarla, que evidentemente si buscaba nunca iba a aparecer.
Era un día soleado, buscaba hacer un par de fotos con esa bonita luz y cielo azul que en ocasiones hay en la ciudad. Pase a bordo de un taxi por la calle donde está la oficina de correos cuando todo se ve interrumpido por los sonoros y llamativos ruidos de la sirena de una ambulancia, que rápidamente pasa casi subida sobre la banqueta. , Cuando para bajan velozmente 2 paramédicos, ya no podía pasar en el taxi así que corrí una cuadra hasta llegar al fast-food y entre, el guardia yo no tuvo tiempo para impedirme la entrada.
Adentro la situación ya era relajada, uno de los paramédicos resulto ser un viejo conocido y amigo. Siempre me avisa cuando hay algo fuerte porque trabaja como paramédico y bombero y en Guatemala los bomberos son los primeros en llegar a todo.
Mi amigo me comento que una persona se había desmayado pero que ya estaba bien y mientras lo dice miro por encima de sus hombros y veo a dos monjas sentadas como esperando bajo unos fotografías con una hamburguesa y una pierna de pollo frito, le pregunte a mi amigo el bombero “Ya viste que bonita imagen?” y avanze dos pasos e hice la foto.
Una de las monjas ya esta al tanto e inclina un poco la cabeza como desaprobando lo que estoy haciendo.
Salí junto a los paramédicos, nos despedimos y una vez más les di las gracias. Había logrado una buena foto y me fui, tan entusiasmado como si fuera un niño. Las cosas simples e inesperadas a veces saben mejor de lo que cualquiera pudiese entender, también es un hecho que cada foto tendrá siempre una historia más especial, sin importar lo simple que pueda ser el caption.”
Image 19 of 93: IVAN ALVARADO, Chile
“The fight was overly one-sided, and the student surely knew it, making him try anything. In one of many demonstrations for free, quality public education in Chile, a group of riot police surrounded a couple who stood in an embrace. I could hear the youth screaming at the police but I couldn’t see him, so I stood as tall as possible on the tips of my toes and raised my camera to photograph them as the police tried to separate them. I could see one policeman pressing his fingers into the youth’s throat, but he resisted and was determined not to be separated from his companion in spite of the tear gas cloud covering them. As a change of tactic, the officer took his fingers off the student’s throat and forced his arm between the two demonstrators right across the boy’s mouth. That was when he defended himself by biting into the policeman’s arm, protected by body armor. The policeman pressed the youth’s head against his armor, and blood began to flow from his mouth before the couple was taken away under arrest. They were still in an embrace.”
Canon EOS 1DX, lens 24mm, f2.8, 1/4000th, ISO 400
Caption: A student protester bites a riot policeman while being detained during a riot at a rally demanding Chile's government reform the education system in Santiago, May 8, 2013.
“La batalla lucha era demasiado desigual, y el estudiante sin duda lo sabía. Eso le hizo responder con todo. En una de las muchas manifestaciones para exigir la educación pública gratuita y de calidad en Chile, un grupo de policías antidisturbios rodearon una pareja que estaba de pie abrazado. Yo podía escuchar al chico gritando a la policía, pero yo no lo podía ver, así que era me paré lo más alto posible en las puntas de los dedos de mis pies, y levanté mi cámara para fotografiarlos cuando la policía trató de separarlos. Pude ver a un policía presionando los dedos en la garganta del chico, pero él resistió y estaba decidido a no ser separado de su compañera, a pesar de la nube de gas lacrimógeno que los cubría. Como un cambio de táctica, el policía soltó la garganta del estudiante y forzó su brazo entre los dos manifestantes, justo a la altura de la boca del chico. Fue entonces cuando el muchacho se defendió mordiendo el brazo del policía, protegido con armadura. El policía presionó la cabeza del chico contra su armadura, y la sangre empezó a fluir de su boca antes de que la pareja fue llevada detenida. Todavía mantenían el abrazo.”
“The fight was overly one-sided, and the student surely knew it, making him try anything. In one of many demonstrations for free, quality public education in Chile, a group of riot police surrounded a couple who stood in an embrace. I could hear the youth screaming at the police but I couldn’t see him, so I stood as tall as possible on the tips of my toes and raised my camera to photograph them as the police tried to separate them. I could see one policeman pressing his fingers into the youth’s throat, but he resisted and was determined not to be separated from his companion in spite of the tear gas cloud covering them. As a change of tactic, the officer took his fingers off the student’s throat and forced his arm between the two demonstrators right across the boy’s mouth. That was when he defended himself by biting into the policeman’s arm, protected by body armor. The policeman pressed the youth’s head against his armor, and blood began to flow from his mouth before the couple was taken away under arrest. They were still in an embrace.”
Canon EOS 1DX, lens 24mm, f2.8, 1/4000th, ISO 400
Caption: A student protester bites a riot policeman while being detained during a riot at a rally demanding Chile's government reform the education system in Santiago, May 8, 2013.
“La batalla lucha era demasiado desigual, y el estudiante sin duda lo sabía. Eso le hizo responder con todo. En una de las muchas manifestaciones para exigir la educación pública gratuita y de calidad en Chile, un grupo de policías antidisturbios rodearon una pareja que estaba de pie abrazado. Yo podía escuchar al chico gritando a la policía, pero yo no lo podía ver, así que era me paré lo más alto posible en las puntas de los dedos de mis pies, y levanté mi cámara para fotografiarlos cuando la policía trató de separarlos. Pude ver a un policía presionando los dedos en la garganta del chico, pero él resistió y estaba decidido a no ser separado de su compañera, a pesar de la nube de gas lacrimógeno que los cubría. Como un cambio de táctica, el policía soltó la garganta del estudiante y forzó su brazo entre los dos manifestantes, justo a la altura de la boca del chico. Fue entonces cuando el muchacho se defendió mordiendo el brazo del policía, protegido con armadura. El policía presionó la cabeza del chico contra su armadura, y la sangre empezó a fluir de su boca antes de que la pareja fue llevada detenida. Todavía mantenían el abrazo.”
Image 20 of 93: STEVE NESIUS, United States
“After covering several MLB spring training games crammed into ridiculously tight photo wells with other still photographers, TV crews and team interns shooting videos of pitchers and batters, it was nice to be assigned to a game between the Pittsburgh Pirates and New York Yankees at McKechnie Field in Bradenton, Florida. Most photographers choose to shoot on the walkway behind the seats with cleaner fields of view. I wanted to start the game in the third base well, which is low to ground level, during the first inning to get both starting pitchers before heading up to shoot from the walkway.
It turned out to be a good decision. The Yankees batted first. Lead-off batter Eduardo Nunez singled, then stole second base. Brennan Boesch, in his second game since joining the Yankees after his release by the Tigers, was batting second. Boesch broke his bat on an infield single. Nunez advanced to third and scored on a throwing error. Kevin Youkilis batted third and hit a two-run homer, scoring Boesch. Yankees were up 3-0. Good action to start the game.
I felt I had some decent frames of Boesch but couldn’t see the back of my camera very well to “chimp” (edit images in camera) in the bright sunshine. It wasn’t until later in the game, as I was editing, I could see I made some good images. In particular, the frame of the barrel of the broken bat smacking the face of Boesch. In a six-frame sequence, Boesch’s bat cracks as he struck the ball. On the follow-through of the swing, the bat broke in two pieces, smacks into his face, knocks his helmet ajar and flies out of the frame as Boesch races to first base with an infield single.”
Nikon D3 DSLR, lens 400mm, f4.0, 1/1600, ISO 250
Caption: The barrel of New York Yankees Brennan Boesch's broken bat smacks his face during the first inning of a MLB spring training baseball game against the Pittsburgh Pirates in Bradenton, Florida, March 17, 2013.
“After covering several MLB spring training games crammed into ridiculously tight photo wells with other still photographers, TV crews and team interns shooting videos of pitchers and batters, it was nice to be assigned to a game between the Pittsburgh Pirates and New York Yankees at McKechnie Field in Bradenton, Florida. Most photographers choose to shoot on the walkway behind the seats with cleaner fields of view. I wanted to start the game in the third base well, which is low to ground level, during the first inning to get both starting pitchers before heading up to shoot from the walkway.
It turned out to be a good decision. The Yankees batted first. Lead-off batter Eduardo Nunez singled, then stole second base. Brennan Boesch, in his second game since joining the Yankees after his release by the Tigers, was batting second. Boesch broke his bat on an infield single. Nunez advanced to third and scored on a throwing error. Kevin Youkilis batted third and hit a two-run homer, scoring Boesch. Yankees were up 3-0. Good action to start the game.
I felt I had some decent frames of Boesch but couldn’t see the back of my camera very well to “chimp” (edit images in camera) in the bright sunshine. It wasn’t until later in the game, as I was editing, I could see I made some good images. In particular, the frame of the barrel of the broken bat smacking the face of Boesch. In a six-frame sequence, Boesch’s bat cracks as he struck the ball. On the follow-through of the swing, the bat broke in two pieces, smacks into his face, knocks his helmet ajar and flies out of the frame as Boesch races to first base with an infield single.”
Nikon D3 DSLR, lens 400mm, f4.0, 1/1600, ISO 250
Caption: The barrel of New York Yankees Brennan Boesch's broken bat smacks his face during the first inning of a MLB spring training baseball game against the Pittsburgh Pirates in Bradenton, Florida, March 17, 2013.
Image 21 of 93: ZOHRA BENSEMRA, Pakistan
“Like any other journalist, I am always on the lookout for something new - a story never covered before, a picture never taken by any other photographer. I want to find something unique, and I want to be there first to see it.
I first came up with this idea after finding something online which immediately caught my eye. It was about Pakistani female pilots. There was an article ranking four of them among the country’s 100 most powerful women. A Pakistani female combat pilot! I knew immediately I had to meet her. But it turned out to be tricky. In Pakistan, you need permission to cover pretty much everything. This was no exception. I simply could not find a way of approaching any of the 19 female pilots without getting permission from the military. I kept trying and trying. In the end, when I had almost lost all hope, the army finally approved my request – a good six months later. A spokesman for the Pakistan air force said we were allowed to meet and take pictures of one of the pilots. It turned out to be Ayesha Farooq, the first war-ready female fighter pilot for the nuclear-armed nation. When I saw Farooq with her helmet in hand, walking with her colleagues and chatting with them next to a fighter jet, I would not have known she was a woman - if it were not for her head scarf. I was happy because I knew I had found a way of showing that a woman can do anything, anything a man can do, and often more, as long as they are not being discouraged or prevented from pursuing their passion. She climbed into the cockpit, her movements precise, and she spoke about her vocation. “Because of things related to terrorism, and due to our geographical location in the area, it’s very important that we should stay on our toes and get prepared for any bad activity going on around,” she said matter-of-factly. I believed Ayesha was a born fighter. She spoke about protecting and defending her country; the same country where women don’t have the same rights as men; the same country where women are often treated as second-class citizens.”
Canon EOS -1D Mark IV, lens 16-35mm f2.8, 1/60, ISO 400
Caption: Ayesha Farooq, 26, Pakistan's only female war-ready fighter pilot, climbs up to a Chinese-made F-7PG fighter jet at Mushaf base in Sargodha, north Pakistan June 6, 2013. Farooq, from Punjab province's historic city of Bahawalpur, is one of 19 women who have become pilots in the Pakistan Air Force over the last decade - there are five other female fighter pilots, but they have yet to take the final tests to qualify for combat. A growing number of women have joined Pakistan's defense forces in recent years as attitudes towards women change.
“Like any other journalist, I am always on the lookout for something new - a story never covered before, a picture never taken by any other photographer. I want to find something unique, and I want to be there first to see it.
I first came up with this idea after finding something online which immediately caught my eye. It was about Pakistani female pilots. There was an article ranking four of them among the country’s 100 most powerful women. A Pakistani female combat pilot! I knew immediately I had to meet her. But it turned out to be tricky. In Pakistan, you need permission to cover pretty much everything. This was no exception. I simply could not find a way of approaching any of the 19 female pilots without getting permission from the military. I kept trying and trying. In the end, when I had almost lost all hope, the army finally approved my request – a good six months later. A spokesman for the Pakistan air force said we were allowed to meet and take pictures of one of the pilots. It turned out to be Ayesha Farooq, the first war-ready female fighter pilot for the nuclear-armed nation. When I saw Farooq with her helmet in hand, walking with her colleagues and chatting with them next to a fighter jet, I would not have known she was a woman - if it were not for her head scarf. I was happy because I knew I had found a way of showing that a woman can do anything, anything a man can do, and often more, as long as they are not being discouraged or prevented from pursuing their passion. She climbed into the cockpit, her movements precise, and she spoke about her vocation. “Because of things related to terrorism, and due to our geographical location in the area, it’s very important that we should stay on our toes and get prepared for any bad activity going on around,” she said matter-of-factly. I believed Ayesha was a born fighter. She spoke about protecting and defending her country; the same country where women don’t have the same rights as men; the same country where women are often treated as second-class citizens.”
Canon EOS -1D Mark IV, lens 16-35mm f2.8, 1/60, ISO 400
Caption: Ayesha Farooq, 26, Pakistan's only female war-ready fighter pilot, climbs up to a Chinese-made F-7PG fighter jet at Mushaf base in Sargodha, north Pakistan June 6, 2013. Farooq, from Punjab province's historic city of Bahawalpur, is one of 19 women who have become pilots in the Pakistan Air Force over the last decade - there are five other female fighter pilots, but they have yet to take the final tests to qualify for combat. A growing number of women have joined Pakistan's defense forces in recent years as attitudes towards women change.
دو سرے صحافیوں کی طرح میں بھی ہمیشہ کسی نئی چیز کی تلاش میں رہتا ہوں۔ کوئی نئی کہانی جسکی پہلے کبھی نشاندہی نہ ہوئی ہو۔ یا کوئی تصویر جسے پہلے کسی تصویرنگار نے نہ کھینچا ہو۔ میں کچھ انوکھا تلاش کرنا اور اسے
دیکھنے والوں میں پہلا شخص بننا چاہتا ہوں
نیٹ پر کچھ مختلف دیکھنے کے بعد جس نے میری توجہ حاصل کی۔مجھے بھی ایسے ہی کچھ کا خیال پیدا ہوا۔وہ پاکستانی خواتین پائلٹ کے متعلق تھا۔ایک عنوان جو ملککی100مضبوط خواتین میں سے چوتھے نمبر پر شامل ہونے والوں میں
تھیں۔ایک پاکستانی خاتون دفاعی پائلٹ!مجھے فوری ان سے ملنے کا خیال پیدا ہوا۔لیکن یہ ایک ترکیبی محاذ ثابت ہوا۔پاکستان میں آپ کو کسی چیزکے بارے میں معلومات حاصل کرنے کے لئے اجازت درکار ہوتی ہے۔یہ معاملہ بھی مختلف نہ
تھا۔میں سوائے فوج کی اجازت کے ان 19 خواتین پائلٹ تک پہنچنے کا کوئی طریقہ نہیں جان سکتاتھا۔میں کوشش کرتا رہا کرتا رہا ۔بالآخرجب میں مکمل امید کھو بیٹھا تھا،آخر کار فوج نے میری درخواست قبول کرلی پورے چھ مہینے کے
بعد ۔پاکستانی ہو ا بازی کے نمائندے نے کہاکہ ہمیں ان میں سے صرف ایک پائلٹ سے ملنے اور تصویر لینے کی اجازت ہے نیوکلیر ہتھیار قوم کے لئے۔پہلی جنگجوخاتون دفاعی پائلٹ،عائشہ فاروق کا نام منظور ہوا
جب میں نے عائشہ فاروق کے ہاتھ میں ہیلمٹ دیکھا،جوکہ اپنی ساتھیوں کے ساتھ جنگی جیٹ کے قریب باتیں کر رہی تھیں،مجھے جب تک اندازہ نہیں ہواجب تک میں نے اس کے سر پر اسکارف نہ دیکھ لیامیں خوش تھا اس لئے کہ اس طرح
سے مجھے لوگوں کو عورت کے بارے میں یہ دکھانے کا طریقہ نظر آگیا تھا کہ ایک عورت کچھ بھی کرسکتی ہے جو کچھ ایک مرد کرسکتا ہے ،کبھی اس سے بھی بڑھ کر،جب تک کہ ان کے کچھ کر دکھانے کے جذبے کی حوصلہ شکنی
نہ کی جائے وہ جہاز کے عرشے پرچڑھی،مختصر انداز سے،اس نے اپنی صلاحیت کے بارے میں بتایا۔
’دہشت گردی سے متعلق باتوں اورہمارے علاقے کی جغرافیائی وقوع کی وجہ سے ہمارے لئے یہ اہم ہے کہ ہم استقامت کا مظاہرہ کریں اور اپنے گردوپیش کسی بھی برے کارنامے سے بچنے کے لئے تیار رہیں۔‘‘اس نے حقیقت سے آگاہ
کیامجھے یقین ہوا کہ عائشہ پیدائشی جنگجو تھی۔اس نے اپنے ملک کے دفاع اور حفاظت کے بارے میں بتایا۔اسی ملک میں جس میں عورتوں کو وہ حقوق میّسرنہیں ہیں جومردوں سے دوسرے درجے کے شہری کی طرح برتاؤکیا جاتا
ہے۔وہی ملک جس میں عورتوں کوحاصل ہیں
Image 21 of 93:
Image 22 of 93: ANGEL EDUARDO ALANIS, Mexico
“I was covering the monster trucks – they call it here the “Big Show” – and many people had come with their children to watch it. The presentation was good and time passed between laughter and joy until suddenly one of the trucks shot straight into the public. I was standing on one of the stunt ramps for the trucks and I ran down immediately to see if I could help.
What I saw was absolutely horrifying: unconscious people lay everywhere, many people seemed to be dead and children were crying and running around. People covered in dust were trying to stand up. I was in shock but I reacted immediately and started to take pictures. It was so difficult but I knew it had to be documented. I took the pictures and then put my camera away and started helping some of the injured, remembering what I had learned about first aid. After a few minutes the first ambulances arrived, I helped the paramedics move the injured, and as the ambulances continued to arrive, I started taking pictures again.
My heart was full of sorrow, people had been so happy while watching the show and now many of them were crying desperately while cradling their dead children.”
Camera Nikon D3100, lens 135 mm, f5.6, 1/2000, ISO 800
Caption: Spectators react after a monster truck rammed the stand where they were watching a monster truck rally show at El Rejon park, on the outskirts of Chihuahua October 5, 2013.
“Ese día me encontraba en el espectáculo de la “Monster Truck” la cual se llama aca "Big Show".
El tiempo pasaba entre risas y alegría cuando llego el momento de la tragedia y uno de los monster trucks se lanzo sobre el publico presente. Yo me encontraba en una rampa de acrobacias puesta en la pista y corrí para ver en que podía ayudar. Pero mi sorpresa al llegar a la escena fue aterradora, ver gente tirada inconsciente, la mayoría ya muerta, niños llorando y corriendo, gente levantándose empolvados. Estaba en shock pero logre reaccionar y empezar a tomar fotos aunque fuera difícil, yo sabía que esto tenía que ser documentado.
Ya al final no pude contenerme y deje mi cámara de lado y empecé a ayudar a la gente herida de lo que me acordabe de primeros auxilios. Despues de unos minutos llego la primera unidad de emergencia y les ayude a mover los heridos y como llegaban mas ambulancias comence a tomar fotos nuevamente.
Esta vez estaba mas tranquilo pero tenia el corazón destrozado de ver gente llorando desesperadamente y abrazando a niños muertos después de haberlos visto riendo minutos antes."
“I was covering the monster trucks – they call it here the “Big Show” – and many people had come with their children to watch it. The presentation was good and time passed between laughter and joy until suddenly one of the trucks shot straight into the public. I was standing on one of the stunt ramps for the trucks and I ran down immediately to see if I could help.
What I saw was absolutely horrifying: unconscious people lay everywhere, many people seemed to be dead and children were crying and running around. People covered in dust were trying to stand up. I was in shock but I reacted immediately and started to take pictures. It was so difficult but I knew it had to be documented. I took the pictures and then put my camera away and started helping some of the injured, remembering what I had learned about first aid. After a few minutes the first ambulances arrived, I helped the paramedics move the injured, and as the ambulances continued to arrive, I started taking pictures again.
My heart was full of sorrow, people had been so happy while watching the show and now many of them were crying desperately while cradling their dead children.”
Camera Nikon D3100, lens 135 mm, f5.6, 1/2000, ISO 800
Caption: Spectators react after a monster truck rammed the stand where they were watching a monster truck rally show at El Rejon park, on the outskirts of Chihuahua October 5, 2013.
“Ese día me encontraba en el espectáculo de la “Monster Truck” la cual se llama aca "Big Show".
El tiempo pasaba entre risas y alegría cuando llego el momento de la tragedia y uno de los monster trucks se lanzo sobre el publico presente. Yo me encontraba en una rampa de acrobacias puesta en la pista y corrí para ver en que podía ayudar. Pero mi sorpresa al llegar a la escena fue aterradora, ver gente tirada inconsciente, la mayoría ya muerta, niños llorando y corriendo, gente levantándose empolvados. Estaba en shock pero logre reaccionar y empezar a tomar fotos aunque fuera difícil, yo sabía que esto tenía que ser documentado.
Ya al final no pude contenerme y deje mi cámara de lado y empecé a ayudar a la gente herida de lo que me acordabe de primeros auxilios. Despues de unos minutos llego la primera unidad de emergencia y les ayude a mover los heridos y como llegaban mas ambulancias comence a tomar fotos nuevamente.
Esta vez estaba mas tranquilo pero tenia el corazón destrozado de ver gente llorando desesperadamente y abrazando a niños muertos después de haberlos visto riendo minutos antes."
Image 23 of 93: CATHAL MCNAUGHTON, Northern Ireland
“The G8 summit was taking place at a Golf Resort on the outskirts of Enniskillen, a small town in the Northern Irish countryside. I was in the area shooting security pics as Northern Ireland prepared for the arrival of some of the most powerful heads of state in the world. As I drove through the nearby village of Belcoo I did a double take as I spotted several fake shop fronts erected to cover derelict buildings to hide the economic hardship being felt in the towns and villages near the resort where G8 leaders were staying. As with a lot of photography, luck plays a part and in this instance a man happened to walk past the fake butchers shop with his dog. I shot a few frames as the rather confused canine attempted to figure out what he was actually looking at.”
Canon EOS -1D Mark 4, lens 16-35mm, f8.0, 1/250, ISO 800
Caption: A man walks his dog past a vacant shop, with graphics pasted to the outside to make it look like working butchers shop, in the village of Belcoo, Northern Ireland June 3, 2013.
“The G8 summit was taking place at a Golf Resort on the outskirts of Enniskillen, a small town in the Northern Irish countryside. I was in the area shooting security pics as Northern Ireland prepared for the arrival of some of the most powerful heads of state in the world. As I drove through the nearby village of Belcoo I did a double take as I spotted several fake shop fronts erected to cover derelict buildings to hide the economic hardship being felt in the towns and villages near the resort where G8 leaders were staying. As with a lot of photography, luck plays a part and in this instance a man happened to walk past the fake butchers shop with his dog. I shot a few frames as the rather confused canine attempted to figure out what he was actually looking at.”
Canon EOS -1D Mark 4, lens 16-35mm, f8.0, 1/250, ISO 800
Caption: A man walks his dog past a vacant shop, with graphics pasted to the outside to make it look like working butchers shop, in the village of Belcoo, Northern Ireland June 3, 2013.
Image 24 of 93: KEVIN LAMARQUE, Northern Ireland
“At the G8 Summit in Enniskillen, Northern Ireland, the timing could not have been better (or worse) for a meeting between Obama and Putin. With the Syrian regime testing the will of the outside world, Obama and Putin came to the G8 with different takes on the conflict. So what is normally a fairly dry photo op following their meeting turned into a lesson in body language overriding words. The awkwardness was perhaps enhanced by the fact that translators disrupted the normal flow of conversation, but nevertheless, the two could not have looked more ill at ease. This body language was captured on camera and was the lead image from this summit.”
Canon EOS-1DX, lens 70-200mm, f4.5, 1/250, ISO 1600
Caption: President Barack Obama meets with Russian President Vladimir Putin during the G8 Summit at Lough Erne in Enniskillen, Northern Ireland June 17, 2013.
“At the G8 Summit in Enniskillen, Northern Ireland, the timing could not have been better (or worse) for a meeting between Obama and Putin. With the Syrian regime testing the will of the outside world, Obama and Putin came to the G8 with different takes on the conflict. So what is normally a fairly dry photo op following their meeting turned into a lesson in body language overriding words. The awkwardness was perhaps enhanced by the fact that translators disrupted the normal flow of conversation, but nevertheless, the two could not have looked more ill at ease. This body language was captured on camera and was the lead image from this summit.”
Canon EOS-1DX, lens 70-200mm, f4.5, 1/250, ISO 1600
Caption: President Barack Obama meets with Russian President Vladimir Putin during the G8 Summit at Lough Erne in Enniskillen, Northern Ireland June 17, 2013.
Image 25 of 93: PETER ANDREWS, United States
“America’s Cup is regarded as one of the most prestigious sporting events in the world. The first cup was awarded in 1851 for the race around the Isle of Wight in England. The race was won by the schooner America. The trophy was renamed Americas Cup after the yacht and was donated to the New York Yacht Club.
From the first defense of the cup in 1870 there was always one challenger, but in 1970, one hundred years after that race, multiple challengers were introduced. The challengers would run in a selection series and the winner would become the official challenger for the defender of the Americas Cup.
In 1983 Louis Vuitton sponsored the first Louis Vuitton Cup, which has awarded to the winner of the challenge series.
My picture was taken on the 18th of August just prior to race three of the final of the Louis Vuitton Cup between Team Emirates New Zealand and Italy's Luna Rossa Challenger.
For me it was a difficult task as eleven days earlier a fellow photographer had lost his balance on the boat during one of the maneuvers and injured my left ankle. The doctors at first said that it was a sprain.
Every day I carried with me three cameras on board: two Canon EOS 1D X that my manager Pawel Kopczynski received on loan from Canon Europe armed with a 500mm f.4 lens and zoom 70-200mm f.2.8. All this was securely placed inside a large waterproof Peli Case. The third camera, in underwater housing, was a Canon EOS 1D Mark II with a 14 mm f 2.8 lens borrowed from Canon at the America’s Cup venue.
Normally, pictures taken with a 500 mm or zoom 70-200 mm lenses are beautiful but quite standard. For that reason I was hoping to be able to capture something different with my underwater gear. It was not easy to do as the AC-72 catamarans were moving very fast at speeds of over 45 knots per hour, translating to almost 80 km/h.
In order to take a picture I had to lean out of the boat and hold my camera by a long monopod, and only when our boat was not chasing the yachts. It was difficult for me as I had to pay attention to my legs too.
I normally set my camera at ISO 500 and a shutter speed of 640, using shutter priority. The conditions on the San Francisco Bay could change from beautiful sunshine to extremely foggy conditions within minutes.
The effort paid off and when I got back to shore and looked through my images I found a stunning picture of Team Emirates New Zealand. I asked my good friend Bob Galbraith if he agreed with me. He smiled and said, “You have got a winner.”
Three days later Bob took me back to the clinic that initially examined my leg but this time I insisted on an x-ray as my leg was badly swollen and purple up to my knee. The doctors were still saying that my ankle was sprained and saying that if it was going to reassure me they would do an x-ray. I was still in good spirits, joking with doctors and nurses as Bob took hundreds of pictures of me being x-rayed. Then reality hit me. I will not forget the face of the doctor saying, “Your leg is broken.” I believe that my expression was the same or worse. I had been walking and working with a broken leg for two weeks minus five days of rest after the initial exam.
My Americas Cup was over...”
Canon EOS 1D Mark II, lens 14mm, f2.8, 1/640, ISO 500
Caption: The Team Emirates New Zealand sails before the third race of their Louis Vuitton Cup challenger series yacht race against Luna Rossa Challenge in this underwater picture in San Francisco, California August 18, 2013.
“America’s Cup is regarded as one of the most prestigious sporting events in the world. The first cup was awarded in 1851 for the race around the Isle of Wight in England. The race was won by the schooner America. The trophy was renamed Americas Cup after the yacht and was donated to the New York Yacht Club.
From the first defense of the cup in 1870 there was always one challenger, but in 1970, one hundred years after that race, multiple challengers were introduced. The challengers would run in a selection series and the winner would become the official challenger for the defender of the Americas Cup.
In 1983 Louis Vuitton sponsored the first Louis Vuitton Cup, which has awarded to the winner of the challenge series.
My picture was taken on the 18th of August just prior to race three of the final of the Louis Vuitton Cup between Team Emirates New Zealand and Italy's Luna Rossa Challenger.
For me it was a difficult task as eleven days earlier a fellow photographer had lost his balance on the boat during one of the maneuvers and injured my left ankle. The doctors at first said that it was a sprain.
Every day I carried with me three cameras on board: two Canon EOS 1D X that my manager Pawel Kopczynski received on loan from Canon Europe armed with a 500mm f.4 lens and zoom 70-200mm f.2.8. All this was securely placed inside a large waterproof Peli Case. The third camera, in underwater housing, was a Canon EOS 1D Mark II with a 14 mm f 2.8 lens borrowed from Canon at the America’s Cup venue.
Normally, pictures taken with a 500 mm or zoom 70-200 mm lenses are beautiful but quite standard. For that reason I was hoping to be able to capture something different with my underwater gear. It was not easy to do as the AC-72 catamarans were moving very fast at speeds of over 45 knots per hour, translating to almost 80 km/h.
In order to take a picture I had to lean out of the boat and hold my camera by a long monopod, and only when our boat was not chasing the yachts. It was difficult for me as I had to pay attention to my legs too.
I normally set my camera at ISO 500 and a shutter speed of 640, using shutter priority. The conditions on the San Francisco Bay could change from beautiful sunshine to extremely foggy conditions within minutes.
The effort paid off and when I got back to shore and looked through my images I found a stunning picture of Team Emirates New Zealand. I asked my good friend Bob Galbraith if he agreed with me. He smiled and said, “You have got a winner.”
Three days later Bob took me back to the clinic that initially examined my leg but this time I insisted on an x-ray as my leg was badly swollen and purple up to my knee. The doctors were still saying that my ankle was sprained and saying that if it was going to reassure me they would do an x-ray. I was still in good spirits, joking with doctors and nurses as Bob took hundreds of pictures of me being x-rayed. Then reality hit me. I will not forget the face of the doctor saying, “Your leg is broken.” I believe that my expression was the same or worse. I had been walking and working with a broken leg for two weeks minus five days of rest after the initial exam.
My Americas Cup was over...”
Canon EOS 1D Mark II, lens 14mm, f2.8, 1/640, ISO 500
Caption: The Team Emirates New Zealand sails before the third race of their Louis Vuitton Cup challenger series yacht race against Luna Rossa Challenge in this underwater picture in San Francisco, California August 18, 2013.
Image 26 of 93: RONI BINTANG, Indonesia
“The day after the big volcanic eruption of Mount Sinabung, two colleagues, a journalist from KOMPAS (a national media in Indonesia) and a freelance photographer and I drove from Tiga Pancur village, the place where we stayed while covering Mount Sinabung, to Mardingding village.
Mardingding had already been left empty by its residents. We took pictures of the impact of volcanic ash on the village. I saw a couple of red hibiscus flowers among the volcanic ash that caught my attention. I don’t know the exact explanation for this beautiful scene. I thought, maybe, the volcanic ash had covered the flowers while they were still buds, and that would explain why their color was not affected by the ash by the time they bloomed.”
Canon 7D, lens 70-200mm at 93mm, f4, 1/800, ISO 100
Caption: A hibiscus flower is seen on an ash-covered plant at Mardingding village in Karo district, Indonesia's north Sumatra province November 19, 2013.
“Sehari setelah letusan besar gunung Sinabung saya dan dua rekan lain, seorang Jurnalis Kompas (media nasional) dan seorang fotografer freelance mengendarai mobil dari Desa Tiga Pancur tempat kami menginap selama meliput aktivitas gunung Sinabung menuju Desa Mardingding.
Setelah selesai memotret dampak abu vulkanik diperkampungan Mardingding yang sunyi ditinggal mengungsi oleh warga, kami pergi ke ujung Desa. disana warna merah bunga kembang sepatu diantara abu vulkanik menarik perhatian saya. Waktu itu logika awam saya hanya berfikir mungkin ketika abu vulkanik menutupi tanaman ini, bunganya masih kuncup, dan mekar sehari setelahnya.”
“The day after the big volcanic eruption of Mount Sinabung, two colleagues, a journalist from KOMPAS (a national media in Indonesia) and a freelance photographer and I drove from Tiga Pancur village, the place where we stayed while covering Mount Sinabung, to Mardingding village.
Mardingding had already been left empty by its residents. We took pictures of the impact of volcanic ash on the village. I saw a couple of red hibiscus flowers among the volcanic ash that caught my attention. I don’t know the exact explanation for this beautiful scene. I thought, maybe, the volcanic ash had covered the flowers while they were still buds, and that would explain why their color was not affected by the ash by the time they bloomed.”
Canon 7D, lens 70-200mm at 93mm, f4, 1/800, ISO 100
Caption: A hibiscus flower is seen on an ash-covered plant at Mardingding village in Karo district, Indonesia's north Sumatra province November 19, 2013.
“Sehari setelah letusan besar gunung Sinabung saya dan dua rekan lain, seorang Jurnalis Kompas (media nasional) dan seorang fotografer freelance mengendarai mobil dari Desa Tiga Pancur tempat kami menginap selama meliput aktivitas gunung Sinabung menuju Desa Mardingding.
Setelah selesai memotret dampak abu vulkanik diperkampungan Mardingding yang sunyi ditinggal mengungsi oleh warga, kami pergi ke ujung Desa. disana warna merah bunga kembang sepatu diantara abu vulkanik menarik perhatian saya. Waktu itu logika awam saya hanya berfikir mungkin ketika abu vulkanik menutupi tanaman ini, bunganya masih kuncup, dan mekar sehari setelahnya.”
Image 27 of 93: CATHAL MCNAUGHTON, Northern Ireland
“Northern Ireland had endured the heaviest snowfall in living memory, leaving many of the more isolated hill farmers unable to get to their sheep which were scattered over remote moors. I joined a local farmer as he attempted to reach his flock to survey the damage and provide much needed fodder. We walked for several miles through heavy snow before we came across the first signs of the devastation. Dozens of sheep had been buried alive in snowdrifts (some as big as 20 feet) as they took shelter from the winter storm. Donal began digging into the drifts to try and locate and rescue any of his flock with many incidentally also in the final stages of pregnancy. I took pictures and helped with the digging at times but ultimately it was futile as the majority of any living sheep we did find were in such a bad state that they died anyway.”
Canon EOS 1D Mark IIII, lens 16-35mm, f8.0, 1/500, ISO 400
Caption: Farmer Donald O'Reilly searches for sheep or lambs trapped in a snow drift near weakened animals that had just been rescued, in the Aughafatten area of County Antrim, Northern Ireland March 26, 2013.
“Northern Ireland had endured the heaviest snowfall in living memory, leaving many of the more isolated hill farmers unable to get to their sheep which were scattered over remote moors. I joined a local farmer as he attempted to reach his flock to survey the damage and provide much needed fodder. We walked for several miles through heavy snow before we came across the first signs of the devastation. Dozens of sheep had been buried alive in snowdrifts (some as big as 20 feet) as they took shelter from the winter storm. Donal began digging into the drifts to try and locate and rescue any of his flock with many incidentally also in the final stages of pregnancy. I took pictures and helped with the digging at times but ultimately it was futile as the majority of any living sheep we did find were in such a bad state that they died anyway.”
Canon EOS 1D Mark IIII, lens 16-35mm, f8.0, 1/500, ISO 400
Caption: Farmer Donald O'Reilly searches for sheep or lambs trapped in a snow drift near weakened animals that had just been rescued, in the Aughafatten area of County Antrim, Northern Ireland March 26, 2013.
Image 28 of 93: MOHAMED AL HWAITY, Saudi Arabia
“While I was on my way back from Hail International Rally to the hotel, I was amazed to see some men demonstrating stunts with their cars. I tried to stop them to speak to them but they did not answer and left the area quickly. On the second day I decided to search for one of the men whose nickname is Ali al-Mostaheel. At the end of the day, I joked with one of the workers at a fast food restaurant and randomly asked him if he had heard about “Ali al-Mostaheel.” Unexpectedly, the worker said Ali eats dinner there quite frequently. While waiting, the driver Ali entered. In the beginning when I tried to speak to him again, he did not say anything since he suspected me of being a member of the secret police. Later, it took me two hours to chat with him in an attempt to convince him to allow me to photograph him. Finally, he agreed to be photographed the next day but asked me to sign a letter stating that he and his fellow youths were not responsible for whatever happened to me. I agreed to their conditional offer and signed the letter. Once I arrived to shoot pictures, the driver whispered: “welcome to the journey of death.””
Nikon D300S, lens 18mm, f11, ISO 200
Caption: Saudi youths demonstrate a stunt known as "sidewall skiing" (driving on two wheels) in the northern city of Hail, in Saudi Arabia March 30, 2013. Performing stunts such as sidewall skiing and drifts is a popular hobby among Saudi youths.
“While I was on my way back from Hail International Rally to the hotel, I was amazed to see some men demonstrating stunts with their cars. I tried to stop them to speak to them but they did not answer and left the area quickly. On the second day I decided to search for one of the men whose nickname is Ali al-Mostaheel. At the end of the day, I joked with one of the workers at a fast food restaurant and randomly asked him if he had heard about “Ali al-Mostaheel.” Unexpectedly, the worker said Ali eats dinner there quite frequently. While waiting, the driver Ali entered. In the beginning when I tried to speak to him again, he did not say anything since he suspected me of being a member of the secret police. Later, it took me two hours to chat with him in an attempt to convince him to allow me to photograph him. Finally, he agreed to be photographed the next day but asked me to sign a letter stating that he and his fellow youths were not responsible for whatever happened to me. I agreed to their conditional offer and signed the letter. Once I arrived to shoot pictures, the driver whispered: “welcome to the journey of death.””
Nikon D300S, lens 18mm, f11, ISO 200
Caption: Saudi youths demonstrate a stunt known as "sidewall skiing" (driving on two wheels) in the northern city of Hail, in Saudi Arabia March 30, 2013. Performing stunts such as sidewall skiing and drifts is a popular hobby among Saudi youths.
شباب سعوديون يقدمون عرضاً جريئاً يعرف بالقيادة على عجلتين في شمال مدينة حائل في المملكة العربية السعودية في ٣٠ اذار/مارس ٢٠١٣.
أداء الأعمال الجريئة مثل القيادة على عجلتين منتشرة بين الشباب السعودي كهواية شعبية.
رويترز /محمد الحويتي
Image 28 of 93:
Image 29 of 93: CHEN HAO, North Korea
“Having photographed North Korea from China’s side of the border for several years, I noticed that every morning at 10 a.m., the female soldiers guarding a dock changed their shifts on the banks of Yalu River in the North Korean border town of Sinuiju. I noticed that these soldiers were dressed differently than the others -- their uniforms were cleaner and tidier, and they were allowed to wear high heels and have ponytails. It’s never easy to witness an interesting moment like this as I was always shooting from a boat, traveling fast along the river. I was very lucky to be able to capture this frame after many attempts.”
Canon EOS 7D, lens 600mm, f7, 1/400, ISO 800
Caption: Female North Korean soldiers patrol along the banks of Yalu River, near the North Korean town of Sinuiju, opposite the Chinese border city of Dandong, April 11, 2013.
每天上午十点，新义州的鸭绿江一侧的船坞码头，负责看管仓库货物和维持秩序的女兵都会进行统一换岗。这里的女兵们穿着是不同于其它编制的女兵部队。每天的军装都是整齐干净的，甚至有着笔直的裤线，而她们的鞋子一定是有着厚底的高跟皮鞋，而且允许她们扎辫子。拥有辫子的女兵自然戴军帽的方式也不同于其他人了。这个有趣的画面就是在我很多次的尝试拍摄后，抓取的一个难得的，让人引俊不止的瞬间。
“Having photographed North Korea from China’s side of the border for several years, I noticed that every morning at 10 a.m., the female soldiers guarding a dock changed their shifts on the banks of Yalu River in the North Korean border town of Sinuiju. I noticed that these soldiers were dressed differently than the others -- their uniforms were cleaner and tidier, and they were allowed to wear high heels and have ponytails. It’s never easy to witness an interesting moment like this as I was always shooting from a boat, traveling fast along the river. I was very lucky to be able to capture this frame after many attempts.”
Canon EOS 7D, lens 600mm, f7, 1/400, ISO 800
Caption: Female North Korean soldiers patrol along the banks of Yalu River, near the North Korean town of Sinuiju, opposite the Chinese border city of Dandong, April 11, 2013.
每天上午十点，新义州的鸭绿江一侧的船坞码头，负责看管仓库货物和维持秩序的女兵都会进行统一换岗。这里的女兵们穿着是不同于其它编制的女兵部队。每天的军装都是整齐干净的，甚至有着笔直的裤线，而她们的鞋子一定是有着厚底的高跟皮鞋，而且允许她们扎辫子。拥有辫子的女兵自然戴军帽的方式也不同于其他人了。这个有趣的画面就是在我很多次的尝试拍摄后，抓取的一个难得的，让人引俊不止的瞬间。
Image 30 of 93: DANISH SIDDIQUI, India
“Bollywood is an addiction for many; an addiction that attracts thousands of aspiring stars to the city of Mumbai. Ram Pratap Verma made the journey from his small village eight years ago, and despite carrying his whole "home" inside his bag, he was determined not to give up on his ambitions.
Every day Ram practices his martial arts and gymnastics on one of the famous beaches in Mumbai in the hope that someday a celebrity Bollywood producer or director will spot him while taking a walk or jog.”
Canon 5D Mark III, lens 24mm, f2, 1/500, ISO 500
Caption: Ram Pratap Verma, a 32-year-old aspiring Bollywood film actor, practices gymnastics on a beach in Mumbai April 17, 2013.
Click here for a related blog
बहुतों के लिये बॉलीवुड एक लत है; एक ऐसी लत जो हज़ारों की तादाद में उभरते सितारों को मुंबई की ओर आकर्षित करती है. राम प्रताप वेर्मा ने यह सफर अपने गांव से आठ साल पेहले तय किया. अपना पूरा "घर" अपने बस्ते में लेकर घूमने के बावजूद, वो द्रढ है की वो अपने सपनों का पीछा करना कभी नहीं छोड़ेगा. रोज़ राम अपने मार्षल आर्ट्स और ग्यमनास्टिक्स की प्रॅक्टीस मुंबई एक मसहूर बीच पर करता है; इसी उमीद में की शायद किसी दिन जोग या वॉक करते हुए कोई नामचीन बॉलीवुड डाइरेक्टर या प्रोड्यूसर उस्से देख ले.
“Bollywood is an addiction for many; an addiction that attracts thousands of aspiring stars to the city of Mumbai. Ram Pratap Verma made the journey from his small village eight years ago, and despite carrying his whole "home" inside his bag, he was determined not to give up on his ambitions.
Every day Ram practices his martial arts and gymnastics on one of the famous beaches in Mumbai in the hope that someday a celebrity Bollywood producer or director will spot him while taking a walk or jog.”
Canon 5D Mark III, lens 24mm, f2, 1/500, ISO 500
Caption: Ram Pratap Verma, a 32-year-old aspiring Bollywood film actor, practices gymnastics on a beach in Mumbai April 17, 2013.
Click here for a related blog
बहुतों के लिये बॉलीवुड एक लत है; एक ऐसी लत जो हज़ारों की तादाद में उभरते सितारों को मुंबई की ओर आकर्षित करती है. राम प्रताप वेर्मा ने यह सफर अपने गांव से आठ साल पेहले तय किया. अपना पूरा "घर" अपने बस्ते में लेकर घूमने के बावजूद, वो द्रढ है की वो अपने सपनों का पीछा करना कभी नहीं छोड़ेगा. रोज़ राम अपने मार्षल आर्ट्स और ग्यमनास्टिक्स की प्रॅक्टीस मुंबई एक मसहूर बीच पर करता है; इसी उमीद में की शायद किसी दिन जोग या वॉक करते हुए कोई नामचीन बॉलीवुड डाइरेक्टर या प्रोड्यूसर उस्से देख ले.
Image 31 of 93: KAI PFAFFENBACH, Brazil
“It was a special day for me, as I missed (once more as I usually cover big sports event across the globe in June) my wife's birthday back home.
Protests had been growing over the past days in Brasilia around the Confederation Cup matches so it was obvious there would be clashes between the police and protesters again. Among the stone throwing and tear gas being fired all around the stadium, people with match tickets would try to get in to the stadiums. They were not attacked by either police or protesters but somehow they had to go through the hail of stones and gas. The five people in the photo were running as fast as they could -- the two men in the back waving their tickets to show police they were not protesters and just wanted to cross police lines to reach the stadium. For me, it was a lucky moment to spot them as I was mainly concentrating on police action and the demonstrators. After taking these images I spent another hour covering the clashes before I arrived in the stadium five minutes before kick-off.”
Canon EOS 1 DX, lens 200-400mm at 258 mm, f4.0, 1/500, ISO 400
Caption: A family with soccer match tickets runs for cover as they come between law enforcement troops and protesters during a demonstration outside the stadium before the Confederations Cup soccer match between Nigeria and Uruguay in Salvador June 20, 2013.
“A foto foi tirada em 20 de junho, antes do jogo da Copa das Confederações entre Nigéria e Uruguai, em Salvador da Bahia. Foi um dia especial para mim, pois eu perdi (mais uma vez, como eu costumo cobrir grandes eventos esportivos em junho) o aniversário da minha esposa, e protestos foram crescendo nos últimos dias em Brasila em torno da Copa. Era óbvio que teria confrontos entre a polícia e manifestantes novamente. Entre as pedradas e gás lacrimogéneo, torcedores com ingressos para os jogos tentaram chegar aos estádios. Eles não eram alvos nem da policia nem dos manifestantes, mas tiveram que procurar alguma forma de passar. Aqueles cinco foram correndo o mais rápido que podiam, os dois homens na parte de trás estavam acenando com seus ingressos para mostrar à polícia que não eram manifestantes e só queriam cruzar para chegar no estádio. Para mim, foi um momento de sorte vê-los enquanto concentrava na ação entre a polícia e os manifestantes. Depois dessas imagens, passei mais uma hora cobrindo os confrontos antes de conseguir chegar no estádio cinco minutos antes do inicio do jogo.”
“It was a special day for me, as I missed (once more as I usually cover big sports event across the globe in June) my wife's birthday back home.
Protests had been growing over the past days in Brasilia around the Confederation Cup matches so it was obvious there would be clashes between the police and protesters again. Among the stone throwing and tear gas being fired all around the stadium, people with match tickets would try to get in to the stadiums. They were not attacked by either police or protesters but somehow they had to go through the hail of stones and gas. The five people in the photo were running as fast as they could -- the two men in the back waving their tickets to show police they were not protesters and just wanted to cross police lines to reach the stadium. For me, it was a lucky moment to spot them as I was mainly concentrating on police action and the demonstrators. After taking these images I spent another hour covering the clashes before I arrived in the stadium five minutes before kick-off.”
Canon EOS 1 DX, lens 200-400mm at 258 mm, f4.0, 1/500, ISO 400
Caption: A family with soccer match tickets runs for cover as they come between law enforcement troops and protesters during a demonstration outside the stadium before the Confederations Cup soccer match between Nigeria and Uruguay in Salvador June 20, 2013.
“A foto foi tirada em 20 de junho, antes do jogo da Copa das Confederações entre Nigéria e Uruguai, em Salvador da Bahia. Foi um dia especial para mim, pois eu perdi (mais uma vez, como eu costumo cobrir grandes eventos esportivos em junho) o aniversário da minha esposa, e protestos foram crescendo nos últimos dias em Brasila em torno da Copa. Era óbvio que teria confrontos entre a polícia e manifestantes novamente. Entre as pedradas e gás lacrimogéneo, torcedores com ingressos para os jogos tentaram chegar aos estádios. Eles não eram alvos nem da policia nem dos manifestantes, mas tiveram que procurar alguma forma de passar. Aqueles cinco foram correndo o mais rápido que podiam, os dois homens na parte de trás estavam acenando com seus ingressos para mostrar à polícia que não eram manifestantes e só queriam cruzar para chegar no estádio. Para mim, foi um momento de sorte vê-los enquanto concentrava na ação entre a polícia e os manifestantes. Depois dessas imagens, passei mais uma hora cobrindo os confrontos antes de conseguir chegar no estádio cinco minutos antes do inicio do jogo.”
Image 32 of 93: SUSANA VERA, Spain
“My mother grew up watching the San Fermin bull runs from the same balcony on Estafeta Street from which I took the photo of Diego Miralles getting gored by an El Pilar fighting bull named “Langostero”. I have been going to that very same balcony, which happens to be at my uncle’s dental clinic, once every San Fermin festival since 2005, when I first started photographing the running of the bulls in Pamplona. But I had never documented such a terrifying moment in the past. That morning my blood froze in my veins as I witnessed for a whole minute how “Langostero” repeatedly charged at Diego Miralles, goring him three times, in his groin and legs. I never thought 60 seconds could feel so long. I kept on taking photos, trying to stay focused and still, as the drama unfolded in front of my camera. For a while I heard nothing, I’m not sure if my brain just blocked the noise off or people went mute for a few seconds. And then, all of a sudden, I heard screams and the sobbing of a young girl that had come to the balcony with her family to watch the bull run. The tears of a middle-aged woman followed. I didn’t put the camera down until I saw another runner help Diego Miralles get through the fence to receive medical treatment. Miralles could have died that morning. He said in a newspaper interview that he thanks Saint Fermin, the protector of runners, for watching over him. “Langostero”, the bull who could have killed him, was killed himself during the afternoon bullfight. The other five bulls that ran the “encierro” with him that morning met the same fate on the sand of Pamplona’s bullring."
Canon EOS-1D X, lens 70-200mm, f5, 1/500, ISO 2000 ISO
Caption: Diego Miralles gets gored by a bull on Estafeta Street during the sixth running of the bulls of the San Fermin festival in Pamplona July 12, 2013.
”Mi madre creció viendo los encierros de San Fermín desde el mismo balcón en la calle Estafeta desde donde yo fotografié al toro “Langostero” cornear al corredor Diego Miralles el pasado 12 de julio. Llevaba yendo a ese mismo balcón, que es hoy la consulta dental de mi tío, desde el 2005, cuando comencé a fotografiar los encierros de San Fermín en mi ciudad natal, pero nunca antes había documentado un momento tan terrorífico.
Esa mañana sentí la sangre helarse en mis venas mientras veía a través del visor de mi cámara cómo “Langostero” empitonaba a Diego Miralles, no una vez, sino hasta tres veces, propinándole dos cornadas en la ingle y una en la pierna. Nunca pensé que un minuto pudiera durar tanto. Intenté mantenerme quieta y concentrada mientras fotografiaba sin parar el drama que se desarrollaba ante mis ojos. Durante un rato no escuché nada. No sé si mi cerebro dio orden de bloquear el ruido o simplemente la gente se quedó muda, pero lo cierto es que durante unos segundo interminables sólo me acompañó el silencio. Y de repente escuché gritos y el llanto de una niña que había acudido con su familia a mi mismo balcón a presenciar el encierro. Las lágrimas de una mujer siguieron. No bajé la cámara ni dejé de apretar el disparador hasta que ví cómo otro corredor ayudaba a Miralles a alcanzar el vallado para recibir asistencia médica. Diego Miralles podría haber muerto esa mañana del 12 de julio de 2013. Agradeció en una entrevista de un diario local que San Fermín, el protector de los corredores del encierro, velara por él. “Langostero”, el toro que podría haberlo matado, encontró la muerte a su vez en la corrida de la tarde. Los otros cinco toros que corrieron el encierro a su lado compartieron el mismo destino en la arena de la plaza de Pamplona."
“My mother grew up watching the San Fermin bull runs from the same balcony on Estafeta Street from which I took the photo of Diego Miralles getting gored by an El Pilar fighting bull named “Langostero”. I have been going to that very same balcony, which happens to be at my uncle’s dental clinic, once every San Fermin festival since 2005, when I first started photographing the running of the bulls in Pamplona. But I had never documented such a terrifying moment in the past. That morning my blood froze in my veins as I witnessed for a whole minute how “Langostero” repeatedly charged at Diego Miralles, goring him three times, in his groin and legs. I never thought 60 seconds could feel so long. I kept on taking photos, trying to stay focused and still, as the drama unfolded in front of my camera. For a while I heard nothing, I’m not sure if my brain just blocked the noise off or people went mute for a few seconds. And then, all of a sudden, I heard screams and the sobbing of a young girl that had come to the balcony with her family to watch the bull run. The tears of a middle-aged woman followed. I didn’t put the camera down until I saw another runner help Diego Miralles get through the fence to receive medical treatment. Miralles could have died that morning. He said in a newspaper interview that he thanks Saint Fermin, the protector of runners, for watching over him. “Langostero”, the bull who could have killed him, was killed himself during the afternoon bullfight. The other five bulls that ran the “encierro” with him that morning met the same fate on the sand of Pamplona’s bullring."
Canon EOS-1D X, lens 70-200mm, f5, 1/500, ISO 2000 ISO
Caption: Diego Miralles gets gored by a bull on Estafeta Street during the sixth running of the bulls of the San Fermin festival in Pamplona July 12, 2013.
”Mi madre creció viendo los encierros de San Fermín desde el mismo balcón en la calle Estafeta desde donde yo fotografié al toro “Langostero” cornear al corredor Diego Miralles el pasado 12 de julio. Llevaba yendo a ese mismo balcón, que es hoy la consulta dental de mi tío, desde el 2005, cuando comencé a fotografiar los encierros de San Fermín en mi ciudad natal, pero nunca antes había documentado un momento tan terrorífico.
Esa mañana sentí la sangre helarse en mis venas mientras veía a través del visor de mi cámara cómo “Langostero” empitonaba a Diego Miralles, no una vez, sino hasta tres veces, propinándole dos cornadas en la ingle y una en la pierna. Nunca pensé que un minuto pudiera durar tanto. Intenté mantenerme quieta y concentrada mientras fotografiaba sin parar el drama que se desarrollaba ante mis ojos. Durante un rato no escuché nada. No sé si mi cerebro dio orden de bloquear el ruido o simplemente la gente se quedó muda, pero lo cierto es que durante unos segundo interminables sólo me acompañó el silencio. Y de repente escuché gritos y el llanto de una niña que había acudido con su familia a mi mismo balcón a presenciar el encierro. Las lágrimas de una mujer siguieron. No bajé la cámara ni dejé de apretar el disparador hasta que ví cómo otro corredor ayudaba a Miralles a alcanzar el vallado para recibir asistencia médica. Diego Miralles podría haber muerto esa mañana del 12 de julio de 2013. Agradeció en una entrevista de un diario local que San Fermín, el protector de los corredores del encierro, velara por él. “Langostero”, el toro que podría haberlo matado, encontró la muerte a su vez en la corrida de la tarde. Los otros cinco toros que corrieron el encierro a su lado compartieron el mismo destino en la arena de la plaza de Pamplona."
Image 33 of 93: ADREES LATIF, United States
“On May 20, 2013, shortly after the EF5 tornado struck Moore, Oklahoma, I was en-route to cover a press conference with Yahoo Chief Marissa Mayer. Before the press conference started, I received a message from a colleague: “Are you heading to Oklahoma for the tornado?” While jockeying for a position inside the event, which overlooked New York’s Times Square, I wondered why this seasoned journalist would be inquiring about a tornado which had hit one day prior. (An EF4 tornado had struck Shawnee, Oklahoma on May 19). I ignored the text message and momentarily turned my phone on silent so as not to disturb the attendees.
About 30 minutes in, the press conference was over and I glanced to look down at my mobile phone. I was a bit surprised to find a half dozen missed calls, all from my line manager. Realizing something important had happened, I called back immediately while racing rapidly through midtown traffic towards the office. As I was made aware of the massive tornado, which had just struck Moore, adrenaline kicked in. I started thinking flights, medical kit, and every possible item I may need to report from the site of such a disaster. Medicated foot powder and extra shoelaces for some reason found themselves at the top of this particular list.
Soon, I would come to realize, Oklahoma City was not the easiest location to fly into from New York. Also, from past experience, the city in close proximity to a disaster starts running low on supplies, so it is sometimes more advantageous to fly into a nearby location and drive the rest of the way. I chose to fly into Tulsa, Oklahoma and picked up an all-wheel-drive sport utility vehicle to help navigate through the ground conditions.
I arrived into Moore, Oklahoma midday on May 21. The exits from the highways to the town were closed to all but police and rescue vehicles. After gaining access past a police checkpoint, I drove in and parked on S. Telephone Road near the Warren Theatres. My aim was to get a quick few images published. I then went for a walk and realized police were not allowing anyone to enter the nearby neighborhood, which was completely leveled. Instead of trying to enter from the main street side, which was all blocked by police, I attempted to make my way in between the homes.
I soon would come across a scene that mesmerized me. I knew I had found the background of my photograph that would prove the scale of this disaster. As families started returning to their homes to go through their belongings, I introduced myself and asked for permission to photograph on their property. After hours of waiting for ‘a moment’, a couple entered and stood against the background near where I had been patiently waiting. As they entered the space, they too seemed overwhelmed by the site and embraced. The woman in my photograph, who I would later come to identify as Danielle Stephan, had arrived with her boyfriend Thomas Layton to help recover belongings from her brother's home. Knowing I had captured the moment I was waiting for, I immediately pulled out my laptop and transmitted the image to Reuters. Afterwards, I would continue on my way through the destruction zone, searching for other moments which I could photograph to communicate the enormity of what this community in the suburbs of Oklahoma City was struggling through.”
Canon EO-1D X, lens 35mm, f2, 1/5000, ISO 50
Caption: Danielle Stephan holds boyfriend Thomas Layton as they pause between salvaging through the remains of a family member's home one day after a tornado devastated the town Moore, Oklahoma, in the outskirts of Oklahoma City May 21, 2013.
“On May 20, 2013, shortly after the EF5 tornado struck Moore, Oklahoma, I was en-route to cover a press conference with Yahoo Chief Marissa Mayer. Before the press conference started, I received a message from a colleague: “Are you heading to Oklahoma for the tornado?” While jockeying for a position inside the event, which overlooked New York’s Times Square, I wondered why this seasoned journalist would be inquiring about a tornado which had hit one day prior. (An EF4 tornado had struck Shawnee, Oklahoma on May 19). I ignored the text message and momentarily turned my phone on silent so as not to disturb the attendees.
About 30 minutes in, the press conference was over and I glanced to look down at my mobile phone. I was a bit surprised to find a half dozen missed calls, all from my line manager. Realizing something important had happened, I called back immediately while racing rapidly through midtown traffic towards the office. As I was made aware of the massive tornado, which had just struck Moore, adrenaline kicked in. I started thinking flights, medical kit, and every possible item I may need to report from the site of such a disaster. Medicated foot powder and extra shoelaces for some reason found themselves at the top of this particular list.
Soon, I would come to realize, Oklahoma City was not the easiest location to fly into from New York. Also, from past experience, the city in close proximity to a disaster starts running low on supplies, so it is sometimes more advantageous to fly into a nearby location and drive the rest of the way. I chose to fly into Tulsa, Oklahoma and picked up an all-wheel-drive sport utility vehicle to help navigate through the ground conditions.
I arrived into Moore, Oklahoma midday on May 21. The exits from the highways to the town were closed to all but police and rescue vehicles. After gaining access past a police checkpoint, I drove in and parked on S. Telephone Road near the Warren Theatres. My aim was to get a quick few images published. I then went for a walk and realized police were not allowing anyone to enter the nearby neighborhood, which was completely leveled. Instead of trying to enter from the main street side, which was all blocked by police, I attempted to make my way in between the homes.
I soon would come across a scene that mesmerized me. I knew I had found the background of my photograph that would prove the scale of this disaster. As families started returning to their homes to go through their belongings, I introduced myself and asked for permission to photograph on their property. After hours of waiting for ‘a moment’, a couple entered and stood against the background near where I had been patiently waiting. As they entered the space, they too seemed overwhelmed by the site and embraced. The woman in my photograph, who I would later come to identify as Danielle Stephan, had arrived with her boyfriend Thomas Layton to help recover belongings from her brother's home. Knowing I had captured the moment I was waiting for, I immediately pulled out my laptop and transmitted the image to Reuters. Afterwards, I would continue on my way through the destruction zone, searching for other moments which I could photograph to communicate the enormity of what this community in the suburbs of Oklahoma City was struggling through.”
Canon EO-1D X, lens 35mm, f2, 1/5000, ISO 50
Caption: Danielle Stephan holds boyfriend Thomas Layton as they pause between salvaging through the remains of a family member's home one day after a tornado devastated the town Moore, Oklahoma, in the outskirts of Oklahoma City May 21, 2013.
Image 34 of 93: TOBY MELVILLE, England
“Moon, Daddy!” exclaimed my two-year-old daughter excitedly from the rear seat as I drove her back home from a day with the childminder. “Where’s the moon?” I inquired as I concentrated on navigating through the evening rush hour on the busy roads of west London. “Over there: moon!” she repeated.
I knew it was a full and so-called Harvest Moon that night. I had a 500mm lens and decent enough 2 x converter in the trunk of the car as the every-ready back up emergency news set up. But the afternoon had been grotty and drizzly so not for the first time I had pretty much abandoned ideas for ‘full moon’ shots for another month.
But she was right. As I sat at the traffic lights in an interminable line, I could just catch a glimpse of the huge glowing orb peeping between clouds and houses. So, now the dilemma again of many a photographer when features and news just don’t happen between pre-determined working hours or ‘on-shift’: continue home and then do the cherished fun evening routine of bedtime stories for Junior, followed by wee glass of wine and dinner? Or go moon chasing?
This time the picture hunt won. Mom was already home, and happy to do the bed routine for our daughter. I promised not to be long (heard that one before!), dropped off Little One, turned the car around, nipped down a couple of well used short cuts, all the while seeing the moon rising higher, darting between clouds and the wonderful dusk blue starting to turn blacker with the moon growing brighter and brighter. The race was on, and opportunities were fading fast! Plane lights flickered as they came into land ever nearer to the moon’s path as I drove away from home, close to Heathrow airport, one of the world’s busiest.
I hadn’t enough time to go to any of the buildings that might work well with the moon rising behind as it was already too high, and I wasn’t close enough to get to the right areas of London. So planes it was.
I raced up and down a road that intersected the landing path of the northern flight landing runway for aircraft coming in from an easterly direction, and then bingo, after about 15 minutes I saw the spot: between two large retail park buildings and just through a gap in the trees that were dotted along the pavement, there shone the moon in the dark sky with incoming planes coming right up through the middle of it.
DSLR and effectively 1000mm lens over shoulder plus monopod, I raced up and down the busy roadside edge to try and recapture the moment I had just seen out of the car window: the moon was scooting up across the sky darn fast. As I perched my camera and lens on the edge of the pavement, one, then two, then maybe five in total planes came silhouetted through the moon over a 10 minute period or so. Bored, tired drivers briefly looked interested as they wondered what this loon with a huge piece of metal and glass was doing running up and down beside them as they sat in the main road gridlock. Could there really be a celebrity standing on the roof of a Homebase DIY store?
Another 10 minutes and I was back home. The lights were out upstairs but as I tried to quietly sneak up past my daughter’s bedroom to grab the laptop and edit the frames as quickly as possible, an inquisitive little voice piped up: “See moon, Daddy?” “Yes darling,” I replied. “Night night, it’s sleepy time”. Half an hour of gentle negotiating ensued to get her back to sleep whilst I edited on the stairs landing outside, a glass of red wine helping (or maybe hindering) the editing process. Maybe she’ll be a pilot one day, or an astronaut, or maybe just dream of those things.”
Nikon D4, lens 500mm with 1.7x converter, f16, 1/640, ISO 1600
Caption: A passenger aircraft, with the full "Harvest Moon" seen behind, makes its final approach to landing at Heathrow Airport in west London, September 19, 2013. The Harvest Moon is a traditional name for the full moon that is closest to the autumn equinox, and at a traditional period where farmers would be harvesting crops. The moon's rise time and angle of path give the illusion that the Harvest Moon is both closer, larger and brighter; though actually it is not.
“Moon, Daddy!” exclaimed my two-year-old daughter excitedly from the rear seat as I drove her back home from a day with the childminder. “Where’s the moon?” I inquired as I concentrated on navigating through the evening rush hour on the busy roads of west London. “Over there: moon!” she repeated.
I knew it was a full and so-called Harvest Moon that night. I had a 500mm lens and decent enough 2 x converter in the trunk of the car as the every-ready back up emergency news set up. But the afternoon had been grotty and drizzly so not for the first time I had pretty much abandoned ideas for ‘full moon’ shots for another month.
But she was right. As I sat at the traffic lights in an interminable line, I could just catch a glimpse of the huge glowing orb peeping between clouds and houses. So, now the dilemma again of many a photographer when features and news just don’t happen between pre-determined working hours or ‘on-shift’: continue home and then do the cherished fun evening routine of bedtime stories for Junior, followed by wee glass of wine and dinner? Or go moon chasing?
This time the picture hunt won. Mom was already home, and happy to do the bed routine for our daughter. I promised not to be long (heard that one before!), dropped off Little One, turned the car around, nipped down a couple of well used short cuts, all the while seeing the moon rising higher, darting between clouds and the wonderful dusk blue starting to turn blacker with the moon growing brighter and brighter. The race was on, and opportunities were fading fast! Plane lights flickered as they came into land ever nearer to the moon’s path as I drove away from home, close to Heathrow airport, one of the world’s busiest.
I hadn’t enough time to go to any of the buildings that might work well with the moon rising behind as it was already too high, and I wasn’t close enough to get to the right areas of London. So planes it was.
I raced up and down a road that intersected the landing path of the northern flight landing runway for aircraft coming in from an easterly direction, and then bingo, after about 15 minutes I saw the spot: between two large retail park buildings and just through a gap in the trees that were dotted along the pavement, there shone the moon in the dark sky with incoming planes coming right up through the middle of it.
DSLR and effectively 1000mm lens over shoulder plus monopod, I raced up and down the busy roadside edge to try and recapture the moment I had just seen out of the car window: the moon was scooting up across the sky darn fast. As I perched my camera and lens on the edge of the pavement, one, then two, then maybe five in total planes came silhouetted through the moon over a 10 minute period or so. Bored, tired drivers briefly looked interested as they wondered what this loon with a huge piece of metal and glass was doing running up and down beside them as they sat in the main road gridlock. Could there really be a celebrity standing on the roof of a Homebase DIY store?
Another 10 minutes and I was back home. The lights were out upstairs but as I tried to quietly sneak up past my daughter’s bedroom to grab the laptop and edit the frames as quickly as possible, an inquisitive little voice piped up: “See moon, Daddy?” “Yes darling,” I replied. “Night night, it’s sleepy time”. Half an hour of gentle negotiating ensued to get her back to sleep whilst I edited on the stairs landing outside, a glass of red wine helping (or maybe hindering) the editing process. Maybe she’ll be a pilot one day, or an astronaut, or maybe just dream of those things.”
Nikon D4, lens 500mm with 1.7x converter, f16, 1/640, ISO 1600
Caption: A passenger aircraft, with the full "Harvest Moon" seen behind, makes its final approach to landing at Heathrow Airport in west London, September 19, 2013. The Harvest Moon is a traditional name for the full moon that is closest to the autumn equinox, and at a traditional period where farmers would be harvesting crops. The moon's rise time and angle of path give the illusion that the Harvest Moon is both closer, larger and brighter; though actually it is not.
Image 35 of 93: YORGOS KARAHALIS, Greece
“It was one of those photo shoots that you don’t really want to go to as you know you will not be welcomed as a member of the press.
A rally on February 2nd to mark the death of three Greek military officers who were killed during the crisis between Greece and Turkey over Imia, an islet in the eastern Aegean Sea, turned into a mass gathering of supporters of the extreme-right Golden Dawn party.More than 2,000 people demonstrated holding Greek flags and torches, most of them dressed in black and with an aggressive attitude towards anyone who was not clearly affiliated with their party.
This picture was taken at the end of the rally, when the Golden Dawn supporters were about to begin marching to their party’s headquarters.
Golden Dawn entered parliament for the first time in 2012 elections, held during an extremely tough financial crisis, the country’s worst since World War Two. It won seven percent of the vote and 18 seats at the 300-seat Greek parliament.”
Canon EOS 5D Mark III, lens 24-70mm, f6.4, 1/25, ISO 1600
Caption: Supporters of the extreme-right Golden Dawn party hold torches during a gathering in Athens February 2, 2013.
Ήταν ένα από εκείνα τα θέματα που δεν θέλεις πραγματικά να πάς μια και δεν θα είσαι καλοδεχούμενος σαν εκπρόσωπος του Τύπου.Το συλλαλητήριο στις 2 Φεβρουαρίου 2013 που έγινε στην μνήμη τριών Ελλήνων αξιωματικών που σκοτώθηκαν στην διάρκεια της Ελληνοτουρκικής κρίσηςγια τα Ίμια, μιας βραχονησίδας στο ανατολικό Αιγαίο, έγινε μια μεγάλη και μαζική συνάθροιση των υποστηρικτών του ακροδεξιού κόμματος της Χρυσής Αυγής. Περισσότεροι από 2000 διαδήλωσαν, κρατώντας Ελληνικές σημαίες και πυρσούς, με τους περισσότερους ντυμένους στα μαύρα και με επιθετική συμπεριφορά απέναντι σε όποιον δεν ήταν ξεκάθαρα θετικά προσκείμενος προς το κόμμα.Η φωτογραφία πάρθηκε στο τέλος του συλλαλητηρίου, όταν οι υποστηρικτές ξεκινούσαν την πορεία τους για τα κεντρικά γραφεία του κόμματος. Η Χρυσή Αυγή μπήκε στην Βουλή για πρώτη φορά στις εκλογές του 2012, οι οποίες έγιναν στην διάρκεια μιας πολύ σκληρής οικονομικής κρίσης, της χειρότερης για την χώρα από τον 2ο Παγκόσμιο Πόλεμο. Πήρε 7% των ψήφων και 18 έδρες στο κοινοβούλιο των 300 εδρών."
“It was one of those photo shoots that you don’t really want to go to as you know you will not be welcomed as a member of the press.
A rally on February 2nd to mark the death of three Greek military officers who were killed during the crisis between Greece and Turkey over Imia, an islet in the eastern Aegean Sea, turned into a mass gathering of supporters of the extreme-right Golden Dawn party.More than 2,000 people demonstrated holding Greek flags and torches, most of them dressed in black and with an aggressive attitude towards anyone who was not clearly affiliated with their party.
This picture was taken at the end of the rally, when the Golden Dawn supporters were about to begin marching to their party’s headquarters.
Golden Dawn entered parliament for the first time in 2012 elections, held during an extremely tough financial crisis, the country’s worst since World War Two. It won seven percent of the vote and 18 seats at the 300-seat Greek parliament.”
Canon EOS 5D Mark III, lens 24-70mm, f6.4, 1/25, ISO 1600
Caption: Supporters of the extreme-right Golden Dawn party hold torches during a gathering in Athens February 2, 2013.
Ήταν ένα από εκείνα τα θέματα που δεν θέλεις πραγματικά να πάς μια και δεν θα είσαι καλοδεχούμενος σαν εκπρόσωπος του Τύπου.Το συλλαλητήριο στις 2 Φεβρουαρίου 2013 που έγινε στην μνήμη τριών Ελλήνων αξιωματικών που σκοτώθηκαν στην διάρκεια της Ελληνοτουρκικής κρίσηςγια τα Ίμια, μιας βραχονησίδας στο ανατολικό Αιγαίο, έγινε μια μεγάλη και μαζική συνάθροιση των υποστηρικτών του ακροδεξιού κόμματος της Χρυσής Αυγής. Περισσότεροι από 2000 διαδήλωσαν, κρατώντας Ελληνικές σημαίες και πυρσούς, με τους περισσότερους ντυμένους στα μαύρα και με επιθετική συμπεριφορά απέναντι σε όποιον δεν ήταν ξεκάθαρα θετικά προσκείμενος προς το κόμμα.Η φωτογραφία πάρθηκε στο τέλος του συλλαλητηρίου, όταν οι υποστηρικτές ξεκινούσαν την πορεία τους για τα κεντρικά γραφεία του κόμματος. Η Χρυσή Αυγή μπήκε στην Βουλή για πρώτη φορά στις εκλογές του 2012, οι οποίες έγιναν στην διάρκεια μιας πολύ σκληρής οικονομικής κρίσης, της χειρότερης για την χώρα από τον 2ο Παγκόσμιο Πόλεμο. Πήρε 7% των ψήφων και 18 έδρες στο κοινοβούλιο των 300 εδρών."
Image 36 of 93: MARKO DJURICA, Serbia
“I crouched in the middle of the night beside a bush and waited. The police officer next to me told me to keep quiet. They were coming. After a few seconds the night was shattered by a shout. “STOP, POLICE!” and dozens of people fell to the ground in fright.The people in the picture are from Syria. This image was taken a few moments after the police had arrested them. The fear in their eyes is obvious, and I was gripped by sadness as I photographed them.”
Canon EOS 1DX, lens 35mm, f2.0, 1/80, ISO 3200
Caption: Migrants, who said they were from Syria, sit on the ground after being apprehended by the Serbian border police, having illegally entered the country from Macedonia, near the town of Presevo some 383 km (238 miles) from capital Belgrade July 17, 2013. Every year, the Serbian border police catch thousands of migrants from Africa, the Middle East, and elsewhere who are trying to reach Serbia illegally. In many cases they come from Turkey, through Greece to Macedonia and Serbia before they reach Hungary and with it, the borderless Schengen travel zone. With chaos and conflict raging in Syria, last year saw a huge increase in the number of Syrians trying to enter the Western Balkans in search of asylum in the West.
“Cucao sam usred noci pored nekog zbuna i cekao. Policajac pored mene mi je rekao da cutim jer stizu. Posle nekoliko sekundi tihu noc je prekinuo urlik “STOJ POLICIJA” a oko tridesetak ljudi je popadalo po zemlji od straha.Ljudi na slici su iz Sirije, samo nekoliko momenata nakon sto sto ih je policija uhapsila. Strah u njihovim ocima je ocigledan, a mene je obuzela neka tuga dok sam ih slikao.”
“I crouched in the middle of the night beside a bush and waited. The police officer next to me told me to keep quiet. They were coming. After a few seconds the night was shattered by a shout. “STOP, POLICE!” and dozens of people fell to the ground in fright.The people in the picture are from Syria. This image was taken a few moments after the police had arrested them. The fear in their eyes is obvious, and I was gripped by sadness as I photographed them.”
Canon EOS 1DX, lens 35mm, f2.0, 1/80, ISO 3200
Caption: Migrants, who said they were from Syria, sit on the ground after being apprehended by the Serbian border police, having illegally entered the country from Macedonia, near the town of Presevo some 383 km (238 miles) from capital Belgrade July 17, 2013. Every year, the Serbian border police catch thousands of migrants from Africa, the Middle East, and elsewhere who are trying to reach Serbia illegally. In many cases they come from Turkey, through Greece to Macedonia and Serbia before they reach Hungary and with it, the borderless Schengen travel zone. With chaos and conflict raging in Syria, last year saw a huge increase in the number of Syrians trying to enter the Western Balkans in search of asylum in the West.
“Cucao sam usred noci pored nekog zbuna i cekao. Policajac pored mene mi je rekao da cutim jer stizu. Posle nekoliko sekundi tihu noc je prekinuo urlik “STOJ POLICIJA” a oko tridesetak ljudi je popadalo po zemlji od straha.Ljudi na slici su iz Sirije, samo nekoliko momenata nakon sto sto ih je policija uhapsila. Strah u njihovim ocima je ocigledan, a mene je obuzela neka tuga dok sam ih slikao.”
Image 37 of 93: JORGE CABRERA, Honduras
“I went to one of the most conflicted neighborhoods to look for a story when I found Maribel, a single mother of four children, selling tortillas. When she dropped her daughter off at school, the person from the NGO who I went to the neighborhood with, told me Maribel’s story. Her husband, in a jealous fit of rage, had chopped off both of her hands in one blow.
When Maribel returned from school I asked her if she would let me photograph her and she immediately said yes.
When I went back a couple of days later, I asked her not to pay attention to me. She continued with her routine and was very natural. Little by little she told me what had happened to her. One of her daughters had seen everything.
Maribel has found a way to do her work and live her life, some things she does alone and others with the help of her family.
I asked her to pose for me in this photograph. She agreed and did so with a light smile on her face.”
Canon Mark IV, lens 50mm, f1.8, 1/4000
Caption: Angelica Maribel Murillo, 37, poses for a photograph at her home in the La Nueva Australia neighborhood in Tegucigalpa August 21, 2013. Angelica's husband attacked her in 2008, accusing her of having an affair, and cut off her two hands with a machete while trying to kill her. He is on the run since then, while she raises their four children by making and selling tortillas. Some 225 women have been killed during the first six months of 2013, according to local media.
“Fui a ver a unos de los barrios mas problemáticas de Honduras buscando una historia y me encontré con Maribel, madres soltera y con cuatro hijos, mientras vendía tortillas. Cuando fue a dejar a su hija a la escuela la persona de la ONG que me había llevado me conto que le había pasado. Su esposo, en un arranque de celos, agarro un machete y le corto las dos manos con un solo tajo.
Cuando Maribel regreso de la escuela le pregunte si ella accediera a dejarse fotografiar por mi, y ella acepto inmediatamente.
Cuando volví le pedí que no se fijara en mi, ella siguió con su rutina y era muy natural. Poco a poco me conto lo que le había pasado. Una de sus hijas vio cuando paso. Maribel ha encontrado maneras de hacer su trabajo y su familia le ayuda. Le pedi que posara en esta fotografía para mi y lo hizo con una leve sonrisa.
Su terrible experiencia pareciera no haber afectado quien es y quien quiere ser."
“I went to one of the most conflicted neighborhoods to look for a story when I found Maribel, a single mother of four children, selling tortillas. When she dropped her daughter off at school, the person from the NGO who I went to the neighborhood with, told me Maribel’s story. Her husband, in a jealous fit of rage, had chopped off both of her hands in one blow.
When Maribel returned from school I asked her if she would let me photograph her and she immediately said yes.
When I went back a couple of days later, I asked her not to pay attention to me. She continued with her routine and was very natural. Little by little she told me what had happened to her. One of her daughters had seen everything.
Maribel has found a way to do her work and live her life, some things she does alone and others with the help of her family.
I asked her to pose for me in this photograph. She agreed and did so with a light smile on her face.”
Canon Mark IV, lens 50mm, f1.8, 1/4000
Caption: Angelica Maribel Murillo, 37, poses for a photograph at her home in the La Nueva Australia neighborhood in Tegucigalpa August 21, 2013. Angelica's husband attacked her in 2008, accusing her of having an affair, and cut off her two hands with a machete while trying to kill her. He is on the run since then, while she raises their four children by making and selling tortillas. Some 225 women have been killed during the first six months of 2013, according to local media.
“Fui a ver a unos de los barrios mas problemáticas de Honduras buscando una historia y me encontré con Maribel, madres soltera y con cuatro hijos, mientras vendía tortillas. Cuando fue a dejar a su hija a la escuela la persona de la ONG que me había llevado me conto que le había pasado. Su esposo, en un arranque de celos, agarro un machete y le corto las dos manos con un solo tajo.
Cuando Maribel regreso de la escuela le pregunte si ella accediera a dejarse fotografiar por mi, y ella acepto inmediatamente.
Cuando volví le pedí que no se fijara en mi, ella siguió con su rutina y era muy natural. Poco a poco me conto lo que le había pasado. Una de sus hijas vio cuando paso. Maribel ha encontrado maneras de hacer su trabajo y su familia le ayuda. Le pedi que posara en esta fotografía para mi y lo hizo con una leve sonrisa.
Su terrible experiencia pareciera no haber afectado quien es y quien quiere ser."
Image 38 of 93: LUCAS JACKSON, United States
“Doing portraits with Olympic athletes is always a treat. A lot of them bring the uniform or equipment that they will wear when competing and that's what this is. Her helmet was specially made for her by an artist and I thought it was important to take a photograph of her with it on since that's probably what most people will see when she is competing. The reflective nature of the helmet was somewhat difficult to work around but by using large strip lights and making sure I paid attention to where the reflections were I felt this image worked as a successful portrait even though you don't see much of her face.”
Canon 5D MKIII, lens 24-70mm at 52mm, f8, 1/200, ISO 200
Caption: Olympic skeleton racer Noelle Pikus-Pace poses for a portrait during the 2013 U.S. Olympic Team Media Summit in Park City, Utah September 30, 2013.
“Doing portraits with Olympic athletes is always a treat. A lot of them bring the uniform or equipment that they will wear when competing and that's what this is. Her helmet was specially made for her by an artist and I thought it was important to take a photograph of her with it on since that's probably what most people will see when she is competing. The reflective nature of the helmet was somewhat difficult to work around but by using large strip lights and making sure I paid attention to where the reflections were I felt this image worked as a successful portrait even though you don't see much of her face.”
Canon 5D MKIII, lens 24-70mm at 52mm, f8, 1/200, ISO 200
Caption: Olympic skeleton racer Noelle Pikus-Pace poses for a portrait during the 2013 U.S. Olympic Team Media Summit in Park City, Utah September 30, 2013.
Image 39 of 93: MIKE BLAKE, United States
“I was driving along the coast one day to an assignment and saw a funny looking plane flying over a bluff in an area where you usually see RC pilots using the updraft off the ocean to fly their toys. I was curious because it looked like a man -- not a plane. A quick search on the internet the next day and there was a short video on YouTube that a cyclist had posted as they road their bike past the same spot. That evening a local news channel showed the video and said it was piloted by a man named Otto Dieffenbach. I searched out Otto, found his dad, who had the same name, and then tracked down the designer and pilot. Only problem was he had no interest on showing anyone what he was doing. He said he was out testing a prototype and did not want anyone to see until he was happy with his final design. So we exchanged emails and phone numbers and I would call him every once in a while checking up on how things were going. Sure enough four months or so later, Otto sent me a cryptic email asking to meet him at 7 a.m. on a hill behind a building off a road near an office complex that bordered alongside a canyon. We met up and he introduced me to his new creations as he hauled them out of the back of an old Volvo station wagon.
I shot a bunch of pictures that morning. The fog was just burning off and the light sweet, almost perfect. Otto was test flying his new designs and I was pretty sure I was the first photographer in the world to be photographing a superman RC plane. The test flights were short – only a few minutes. On the last test flight, Otto flew his superman past a Qualcomm office tower and as he banked high to come in for a landing, the moon came in my frame and the picture was made.”
Canon Dx, lens 70-200mm, f5, 1/1000, ISO 100
Caption: A radio-controlled Superman plane, flown by designer Otto Dieffenbach, passes the moon during a test flight in San Diego, California June 27, 2013. Otto and business partner Ed Hanley are a small start-up company that creates flying radio-controlled planes, designed in the form of people, characters and objects, for commercial and promotional uses.
“I was driving along the coast one day to an assignment and saw a funny looking plane flying over a bluff in an area where you usually see RC pilots using the updraft off the ocean to fly their toys. I was curious because it looked like a man -- not a plane. A quick search on the internet the next day and there was a short video on YouTube that a cyclist had posted as they road their bike past the same spot. That evening a local news channel showed the video and said it was piloted by a man named Otto Dieffenbach. I searched out Otto, found his dad, who had the same name, and then tracked down the designer and pilot. Only problem was he had no interest on showing anyone what he was doing. He said he was out testing a prototype and did not want anyone to see until he was happy with his final design. So we exchanged emails and phone numbers and I would call him every once in a while checking up on how things were going. Sure enough four months or so later, Otto sent me a cryptic email asking to meet him at 7 a.m. on a hill behind a building off a road near an office complex that bordered alongside a canyon. We met up and he introduced me to his new creations as he hauled them out of the back of an old Volvo station wagon.
I shot a bunch of pictures that morning. The fog was just burning off and the light sweet, almost perfect. Otto was test flying his new designs and I was pretty sure I was the first photographer in the world to be photographing a superman RC plane. The test flights were short – only a few minutes. On the last test flight, Otto flew his superman past a Qualcomm office tower and as he banked high to come in for a landing, the moon came in my frame and the picture was made.”
Canon Dx, lens 70-200mm, f5, 1/1000, ISO 100
Caption: A radio-controlled Superman plane, flown by designer Otto Dieffenbach, passes the moon during a test flight in San Diego, California June 27, 2013. Otto and business partner Ed Hanley are a small start-up company that creates flying radio-controlled planes, designed in the form of people, characters and objects, for commercial and promotional uses.
Image 40 of 93: ALESSANDRO BIANCHI, Italy
“Thousands of powerful photographs have told the story of the tragedy of 13 January 2012, the wreck of the Costa Concordia. But on the eve of the operation to pull the cruise ship upright I thought an aerial photograph could be the one remaining image that could show the scale of this tragedy.
It’s still poignant to remember the strong contrast between the 300 yards of the ship’s geometric lines and the jagged coast of Giglio Island.
The most difficult moment arrived when I had to get the permit to fly over the scene. I was told ‘no’ many times but I kept insisting and eventually my persistence opened a door. I found out that the Italian Navy was doing flight training, using the scene of the Costa Concordia as a scenario.
It was decided that they could bring me close to Giglio Island on a training flight. As I didn’t know how far away we would be from the ship, I had to bring a lot of equipment. I anticipated the open door of the helicopter and the force of the wind could create problems during shooting. But before I started shooting, I was frozen, almost hypnotized by the scene in front of me. It was incredible to see the ship lying on its side.
I started taking as many photos as possible because time was limited. It was summer, and we couldn’t disturb the tourists visiting the island on holidays with the racket of the hovering helicopter. Operating in the climate of Italy’s economic crisis also did not allow much fuel to be wasted.
In the end, I did well to start shooting. Soon afterwards the helicopter turned away, and I could no longer capture the huge length of the boat in one shot. This photo, the best of the set, is the first one I took.”
Canon EOS 1X, lens 105mm, f8, 1/1600, ISO 400
Caption: An aerial view shows the Costa Concordia as it lies on its side next to Giglio Island taken from an Italian navy helicopter August 26, 2013.
“Migliaia sono stati gli scatti significativi che hanno raccontato la tragedia che il 13 Gennaio 2012 coinvolse nel naufragio la nave da crociera Concordia. Ma alla vigilia delle operazioni di raddrizzamento dello scafo ho pensato che la foto aerea potesse essere l’ultima immagine che mostrava i segni di questa tragedia.
Il forte contrasto tra i trecento metri di linee regolari della nave e le coste frastagliate dell’isola del giglio rimangono una forte emozione.
Ora arrivava la parte difficile quella di trovare le autorizzazioni per poter volare sopra . Molti i “No” incassati ma la forte insistensa mi apri’ una porta importante. Sapevo che la Marina Militare faceva addestramento anche con un simulatore di volo che riproponeva la scena unica del disastro della Concordia.
Decisero di portarmi con loro in prossimita del Giglio in un volo di addestramento. Non sapendo a quale distanza ci saremmo trovati dalla nave mi dovetti portare molta attrezzatura sapendo che mi avrebbe creato difficolta’ durante le operazioni di shooting con il portellone aperto dell’elicottero ed i vortici d’aria che mi scuotevano. Prima di scattare rimasi quasi ipnotizzato nell’affacciarmi sulla scena, incredibile vederla su di un fianco.
Mi sbrigai a scattare quanto possibile, era estate e non potevamo disturbare i turisti giunti sull’isola per le vacanze con il fracasso dell’elicottero in overing e anche perche’ la crisi economica non permette piu’ sprechi di carburante.
Questa e’ la foto che ho voluto scattare per prima perche’ cosi’ la immaginavo."
“Thousands of powerful photographs have told the story of the tragedy of 13 January 2012, the wreck of the Costa Concordia. But on the eve of the operation to pull the cruise ship upright I thought an aerial photograph could be the one remaining image that could show the scale of this tragedy.
It’s still poignant to remember the strong contrast between the 300 yards of the ship’s geometric lines and the jagged coast of Giglio Island.
The most difficult moment arrived when I had to get the permit to fly over the scene. I was told ‘no’ many times but I kept insisting and eventually my persistence opened a door. I found out that the Italian Navy was doing flight training, using the scene of the Costa Concordia as a scenario.
It was decided that they could bring me close to Giglio Island on a training flight. As I didn’t know how far away we would be from the ship, I had to bring a lot of equipment. I anticipated the open door of the helicopter and the force of the wind could create problems during shooting. But before I started shooting, I was frozen, almost hypnotized by the scene in front of me. It was incredible to see the ship lying on its side.
I started taking as many photos as possible because time was limited. It was summer, and we couldn’t disturb the tourists visiting the island on holidays with the racket of the hovering helicopter. Operating in the climate of Italy’s economic crisis also did not allow much fuel to be wasted.
In the end, I did well to start shooting. Soon afterwards the helicopter turned away, and I could no longer capture the huge length of the boat in one shot. This photo, the best of the set, is the first one I took.”
Canon EOS 1X, lens 105mm, f8, 1/1600, ISO 400
Caption: An aerial view shows the Costa Concordia as it lies on its side next to Giglio Island taken from an Italian navy helicopter August 26, 2013.
“Migliaia sono stati gli scatti significativi che hanno raccontato la tragedia che il 13 Gennaio 2012 coinvolse nel naufragio la nave da crociera Concordia. Ma alla vigilia delle operazioni di raddrizzamento dello scafo ho pensato che la foto aerea potesse essere l’ultima immagine che mostrava i segni di questa tragedia.
Il forte contrasto tra i trecento metri di linee regolari della nave e le coste frastagliate dell’isola del giglio rimangono una forte emozione.
Ora arrivava la parte difficile quella di trovare le autorizzazioni per poter volare sopra . Molti i “No” incassati ma la forte insistensa mi apri’ una porta importante. Sapevo che la Marina Militare faceva addestramento anche con un simulatore di volo che riproponeva la scena unica del disastro della Concordia.
Decisero di portarmi con loro in prossimita del Giglio in un volo di addestramento. Non sapendo a quale distanza ci saremmo trovati dalla nave mi dovetti portare molta attrezzatura sapendo che mi avrebbe creato difficolta’ durante le operazioni di shooting con il portellone aperto dell’elicottero ed i vortici d’aria che mi scuotevano. Prima di scattare rimasi quasi ipnotizzato nell’affacciarmi sulla scena, incredibile vederla su di un fianco.
Mi sbrigai a scattare quanto possibile, era estate e non potevamo disturbare i turisti giunti sull’isola per le vacanze con il fracasso dell’elicottero in overing e anche perche’ la crisi economica non permette piu’ sprechi di carburante.
Questa e’ la foto che ho voluto scattare per prima perche’ cosi’ la immaginavo."
Image 41 of 93: EDGAR SU, Singapore
“Vujicic was in town to promote his motivational talk by diving with sharks at an aquarium. I knew it was going to be a great photo opportunity but the challenge was the media scrum that ensues during such publicity events. There must have been about 20 members of the media crowding behind a thick 3m by 3m glass panel to film Vujicic's feat, getting their lenses as close as possible to the glass to cut off any reflection. Some stood on a bench shooting over the shoulders of others who were half squatting while latecomers awkwardly did their best to fit in to whatever gap there was on the glass.
No one knew when Vujicic would dive in so everyone maintained their positions, ready for action. After 20 minutes, most of us were perspiring because it was very stuffy and some even fogged up their patch of the glass panel with their breath.
I was very lucky to have occupied a good spot – dead center – and made many frames of him enjoying his dive. I particularly like this picture of him because it looks quirky – he is hovering in the water looking at sharks that circle him under a ring of light from his enclosure while a diver climbs out on the left of the frame.”
Canon 5D Mark II, 16-35mm at 16mm, ISO 5000, F4 , 1/125
Caption: Nick Vujicic, an Australian motivational speaker who was born without limbs, swims with sharks at the Marine Life Park in Singapore September 5, 2013. Vujicic dived with sharks in a customized acrylic enclosure that takes in a 360-degree view of the shark habitat at the aquarium.
“Vujicic was in town to promote his motivational talk by diving with sharks at an aquarium. I knew it was going to be a great photo opportunity but the challenge was the media scrum that ensues during such publicity events. There must have been about 20 members of the media crowding behind a thick 3m by 3m glass panel to film Vujicic's feat, getting their lenses as close as possible to the glass to cut off any reflection. Some stood on a bench shooting over the shoulders of others who were half squatting while latecomers awkwardly did their best to fit in to whatever gap there was on the glass.
No one knew when Vujicic would dive in so everyone maintained their positions, ready for action. After 20 minutes, most of us were perspiring because it was very stuffy and some even fogged up their patch of the glass panel with their breath.
I was very lucky to have occupied a good spot – dead center – and made many frames of him enjoying his dive. I particularly like this picture of him because it looks quirky – he is hovering in the water looking at sharks that circle him under a ring of light from his enclosure while a diver climbs out on the left of the frame.”
Canon 5D Mark II, 16-35mm at 16mm, ISO 5000, F4 , 1/125
Caption: Nick Vujicic, an Australian motivational speaker who was born without limbs, swims with sharks at the Marine Life Park in Singapore September 5, 2013. Vujicic dived with sharks in a customized acrylic enclosure that takes in a 360-degree view of the shark habitat at the aquarium.
Image 42 of 93: BRENDAN MCDERMID, United States
“One of the most anticipated and controversial Supreme Court rulings in years was the recognition of gay marriage and the eligibility for same sex partners to receive benefits.When planning coverage for this day we had all agreed that one of the most important places to be on this day would be at the Stonewall Inn, the birth place of the gay rights movement in the U.S. The Stonewall Inn was the site of the Stonewall riots of 1969 that were a result of a police raid and arrests at the Greenwich Village tavern which had always catered to the gay community. People, both gay and straight, had gathered there for the announcement all hoping it would be in their favor. When the Court's announcement first came down the bar erupted in celebration, people watched the news coverage and began to enjoy the moment. The local channels broadcast a news conference by one of the defendants in the Supreme Court's case, which was very emotional both on the television and in the bar. I felt I had spent plenty of time in and had made several strong images, but nothing that really stood out for me. I was quite antsy to break away and file. The bar was very dark with only one large window in the front and the lights turned down so people could watch the televisions, this made it very difficult to shoot. As I was walking towards the door I saw a couple who had just arrived standing together watching the coverage, they were becoming quite emotional. I made several frames of them as they watched and reacted to what they were seeing. At that point I was concentrating more on getting the image sharp more than anything else, I had opened up the my lens to 1.6 and was using a very slow shutter setting (1/40th of a sec.) which left very little depth for focus. The light hitting the faces of the two men is actually glow from the television they were watching, and the images were very backlit with the dominant light coming from the window behind them. Just as I had squeezed off several frames, a very large crowd of excited and emotional people arrived to join the celebration. I quickly tried to rush over to the couple to talk with them but as quickly as the light from the television had filled their faces, they disappeared into the growing crowd of joyous celebration. After that I knew it was time to head out and file what I had. I transmitted two images of the couple embracing, but only one had the glow of the television to light them. They clearly stood out in my edit and they will forever stand out in my memory of a highly emotional day that will forever change the way people live and view each other in our society.”
Canon 5D Mark III, lens 50mm, f1.4, 1/49, ISO 4000
Caption: Patrons watch coverage of the U.S. Supreme Court ruling on the Defense of Marriage Act at the Stonewall Inn in New York June 26, 2013. The U.S. Supreme Court handed a significant victory to gay rights advocates by ruling that married gay men and women are eligible for federal benefits and paving the way for same-sex marriage in California.
“One of the most anticipated and controversial Supreme Court rulings in years was the recognition of gay marriage and the eligibility for same sex partners to receive benefits.When planning coverage for this day we had all agreed that one of the most important places to be on this day would be at the Stonewall Inn, the birth place of the gay rights movement in the U.S. The Stonewall Inn was the site of the Stonewall riots of 1969 that were a result of a police raid and arrests at the Greenwich Village tavern which had always catered to the gay community. People, both gay and straight, had gathered there for the announcement all hoping it would be in their favor. When the Court's announcement first came down the bar erupted in celebration, people watched the news coverage and began to enjoy the moment. The local channels broadcast a news conference by one of the defendants in the Supreme Court's case, which was very emotional both on the television and in the bar. I felt I had spent plenty of time in and had made several strong images, but nothing that really stood out for me. I was quite antsy to break away and file. The bar was very dark with only one large window in the front and the lights turned down so people could watch the televisions, this made it very difficult to shoot. As I was walking towards the door I saw a couple who had just arrived standing together watching the coverage, they were becoming quite emotional. I made several frames of them as they watched and reacted to what they were seeing. At that point I was concentrating more on getting the image sharp more than anything else, I had opened up the my lens to 1.6 and was using a very slow shutter setting (1/40th of a sec.) which left very little depth for focus. The light hitting the faces of the two men is actually glow from the television they were watching, and the images were very backlit with the dominant light coming from the window behind them. Just as I had squeezed off several frames, a very large crowd of excited and emotional people arrived to join the celebration. I quickly tried to rush over to the couple to talk with them but as quickly as the light from the television had filled their faces, they disappeared into the growing crowd of joyous celebration. After that I knew it was time to head out and file what I had. I transmitted two images of the couple embracing, but only one had the glow of the television to light them. They clearly stood out in my edit and they will forever stand out in my memory of a highly emotional day that will forever change the way people live and view each other in our society.”
Canon 5D Mark III, lens 50mm, f1.4, 1/49, ISO 4000
Caption: Patrons watch coverage of the U.S. Supreme Court ruling on the Defense of Marriage Act at the Stonewall Inn in New York June 26, 2013. The U.S. Supreme Court handed a significant victory to gay rights advocates by ruling that married gay men and women are eligible for federal benefits and paving the way for same-sex marriage in California.
Image 43 of 93: YVES HERMAN, Belgium
“We always think twice about how much of the demonstrations and actions organized by activists and NGOs we must cover as a news agency photographer. The Femen group, in this case, contacted members of the press the day before the conference organized by the Brussels university ULB on the topic “Blasphemy offense or freedom of expression”.
Archbishop of Mechelen-Brussels and Primate of Belgium Andre-Joseph Leonard was due to address the conference and Femen group members planned to protest during his speech. The Roman Catholic Church had been quite often criticized throughout the last year on their position regarding the gay community and the Femen wanted to address that issue during a protest against homophobia.
Obviously Archbishop Leonard was not aware of it and was even surprised to see a bunch of photographers waiting for his speech. I had no idea what was about to happen and I didn’t see any suspicious people among the assembly in the atrium. When Leonard started his speech four girls ran from the benches and surrounded the priest.
Spraying water with bottles shaped as the Virgin Mary, the Femen started to shout slogans against homophobia. It took just a few seconds before the activists were kicked out of the room by people attending the conference. Leonard stayed sitting and joined his hands in prayer. He did not react and waited until it was finished.
Some people in the room had very strong reactions against the activists but also against the press photographers. We were accused by some people of complicity with the Femen group. That was absolutely wrong because we were not aware of what was about to take place. Our job was to be there and report.”
Canon EOS 1DX, lens 16-35 mm, f5.6, 1/250, ISO 1600
Caption: Activists from women's rights group Femen react after spraying water at Belgian Archbishop of Mechelen-Brussels and Primate of Belgium Andre-Joseph Leonard (L) during a conference at Brussels University ULB April 23, 2013.
“Nous réfléchissons toujours deux fois, en tant que photographe travaillant pour une agence de presse, si nous devons couvrir les manifestations et actions organisées par des groupes activistes et des ONG. Je me pose la question de savoir si relater les actions de ces groupes ne relève pas de la propagande. Dans ce cas il m’a paru évident que cet événement était à couvrir.
Le groupe Femen a pris contact avec les journalistes la veille de la conférence organisée par l’Université Libre de Bruxelles ULB sur le thème « délit de blasphème et la liberté d'expression » qui était prevue pour le 23 avril 2013. L'archevêque de Malines -Bruxelles et Primat de Belgique André- Joseph Léonard était invité à prendre la parole lors de cette conférence et les membres du groupe de féministes Femen avaient prévu de manifester lors de son discours . Les Femen ont manifesté contre ce qu’elles appellent de l’homophobie de la part de l'église catholique à l'égard de la communauté gay.
Évidemment, l'archevêque Léonard n'était pas au courant de cette action et a même été surpris de voir un tas de photographes présents dans la salle. Je n'avais aucune idée de ce qui était prévu et je n'ai pas remarqué de personnes suspectes parmi l'assemblée. Lorsque Mr Leonard a commencé son discours, quatre filles sont descendues des gradins et ont encerclé le prêtre.
Les Femen ont pulvérisé de l’eau à l’aide de bouteilles en forme de la sainte Vierge et ont crié des slogans contre l'homophobie.
Il a fallu quelques secondes avant que les militants soient expulsés de la salle par des personnes assistant à la conférence. Mr Leonard est resté assis et a commencé à prier. Il n'a pas réagi et a attendu pacifiquement.
Certaines personnes dans la salle ont réagi très brutalement contre les activistes , mais aussi contre les photographes de presse . Nous avons été accusés par certains de complicité avec le groupe Femen . Ce qui es bien sûr absolument faux. Nous n'étions pas au courant de ce qui était sur le point d' avoir lieu . Notre tâche était d'être là et de faire notre travail.”
“We always think twice about how much of the demonstrations and actions organized by activists and NGOs we must cover as a news agency photographer. The Femen group, in this case, contacted members of the press the day before the conference organized by the Brussels university ULB on the topic “Blasphemy offense or freedom of expression”.
Archbishop of Mechelen-Brussels and Primate of Belgium Andre-Joseph Leonard was due to address the conference and Femen group members planned to protest during his speech. The Roman Catholic Church had been quite often criticized throughout the last year on their position regarding the gay community and the Femen wanted to address that issue during a protest against homophobia.
Obviously Archbishop Leonard was not aware of it and was even surprised to see a bunch of photographers waiting for his speech. I had no idea what was about to happen and I didn’t see any suspicious people among the assembly in the atrium. When Leonard started his speech four girls ran from the benches and surrounded the priest.
Spraying water with bottles shaped as the Virgin Mary, the Femen started to shout slogans against homophobia. It took just a few seconds before the activists were kicked out of the room by people attending the conference. Leonard stayed sitting and joined his hands in prayer. He did not react and waited until it was finished.
Some people in the room had very strong reactions against the activists but also against the press photographers. We were accused by some people of complicity with the Femen group. That was absolutely wrong because we were not aware of what was about to take place. Our job was to be there and report.”
Canon EOS 1DX, lens 16-35 mm, f5.6, 1/250, ISO 1600
Caption: Activists from women's rights group Femen react after spraying water at Belgian Archbishop of Mechelen-Brussels and Primate of Belgium Andre-Joseph Leonard (L) during a conference at Brussels University ULB April 23, 2013.
“Nous réfléchissons toujours deux fois, en tant que photographe travaillant pour une agence de presse, si nous devons couvrir les manifestations et actions organisées par des groupes activistes et des ONG. Je me pose la question de savoir si relater les actions de ces groupes ne relève pas de la propagande. Dans ce cas il m’a paru évident que cet événement était à couvrir.
Le groupe Femen a pris contact avec les journalistes la veille de la conférence organisée par l’Université Libre de Bruxelles ULB sur le thème « délit de blasphème et la liberté d'expression » qui était prevue pour le 23 avril 2013. L'archevêque de Malines -Bruxelles et Primat de Belgique André- Joseph Léonard était invité à prendre la parole lors de cette conférence et les membres du groupe de féministes Femen avaient prévu de manifester lors de son discours . Les Femen ont manifesté contre ce qu’elles appellent de l’homophobie de la part de l'église catholique à l'égard de la communauté gay.
Évidemment, l'archevêque Léonard n'était pas au courant de cette action et a même été surpris de voir un tas de photographes présents dans la salle. Je n'avais aucune idée de ce qui était prévu et je n'ai pas remarqué de personnes suspectes parmi l'assemblée. Lorsque Mr Leonard a commencé son discours, quatre filles sont descendues des gradins et ont encerclé le prêtre.
Les Femen ont pulvérisé de l’eau à l’aide de bouteilles en forme de la sainte Vierge et ont crié des slogans contre l'homophobie.
Il a fallu quelques secondes avant que les militants soient expulsés de la salle par des personnes assistant à la conférence. Mr Leonard est resté assis et a commencé à prier. Il n'a pas réagi et a attendu pacifiquement.
Certaines personnes dans la salle ont réagi très brutalement contre les activistes , mais aussi contre les photographes de presse . Nous avons été accusés par certains de complicité avec le groupe Femen . Ce qui es bien sûr absolument faux. Nous n'étions pas au courant de ce qui était sur le point d' avoir lieu . Notre tâche était d'être là et de faire notre travail.”
Image 44 of 93: A A GDE AGUNG, Indonesia
“The sun had already set over the western horizon when a number of young men started playing gamelan at a high-pitched tempo. In front of the Banjar Nagi community center two youths were busy burning coconut husks to set fires. The situation was on edge when two lights were turned off. Ten minutes later, a man voiced a strong command in Balinese, “Inggih rarisan”. The ritual had started. Upon hearing the official command, numerous bare-chested youths clad in checked udeng (traditional headgear) and sarongs rushed and kicked the piles of burning coconut husks to mark the start of the "Perang Api" tradition, the battle of fire.
I predicted this moment would happen when my eyes saw a number of men run toward the piles of burning coconut husks. I felt fortunate because I was in a good position to be able to photograph the man kicking the burning husks. Fire flew in all directions. Without realizing it my camera and my right hand were injured by the sparks. At the time I didn’t feel any pain, but my lens hood was burned.”
Nikon D300S, lens 17mm, f5, 1/8, ISO 1600
Caption: A Balinese man kicks up fire during the "Perang Api" ritual ahead of Nyepi day, which falls on Tuesday in Gianyar on the Indonesian island of Bali March 11, 2013. Nyepi is a day of silence for self-reflection to celebrate the Balinese Hindu new year, where Hindus in Bali observe meditation and fasting, but are not allowed to work, cook, light lamps or conduct any other activities.
“Saat matahari telah tenggelam di ufuk barat, sejumlah pemuda memaikan gambelan dengan tempo cepat. Di satu sisi dua pemuda sibuk membakar tumpukan serabut kelapa kering di depan banjar dinas Desa Nagi, Gianyar sekitar 30 kilometer dari Kota Denpasar, Bali. Suasana mulai mencekam ketika dua lampu yang menjadi sumber penerangan dimatikan. 10 menit kemudian seorang pria memberikan aba-aba dengan bahasa Bali "Inggih Rarisan". Ritual Perang Api dimulai. Sontak sejumlah pemuda bertelanjang dada lengkap dengan udeng dan sarung bermotif kotak-kotak berlari dan menendang tumpukan bara serabut kelapa. Saya telah memprediksi bahwa moment ini akan terjadi saat mata saya melihat sejumlah pria berlari dari ke arah timur menuju tumpukan api dari serabut kelapa. Saya merasa beruntung karena saya dalam posisi yang tepat ketika saya memotret pria yang menendang api dari sabut kelapa. Saya berdiri di depannya. Sabut kelapa yang terbakar berterbangan. Secara tidak sadar kamera saya dan tangan kanan saya terluka oleh api. Pada waktu itu saya tidak merasa sakit, tapi hood lensa saya terbakar.”
“The sun had already set over the western horizon when a number of young men started playing gamelan at a high-pitched tempo. In front of the Banjar Nagi community center two youths were busy burning coconut husks to set fires. The situation was on edge when two lights were turned off. Ten minutes later, a man voiced a strong command in Balinese, “Inggih rarisan”. The ritual had started. Upon hearing the official command, numerous bare-chested youths clad in checked udeng (traditional headgear) and sarongs rushed and kicked the piles of burning coconut husks to mark the start of the "Perang Api" tradition, the battle of fire.
I predicted this moment would happen when my eyes saw a number of men run toward the piles of burning coconut husks. I felt fortunate because I was in a good position to be able to photograph the man kicking the burning husks. Fire flew in all directions. Without realizing it my camera and my right hand were injured by the sparks. At the time I didn’t feel any pain, but my lens hood was burned.”
Nikon D300S, lens 17mm, f5, 1/8, ISO 1600
Caption: A Balinese man kicks up fire during the "Perang Api" ritual ahead of Nyepi day, which falls on Tuesday in Gianyar on the Indonesian island of Bali March 11, 2013. Nyepi is a day of silence for self-reflection to celebrate the Balinese Hindu new year, where Hindus in Bali observe meditation and fasting, but are not allowed to work, cook, light lamps or conduct any other activities.
“Saat matahari telah tenggelam di ufuk barat, sejumlah pemuda memaikan gambelan dengan tempo cepat. Di satu sisi dua pemuda sibuk membakar tumpukan serabut kelapa kering di depan banjar dinas Desa Nagi, Gianyar sekitar 30 kilometer dari Kota Denpasar, Bali. Suasana mulai mencekam ketika dua lampu yang menjadi sumber penerangan dimatikan. 10 menit kemudian seorang pria memberikan aba-aba dengan bahasa Bali "Inggih Rarisan". Ritual Perang Api dimulai. Sontak sejumlah pemuda bertelanjang dada lengkap dengan udeng dan sarung bermotif kotak-kotak berlari dan menendang tumpukan bara serabut kelapa. Saya telah memprediksi bahwa moment ini akan terjadi saat mata saya melihat sejumlah pria berlari dari ke arah timur menuju tumpukan api dari serabut kelapa. Saya merasa beruntung karena saya dalam posisi yang tepat ketika saya memotret pria yang menendang api dari sabut kelapa. Saya berdiri di depannya. Sabut kelapa yang terbakar berterbangan. Secara tidak sadar kamera saya dan tangan kanan saya terluka oleh api. Pada waktu itu saya tidak merasa sakit, tapi hood lensa saya terbakar.”
Image 45 of 93: CHRISTOPHER VANEGAS, Mexico
“It’s not easy to document a country that is breaking apart, and even more so if it’s your own country, where you grew up and in which they taught you to serve and love. The war between the government and the drug leaders keeps the city of Saltillo in Coahuila in a constant state of terror. Some decide to be silent about it and pretend nothing is happening. I, on the contrary, always want to show the real thing through my camera.
I was on the nightshift at the newspaper when I got a report at 5.30 a.m. that several dead bodies had been hung from a wall at the entrance to a tunnel. I grabbed my gear and went there immediately. There were five people hanging from a wall, completely wrapped in bandages. They had been executed. The authorities and all the different police branches had already secured the area and it was tense, they didn’t let me pass and kept on saying “This is not a safe place for you”. They repeated it several times and yes, it was not a safe place to be but I wanted everybody to see what was happening. So I went to the opposite side to where the bodies were hanging, always attentive to who could be observing me. I could see the bodies better. One by one the bodies were lowered to the ground and taken away.
Although I have seen a lot of crime scenes it never stops impressing me. I took some images and left. It was already morning, a bloody morning.”
Canon EOS rebel T3, lens 18-55mm, f3.5, 1/15, ISO 800
Caption: The wrapped bodies of two dead people hang from an overpass as three more dead bodies lie on the ground in Saltillo March 8, 2013. Three of the five male bodies were hanging from the overpass while two others were lying on the ground when they were found, according to local media.
“No es fácil documentar como un país se está quebrando, menos si es el país en donde creciste y el cual te enseñaron a servir y amar; es difícil ver que por culpa de unos cuantos se está despedazando. La guerra entre el gobierno y las cédulas delictivas mantienen atemorizada la ciudad de Saltillo, Coahuila, algunos deciden callar y fingir que no ha pasado nada.
Yo por el contrario decidí mostrar la verdad a través de la lente de una cámara. Estaba de turno de noche cuando en la madrugada del 8 de marzo del 2013, llegó un reporte de unas personas colgadas en un puente. Agarre mi equipo y cerca de las 6 de la mañana yo ya estaba en el paso a desnivel. Eran cinco personas colgadas, completamente vendadas, habían sido ejecutados. Las autoridades y la policía habían llegado y el ambiente estaba tenso, me impidieron el paso y me decían "No es un área segura para ti". Lo repetían en varias ocasiones, y si, era cierto, no era seguro estar ahí, pero era un hecho que se tenía que dar a conocer. Así que me cambie al otro lado, siempre atento de quien me pudiera estar observando, y pude ver los cuerpos mas de frente. Uno a uno los cuerpos fueron bajados y retirados del lugar. Tome las fotos y cuando termine para entonces ya había amanecido y decidi irme.
Aunque ya estoy acostumbrado a las escenas de crimen, siempre me vuelve a sorprender, este fue un sangriento amanecer.”
“It’s not easy to document a country that is breaking apart, and even more so if it’s your own country, where you grew up and in which they taught you to serve and love. The war between the government and the drug leaders keeps the city of Saltillo in Coahuila in a constant state of terror. Some decide to be silent about it and pretend nothing is happening. I, on the contrary, always want to show the real thing through my camera.
I was on the nightshift at the newspaper when I got a report at 5.30 a.m. that several dead bodies had been hung from a wall at the entrance to a tunnel. I grabbed my gear and went there immediately. There were five people hanging from a wall, completely wrapped in bandages. They had been executed. The authorities and all the different police branches had already secured the area and it was tense, they didn’t let me pass and kept on saying “This is not a safe place for you”. They repeated it several times and yes, it was not a safe place to be but I wanted everybody to see what was happening. So I went to the opposite side to where the bodies were hanging, always attentive to who could be observing me. I could see the bodies better. One by one the bodies were lowered to the ground and taken away.
Although I have seen a lot of crime scenes it never stops impressing me. I took some images and left. It was already morning, a bloody morning.”
Canon EOS rebel T3, lens 18-55mm, f3.5, 1/15, ISO 800
Caption: The wrapped bodies of two dead people hang from an overpass as three more dead bodies lie on the ground in Saltillo March 8, 2013. Three of the five male bodies were hanging from the overpass while two others were lying on the ground when they were found, according to local media.
“No es fácil documentar como un país se está quebrando, menos si es el país en donde creciste y el cual te enseñaron a servir y amar; es difícil ver que por culpa de unos cuantos se está despedazando. La guerra entre el gobierno y las cédulas delictivas mantienen atemorizada la ciudad de Saltillo, Coahuila, algunos deciden callar y fingir que no ha pasado nada.
Yo por el contrario decidí mostrar la verdad a través de la lente de una cámara. Estaba de turno de noche cuando en la madrugada del 8 de marzo del 2013, llegó un reporte de unas personas colgadas en un puente. Agarre mi equipo y cerca de las 6 de la mañana yo ya estaba en el paso a desnivel. Eran cinco personas colgadas, completamente vendadas, habían sido ejecutados. Las autoridades y la policía habían llegado y el ambiente estaba tenso, me impidieron el paso y me decían "No es un área segura para ti". Lo repetían en varias ocasiones, y si, era cierto, no era seguro estar ahí, pero era un hecho que se tenía que dar a conocer. Así que me cambie al otro lado, siempre atento de quien me pudiera estar observando, y pude ver los cuerpos mas de frente. Uno a uno los cuerpos fueron bajados y retirados del lugar. Tome las fotos y cuando termine para entonces ya había amanecido y decidi irme.
Aunque ya estoy acostumbrado a las escenas de crimen, siempre me vuelve a sorprender, este fue un sangriento amanecer.”
Image 46 of 93: JOE PENNEY, Mali
“It was the second day after my arrival in Gao, Mali. I had been covering the French offensive in Mali for a month before that, yet had not managed to reach the largest city in the north until late February. There was no specific event I had to cover so I was photographing different spots around town, trying to cover as much ground as possible.
I had photographed a number of other things that day and while wandering around, I came across children playing on the roof of the city’s football stadium. I took dozens of pictures of the kids jumping across the concrete arches from many different angles. When I went back to where I was staying to look over the images, I chose this one because I like the main boy’s fluid body motion and the other boys at the top who look at each other as if to say: “I dare you to jump next.”
At the time, French and Malian soldiers had recently taken the city from nine months of harsh jihadist rule. Although most residents were wary of the future, there was a special feeling of joy and freedom in Gao that occasionally shined through.”
Canon 5D Mark II, lens 35mm, f4.5, 1/4000, ISO 500
Caption: Boys play on the roof of the entrance to a football stadium in Gao February 20, 2013.
"J’ai pris cette photo le lendemain de mon arrivée à Gao, au nord-Mali, fin février. J’avais déjà couvert l’intervention française « Serval » au Mali depuis un mois, mais je ne m’étais pas rendu à Goa la plus grande ville du nord. Comme il n’y avait pas d’actualités à couvrir, je me promenais en ville pour photographier la vie quotidienne.
En sillonnant la ville j’ai aperçu des enfants jouant sur le toit du stade de foot. J’ai pris plusieurs dizaines de photos d’eux sous divers angles parce que cette scène me semblait fascinante. A mon retour en éditant mes photos, j’ai choisi celle-ci pour transmettre parce que j’aime beaucoup le mouvement fluide du saut de l’enfant avec le regarde des autres qui semblent se mettre au défi de l’imiter.
À l’époque, des soldats français et maliens avaient pris le contrôle de la ville de Gao des mains des djihadistes. Quoique les habitants de la ville étaient très inquiètes pour l’avenir, ils avaient aussi un sentiment caché de joie et liberté, un sentiment qui s’est parfois révélé en plein jour."
“It was the second day after my arrival in Gao, Mali. I had been covering the French offensive in Mali for a month before that, yet had not managed to reach the largest city in the north until late February. There was no specific event I had to cover so I was photographing different spots around town, trying to cover as much ground as possible.
I had photographed a number of other things that day and while wandering around, I came across children playing on the roof of the city’s football stadium. I took dozens of pictures of the kids jumping across the concrete arches from many different angles. When I went back to where I was staying to look over the images, I chose this one because I like the main boy’s fluid body motion and the other boys at the top who look at each other as if to say: “I dare you to jump next.”
At the time, French and Malian soldiers had recently taken the city from nine months of harsh jihadist rule. Although most residents were wary of the future, there was a special feeling of joy and freedom in Gao that occasionally shined through.”
Canon 5D Mark II, lens 35mm, f4.5, 1/4000, ISO 500
Caption: Boys play on the roof of the entrance to a football stadium in Gao February 20, 2013.
"J’ai pris cette photo le lendemain de mon arrivée à Gao, au nord-Mali, fin février. J’avais déjà couvert l’intervention française « Serval » au Mali depuis un mois, mais je ne m’étais pas rendu à Goa la plus grande ville du nord. Comme il n’y avait pas d’actualités à couvrir, je me promenais en ville pour photographier la vie quotidienne.
En sillonnant la ville j’ai aperçu des enfants jouant sur le toit du stade de foot. J’ai pris plusieurs dizaines de photos d’eux sous divers angles parce que cette scène me semblait fascinante. A mon retour en éditant mes photos, j’ai choisi celle-ci pour transmettre parce que j’aime beaucoup le mouvement fluide du saut de l’enfant avec le regarde des autres qui semblent se mettre au défi de l’imiter.
À l’époque, des soldats français et maliens avaient pris le contrôle de la ville de Gao des mains des djihadistes. Quoique les habitants de la ville étaient très inquiètes pour l’avenir, ils avaient aussi un sentiment caché de joie et liberté, un sentiment qui s’est parfois révélé en plein jour."
Image 47 of 93: LUCAS JACKSON, United States
“This is a single image from a collection of images I took during an evening surveying the damage caused by the tornado in Moore, Oklahoma this year. I felt that during the daytime it was difficult to capture how eerie it can be in the areas that were almost completely destroyed. One night I realized that by using long exposures and the eerie lights that bathed the area at night, I was finally able to capture how it felt to be there. The images by themselves might be difficult to read but as a collection they were more successful.”
Canon 5D MKIII, lens 16-35mm at 27mm, f8, 1/15, ISO 800
Caption: A car rests on top of a pile of debris pushed up by the wind in an area heavily damaged by the May 20 afternoon tornado in Moore, Oklahoma May 27, 2013.
“This is a single image from a collection of images I took during an evening surveying the damage caused by the tornado in Moore, Oklahoma this year. I felt that during the daytime it was difficult to capture how eerie it can be in the areas that were almost completely destroyed. One night I realized that by using long exposures and the eerie lights that bathed the area at night, I was finally able to capture how it felt to be there. The images by themselves might be difficult to read but as a collection they were more successful.”
Canon 5D MKIII, lens 16-35mm at 27mm, f8, 1/15, ISO 800
Caption: A car rests on top of a pile of debris pushed up by the wind in an area heavily damaged by the May 20 afternoon tornado in Moore, Oklahoma May 27, 2013.
Image 48 of 93: NACHO DOCE, Brazil
“I photographed Manuela, or Manu, late at night when all the family gave me the honor of witnessing through my camera a child’s birth. The expectant mother allowed me to become invisible among them. Her labor pains became very strong, when she screamed loudly and yelled, “It’s coming, it’s coming.” I climbed my ladder quickly as a scream filled the room. In that moment Manu’s husband Andre pushed his wife with his hand on her back next to their daughter Alice, and their new son Gael began to emerge.”
Canon EOS 5D Mark II, lens 16-35mm, f2.8, 1/60, ISO 6400
Caption: Manuela Mitre is helped by midwives to give birth to her second child Gael, while lying in a pool of water, as her husband Andre (2nd R) and daughter Alice watch, at their home in Sao Paulo November 6, 2013. The couple decided to have their child born in warm water, which creates an environment similiar to that inside the womb, according to the midwives.
Click here for a related blog
“Eu fotografei Manuela ou Manu com pouco luz, onde toda a família me deu a honra poder ver através de minha câmera o nascimento da criança. "A gestante me permitiu ficar invisível entre eles - suas dores de parto tornaram-se muito forte, quando ela gritou alto eu subi para escada muito rápido, o seu grito encheu a sala," Está vindo, está vindo.” Neste momento Andre (marido de Manu) empurrou sua esposa com a mão nas costas dela ao lado de sua filha Alice, desse modo seu novo filho Gael começou a surgir.”
“I photographed Manuela, or Manu, late at night when all the family gave me the honor of witnessing through my camera a child’s birth. The expectant mother allowed me to become invisible among them. Her labor pains became very strong, when she screamed loudly and yelled, “It’s coming, it’s coming.” I climbed my ladder quickly as a scream filled the room. In that moment Manu’s husband Andre pushed his wife with his hand on her back next to their daughter Alice, and their new son Gael began to emerge.”
Canon EOS 5D Mark II, lens 16-35mm, f2.8, 1/60, ISO 6400
Caption: Manuela Mitre is helped by midwives to give birth to her second child Gael, while lying in a pool of water, as her husband Andre (2nd R) and daughter Alice watch, at their home in Sao Paulo November 6, 2013. The couple decided to have their child born in warm water, which creates an environment similiar to that inside the womb, according to the midwives.
Click here for a related blog
“Eu fotografei Manuela ou Manu com pouco luz, onde toda a família me deu a honra poder ver através de minha câmera o nascimento da criança. "A gestante me permitiu ficar invisível entre eles - suas dores de parto tornaram-se muito forte, quando ela gritou alto eu subi para escada muito rápido, o seu grito encheu a sala," Está vindo, está vindo.” Neste momento Andre (marido de Manu) empurrou sua esposa com a mão nas costas dela ao lado de sua filha Alice, desse modo seu novo filho Gael começou a surgir.”
Image 49 of 93: BRIAN BLANCO, United States
"I keep a constant ear to the ground for news, and during the 2012 U.S. presidential election, the vibrations coming from the militias were growing louder and louder. Upon the eventual re-election of President Barack Obama, those vibrations had turned into a sound too loud for me to ignore and I knew this was a story I needed to cover.
After weeks of contacting militia leaders though back channels and message boards, I landed a face-to-face meeting with Jim Foster, the leader of the North Florida Survival Group, who after feeling out my intentions, granted me access to photograph one of their upcoming training missions in a secluded and secret area of the North Florida wilderness.
I showed up on the day of the training mission expecting to find an adversarial group weary of a journalist with a camera. Instead what I found were families; friendly people who were open and inviting to me – a stranger there trying to tell their story. Yes, their anti-government positions were clear but they made no attempt to proselytize or to interrogate me for my beliefs or opinions. They allowed me complete access to photograph anything I could see, including their training of children, some of whom carried AK-47 rifles, as they practiced enemy contact drills in preparation for a fight with the government that they appeared to honestly believe was both real and imminent."
Nikon D700, lens 28mm, f8, 1/200, ISO 800
Caption: Members of the North Florida Survival Group wait with their rifles before heading out to perform enemy contact drills during a field training exercise in Old Town, Florida, December 8, 2012. The group trains children and adults alike to handle weapons and survive in the wild. The group passionately supports the right of U.S. citizens to bear arms and its website states that it aims to teach "patriots to survive in order to protect and defend our Constitution against all enemy threats".
"I keep a constant ear to the ground for news, and during the 2012 U.S. presidential election, the vibrations coming from the militias were growing louder and louder. Upon the eventual re-election of President Barack Obama, those vibrations had turned into a sound too loud for me to ignore and I knew this was a story I needed to cover.
After weeks of contacting militia leaders though back channels and message boards, I landed a face-to-face meeting with Jim Foster, the leader of the North Florida Survival Group, who after feeling out my intentions, granted me access to photograph one of their upcoming training missions in a secluded and secret area of the North Florida wilderness.
I showed up on the day of the training mission expecting to find an adversarial group weary of a journalist with a camera. Instead what I found were families; friendly people who were open and inviting to me – a stranger there trying to tell their story. Yes, their anti-government positions were clear but they made no attempt to proselytize or to interrogate me for my beliefs or opinions. They allowed me complete access to photograph anything I could see, including their training of children, some of whom carried AK-47 rifles, as they practiced enemy contact drills in preparation for a fight with the government that they appeared to honestly believe was both real and imminent."
Nikon D700, lens 28mm, f8, 1/200, ISO 800
Caption: Members of the North Florida Survival Group wait with their rifles before heading out to perform enemy contact drills during a field training exercise in Old Town, Florida, December 8, 2012. The group trains children and adults alike to handle weapons and survive in the wild. The group passionately supports the right of U.S. citizens to bear arms and its website states that it aims to teach "patriots to survive in order to protect and defend our Constitution against all enemy threats".
Image 50 of 93: OSMAN ORSAL, Turkey
“When I was on the way to cover a peaceful protest, I had no idea that my picture would become one of the iconic images of a month-long uprising in Turkey. As I arrived the story was no different from hundreds of demonstrations I have covered as a photojournalist over many years. A group of enviromental activists were occupying Taksim's Gezi Park in order to thwart a reconstruction plan as part of which dozens of trees were being uprooted. Riot police equipped with pepper spray launchers and smoke grenades asked them to leave. They resisted. I photographed as a policeman sprayed a burst of pepper gas at a protester; a woman standing in front of him in a red dress, carrying a handbag and nothing else. As the peaceful park protests evolved into full-scale countrywide violent clashes in which seven people lost their lives, my picture, "the woman in red" became one of the iconic images of the conflict. From tabloids to magazines, banners to wall grafitti, t-shirt prints to even a body tattoo, the "woman in red" became a well-known figure all around the globe.”
Canon EOS 5-D Mark II, lens 16-35mm, f9, 1/320, ISO 320
Caption: A Turkish riot policeman uses tear gas as people protest against the destruction of trees in a park brought about by a pedestrian project, in Taksim Square in central Istanbul May 28, 2013.
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"Barışçıl bir çevre protestunu haber yapmak için yola çıktığımda, çekeceğim fotoğrafın Turkiye'de bir ay sürecek olayların sembollerinden birine dönüşeceğini hiç düşünmemiştim. Taksim Gezi Parkına vardığımda, karşılaştığım manzara daha önce yüzlercesini takip ettiğim eylemlerden çok da farklı değildi. Taksim'deki yeniden yapılandırma projesi çerçevesinde Gezi Parkı'ndaki ağaçların sökülmesini protesto eden bir grup eylemci parkı işgal etmişti. Çevik kuvvetin dağılmalarına yönelik ikazlarını dinlemeyen gruba, polis gaz bombaları ve biber gazı ile müdhale etmeye hazırlanıyordu. Deklanşöre bastığımda, kadrajımda gördüğüm, bir çevik kuvvet polisinin gaz sıktığı, kırımızı elibesli ve bir el çantası taşıyan bir kadındı. Barışçıl park protestoları kısa sürede yurt geneline yayılıp yedi kişinin hayatını kaybettiği çatışmalara dönüşürken, "kırmızılı kadın" fotoğrafı protestoların sembollerinden birisi haline gelmişti. Gazetelerden, dergilere, duvar resimlerinden, grafittilere, ve hatta tişört baskılarından dövmelere kadar kendisine yer bulan "kırmızılı kadın" dünya üzerinde tanınan bir figür haline gelmişti"
“When I was on the way to cover a peaceful protest, I had no idea that my picture would become one of the iconic images of a month-long uprising in Turkey. As I arrived the story was no different from hundreds of demonstrations I have covered as a photojournalist over many years. A group of enviromental activists were occupying Taksim's Gezi Park in order to thwart a reconstruction plan as part of which dozens of trees were being uprooted. Riot police equipped with pepper spray launchers and smoke grenades asked them to leave. They resisted. I photographed as a policeman sprayed a burst of pepper gas at a protester; a woman standing in front of him in a red dress, carrying a handbag and nothing else. As the peaceful park protests evolved into full-scale countrywide violent clashes in which seven people lost their lives, my picture, "the woman in red" became one of the iconic images of the conflict. From tabloids to magazines, banners to wall grafitti, t-shirt prints to even a body tattoo, the "woman in red" became a well-known figure all around the globe.”
Canon EOS 5-D Mark II, lens 16-35mm, f9, 1/320, ISO 320
Caption: A Turkish riot policeman uses tear gas as people protest against the destruction of trees in a park brought about by a pedestrian project, in Taksim Square in central Istanbul May 28, 2013.
Click here for a related blog
"Barışçıl bir çevre protestunu haber yapmak için yola çıktığımda, çekeceğim fotoğrafın Turkiye'de bir ay sürecek olayların sembollerinden birine dönüşeceğini hiç düşünmemiştim. Taksim Gezi Parkına vardığımda, karşılaştığım manzara daha önce yüzlercesini takip ettiğim eylemlerden çok da farklı değildi. Taksim'deki yeniden yapılandırma projesi çerçevesinde Gezi Parkı'ndaki ağaçların sökülmesini protesto eden bir grup eylemci parkı işgal etmişti. Çevik kuvvetin dağılmalarına yönelik ikazlarını dinlemeyen gruba, polis gaz bombaları ve biber gazı ile müdhale etmeye hazırlanıyordu. Deklanşöre bastığımda, kadrajımda gördüğüm, bir çevik kuvvet polisinin gaz sıktığı, kırımızı elibesli ve bir el çantası taşıyan bir kadındı. Barışçıl park protestoları kısa sürede yurt geneline yayılıp yedi kişinin hayatını kaybettiği çatışmalara dönüşürken, "kırmızılı kadın" fotoğrafı protestoların sembollerinden birisi haline gelmişti. Gazetelerden, dergilere, duvar resimlerinden, grafittilere, ve hatta tişört baskılarından dövmelere kadar kendisine yer bulan "kırmızılı kadın" dünya üzerinde tanınan bir figür haline gelmişti"
Image 51 of 93: WANG HUAN, China
“I received information from a Weibo user (Weibo is the Chinese version of the microblogging site Twitter) that a “Zombie Car” was seen somewhere in the city covered by vegetation. When I arrived at the site, it was confirmed to be a blue van. According to the security guards at the residential compound, the car had been parked in the same spot for over a year, during which time the vegetation had grown up and over the car body to cover it completely. I later notified the police, hoping they could find the owner. Realizing it was an interesting piece of social news, I tried to shoot the scene from different angles. This picture was taken from a rooftop of a nearby building, so that I could show the comparison between this vehicle and the other ‘normal’ cars alongside it.”
Nikon D4, lens 70-200mm at 100mm, f4, 1/1000, ISO 640
Caption: Police and bystanders look at a car which is covered with vegetation after it was left parked in a neighborhood for more than a year, in Chengdu, Sichuan province, October 17, 2013.
2013年10月17日，记者接到网友在微博上爆料，在华阳和平路外有一辆被藤蔓包裹的“僵尸车”。记者在现场证实被藤蔓包裹是一辆车牌号为川AN497P的蓝色面包车。据小区保安介绍，这辆车已在小区外停放一年多。由于日晒雨淋，藤蔓沿着车体生长，将车包裹住。记者随后报警，希望警方找到该车车主并提供该车辆信息。记者在现场意识到这是一件非常有趣的社会新闻，所以选着了多角度拍摄，记者在小区的屋顶俯拍这两被蔓藤包裹的车辆，让它“奇特”外形与周围停放的正常车辆作为对比。
“I received information from a Weibo user (Weibo is the Chinese version of the microblogging site Twitter) that a “Zombie Car” was seen somewhere in the city covered by vegetation. When I arrived at the site, it was confirmed to be a blue van. According to the security guards at the residential compound, the car had been parked in the same spot for over a year, during which time the vegetation had grown up and over the car body to cover it completely. I later notified the police, hoping they could find the owner. Realizing it was an interesting piece of social news, I tried to shoot the scene from different angles. This picture was taken from a rooftop of a nearby building, so that I could show the comparison between this vehicle and the other ‘normal’ cars alongside it.”
Nikon D4, lens 70-200mm at 100mm, f4, 1/1000, ISO 640
Caption: Police and bystanders look at a car which is covered with vegetation after it was left parked in a neighborhood for more than a year, in Chengdu, Sichuan province, October 17, 2013.
2013年10月17日，记者接到网友在微博上爆料，在华阳和平路外有一辆被藤蔓包裹的“僵尸车”。记者在现场证实被藤蔓包裹是一辆车牌号为川AN497P的蓝色面包车。据小区保安介绍，这辆车已在小区外停放一年多。由于日晒雨淋，藤蔓沿着车体生长，将车包裹住。记者随后报警，希望警方找到该车车主并提供该车辆信息。记者在现场意识到这是一件非常有趣的社会新闻，所以选着了多角度拍摄，记者在小区的屋顶俯拍这两被蔓藤包裹的车辆，让它“奇特”外形与周围停放的正常车辆作为对比。
Image 52 of 93: OSCAR CORRAL, Spain
“That evening I was getting my gear ready to take pictures of some local festivities, but just before leaving, I got a call informing me that there had been a railway accident at the entrance to the city. I knew the area, so I arrived quickly to where the most serious train accident in 40 years had just taken place. Arriving I saw total chaos: a high-speed train had been converted into a twisted mass of iron. I saw that other photographers were taking close-up pictures of the victims, so I decided to look for a different view. I searched for an elevated position to take an overall picture of the whole tragedy. It was at this point that something caught my eye – a wounded man was being held by a police officer and guided to a different place from where other victims were being sent. When I took the photo I thought he was a survivor who was talking on his cell phone to, I guessed, his family members to let them know he had survived the accident. It was only later, when I was editing the pictures that a fellow journalist realized that the man was José Garzón, the conductor, who allegedly caused the train accident by driving through a curve limited to 90km/h at an estimated speed of 190km/h.”
Canon EOS -1D Mark II N, lens 70-200mm at 200mm, f2.8, 1/100, ISO 800
Caption: An injured man, identified by Spanish newspapers El Pais and El Mundo as the train driver Francisco Jose Garzon, is helped by a policeman after a train crashed near Santiago de Compostela, northwestern Spain, July 24, 2013.
“Esa tarde noche estaba preparando mi equipo para salir a tomar fotos de las fiestas locales, pero justo antes salir recibí una llamada informándome de que un accidente ferroviario sucediera a la entrada de la ciudad. Conozco bien la zona, por lo que llegué muy rápido al lugar del accidente ferroviario mas grave en 40 años. Al llegar veo mucho caos, un tren de alta velocidad convertido en un amasijo de hierros. Veo que hay otros compañeros tomando fotos muy cerca de las víctimas, por lo que decido tomar otro punto de vista distinto y me alejo lo más posible buscando una posición elevada para tomar una imagen global de toda la tragedia. Es en ese momento cuando me llama la atención un herido que sale agarrado por un agente de policía por un lugar distinto a donde estaban siendo evacuados el resto de los heridos, en el momento disparé por que me pareció una foto amable de un superviviente que además hablaba por su teléfono móvil para avisar (supongo) a los suyos de que sobreviviera al accidente. Es mas tarde, cuando estoy editando las imágenes, que un compañero periodista se da cuenta de que aquel hombre era José Garzón, el maquinista, quien presuntamente causara el accidente ferroviario al circular por una curva limitada a 90Km/h a una velocidad estimada de 190Km/h.”
“That evening I was getting my gear ready to take pictures of some local festivities, but just before leaving, I got a call informing me that there had been a railway accident at the entrance to the city. I knew the area, so I arrived quickly to where the most serious train accident in 40 years had just taken place. Arriving I saw total chaos: a high-speed train had been converted into a twisted mass of iron. I saw that other photographers were taking close-up pictures of the victims, so I decided to look for a different view. I searched for an elevated position to take an overall picture of the whole tragedy. It was at this point that something caught my eye – a wounded man was being held by a police officer and guided to a different place from where other victims were being sent. When I took the photo I thought he was a survivor who was talking on his cell phone to, I guessed, his family members to let them know he had survived the accident. It was only later, when I was editing the pictures that a fellow journalist realized that the man was José Garzón, the conductor, who allegedly caused the train accident by driving through a curve limited to 90km/h at an estimated speed of 190km/h.”
Canon EOS -1D Mark II N, lens 70-200mm at 200mm, f2.8, 1/100, ISO 800
Caption: An injured man, identified by Spanish newspapers El Pais and El Mundo as the train driver Francisco Jose Garzon, is helped by a policeman after a train crashed near Santiago de Compostela, northwestern Spain, July 24, 2013.
“Esa tarde noche estaba preparando mi equipo para salir a tomar fotos de las fiestas locales, pero justo antes salir recibí una llamada informándome de que un accidente ferroviario sucediera a la entrada de la ciudad. Conozco bien la zona, por lo que llegué muy rápido al lugar del accidente ferroviario mas grave en 40 años. Al llegar veo mucho caos, un tren de alta velocidad convertido en un amasijo de hierros. Veo que hay otros compañeros tomando fotos muy cerca de las víctimas, por lo que decido tomar otro punto de vista distinto y me alejo lo más posible buscando una posición elevada para tomar una imagen global de toda la tragedia. Es en ese momento cuando me llama la atención un herido que sale agarrado por un agente de policía por un lugar distinto a donde estaban siendo evacuados el resto de los heridos, en el momento disparé por que me pareció una foto amable de un superviviente que además hablaba por su teléfono móvil para avisar (supongo) a los suyos de que sobreviviera al accidente. Es mas tarde, cuando estoy editando las imágenes, que un compañero periodista se da cuenta de que aquel hombre era José Garzón, el maquinista, quien presuntamente causara el accidente ferroviario al circular por una curva limitada a 90Km/h a una velocidad estimada de 190Km/h.”
Image 53 of 93: KEVIN LAMARQUE, United States
“I was sent to Arlington National Cemetery to photograph the headstone of a soldier on who Reuters was doing a story. While there, I wandered over to Section 60, where those killed in Iraq and Afghanistan are buried. I saw a family kneeling before a grave, and walked over to photograph them and talk a bit. The parents rose as I approached, but their daughter just laid down in front of the grave in almost a fetal position. She stayed like that as I pointed my camera to capture this very compelling moment. My visit there inspired me to follow up days later with a picture story on the the mementos that loved ones leave atop the gravestones of the ones they have loved and now lost. This photo, combined with the mementos images, is a reminder of just how fresh the wounds of these conflicts are.”
Canon EOS 5D MKIII, lens 50mm, f2.0, 1/250, ISO 100
Caption: Lesleigh Coyer, 25, of Saginaw, Michigan, lies down in front of the grave of her brother, Ryan Coyer, who served with the U.S. Army in both Iraq and Afghanistan, at Arlington National Cemetery in Virginia March 11, 2013. Coyer died of complications from an injury sustained in Afghanistan.
“I was sent to Arlington National Cemetery to photograph the headstone of a soldier on who Reuters was doing a story. While there, I wandered over to Section 60, where those killed in Iraq and Afghanistan are buried. I saw a family kneeling before a grave, and walked over to photograph them and talk a bit. The parents rose as I approached, but their daughter just laid down in front of the grave in almost a fetal position. She stayed like that as I pointed my camera to capture this very compelling moment. My visit there inspired me to follow up days later with a picture story on the the mementos that loved ones leave atop the gravestones of the ones they have loved and now lost. This photo, combined with the mementos images, is a reminder of just how fresh the wounds of these conflicts are.”
Canon EOS 5D MKIII, lens 50mm, f2.0, 1/250, ISO 100
Caption: Lesleigh Coyer, 25, of Saginaw, Michigan, lies down in front of the grave of her brother, Ryan Coyer, who served with the U.S. Army in both Iraq and Afghanistan, at Arlington National Cemetery in Virginia March 11, 2013. Coyer died of complications from an injury sustained in Afghanistan.
Image 54 of 93: ERIK DE CASTRO, Philippines
“It was past six in the morning on the second day after Typhoon Haiyan struck when I started to cover Tacloban city on foot. I was on a road and it started to rain. Among the heavy downpour I saw the ruins of houses knocked down by the typhoon and the storm surge. I immediately thought of getting a general view shot and to take shelter from the heavy downpour. I walked towards a building on the side of the road opposite the ruins. I saw corpses in front of the building as I entered. When I reached the third floor, I immediately saw the shot. I waited for a while until I saw some typhoon survivors standing and salvaging belongings in their former houses.”
Canon EOS 1DX, lens 70-200mm, f8, 1/400, ISO 1250
Caption: Survivors stand among debris and ruins of houses destroyed after Super Typhoon Haiyan battered Tacloban city in central Philippines November 10, 2013.
“Mag- ala seis ng umaga nung pangalawang araw pagkatapos bumagyo sa Tacloban city ng magsimula ako mag litrato. Nung naglalakad na ako, biglang umulan ng malakas nun makita ko yung mga bahay na nawasak dahil sa bagyo at malalim na tubig na galing sa dagat. Naisip ko na magandang kunan yun mga nawasak na bahay kung sa mataas na lugar ako pupuwesto. Nakita ko yun building at naisip ko na magandang puwesto yun at para makasilong din ako sa malakas na ulan. Nakita ko yun maraming bangkay habang papasok ako sa building. Nung nasa ikatlong palapag na ako nun building, nakita ko sa sirang bintana yun perfect shot at naghintay ako ng ilang sandali ng makita kong dumnating yun mga typhoon survivor na dumating at nilikom yun mga gamit nila dun sa kanilang dating bahay na nawasak ng bagyo.”
“It was past six in the morning on the second day after Typhoon Haiyan struck when I started to cover Tacloban city on foot. I was on a road and it started to rain. Among the heavy downpour I saw the ruins of houses knocked down by the typhoon and the storm surge. I immediately thought of getting a general view shot and to take shelter from the heavy downpour. I walked towards a building on the side of the road opposite the ruins. I saw corpses in front of the building as I entered. When I reached the third floor, I immediately saw the shot. I waited for a while until I saw some typhoon survivors standing and salvaging belongings in their former houses.”
Canon EOS 1DX, lens 70-200mm, f8, 1/400, ISO 1250
Caption: Survivors stand among debris and ruins of houses destroyed after Super Typhoon Haiyan battered Tacloban city in central Philippines November 10, 2013.
“Mag- ala seis ng umaga nung pangalawang araw pagkatapos bumagyo sa Tacloban city ng magsimula ako mag litrato. Nung naglalakad na ako, biglang umulan ng malakas nun makita ko yung mga bahay na nawasak dahil sa bagyo at malalim na tubig na galing sa dagat. Naisip ko na magandang kunan yun mga nawasak na bahay kung sa mataas na lugar ako pupuwesto. Nakita ko yun building at naisip ko na magandang puwesto yun at para makasilong din ako sa malakas na ulan. Nakita ko yun maraming bangkay habang papasok ako sa building. Nung nasa ikatlong palapag na ako nun building, nakita ko sa sirang bintana yun perfect shot at naghintay ako ng ilang sandali ng makita kong dumnating yun mga typhoon survivor na dumating at nilikom yun mga gamit nila dun sa kanilang dating bahay na nawasak ng bagyo.”
Image 55 of 93: YVES HERMAN, Belgium
“When Belgian firefighters demonstrate in Brussels it can produce spectacular images. Riot police know that they might be sprayed with water or sometimes foam and they rarely react. They just wait for the end of the action with respect and forbearance. This demonstration started at 12:30 p.m. and was due to run for an hour or two. The fire brigade from Brussels and southern Belgium was expected to gather outside the Belgian prime minister’s office. The police always secure the zone around official buildings to avoid any damage to the country’s authority’s headquarters.
The demonstration was still going at 5 p.m. when the firemen decided to spray foam as a last hoorah. Police were expecting it and let them do it.
I took lots of photo with different lenses and produced an edit of some 20 photos in all from the day’s demonstration.”
Canon EOS 1DX, lens 16-35 mm, f8, 1/320, ISO 320
Caption: Belgian riot police are covered with foam sprayed by Belgian firefighters during a protest for better work conditions in central Brussels October 7, 2013.
“Lorsque les pompiers belges manifestent à Bruxelles, cela peut donner des images très spectaculaires. Les policiers anti-émeute savent qu'ils peuvent être aspergés d’eau et parfois de mousse. Ils réagissent rarement et attendent que les pompiers arrêtent, cela avec beaucoup de respect et de tolérance pour les manifestants.
La manifestation a débuté à 12h30 heure locale et devait durer une heure ou deux. Les pompiers de Bruxelles et du sud de la Belgique étaient censés se rassembler devant le bureau du premier ministre belge. Les policiers sécurisent toujours la zone autour des bâtiments officiels afin d'éviter des débordements.
La manifestation était encore en cours vers 1700 h, lorsque les pompiers ont décidé de pulvériser de la mousse comme un dernier barout d’honneur.
J'ai pris beaucoup de photos avec différents objectifs et produit une édition de quelques 20 photos sur l’ensemble de la manifestation.”
“When Belgian firefighters demonstrate in Brussels it can produce spectacular images. Riot police know that they might be sprayed with water or sometimes foam and they rarely react. They just wait for the end of the action with respect and forbearance. This demonstration started at 12:30 p.m. and was due to run for an hour or two. The fire brigade from Brussels and southern Belgium was expected to gather outside the Belgian prime minister’s office. The police always secure the zone around official buildings to avoid any damage to the country’s authority’s headquarters.
The demonstration was still going at 5 p.m. when the firemen decided to spray foam as a last hoorah. Police were expecting it and let them do it.
I took lots of photo with different lenses and produced an edit of some 20 photos in all from the day’s demonstration.”
Canon EOS 1DX, lens 16-35 mm, f8, 1/320, ISO 320
Caption: Belgian riot police are covered with foam sprayed by Belgian firefighters during a protest for better work conditions in central Brussels October 7, 2013.
“Lorsque les pompiers belges manifestent à Bruxelles, cela peut donner des images très spectaculaires. Les policiers anti-émeute savent qu'ils peuvent être aspergés d’eau et parfois de mousse. Ils réagissent rarement et attendent que les pompiers arrêtent, cela avec beaucoup de respect et de tolérance pour les manifestants.
La manifestation a débuté à 12h30 heure locale et devait durer une heure ou deux. Les pompiers de Bruxelles et du sud de la Belgique étaient censés se rassembler devant le bureau du premier ministre belge. Les policiers sécurisent toujours la zone autour des bâtiments officiels afin d'éviter des débordements.
La manifestation était encore en cours vers 1700 h, lorsque les pompiers ont décidé de pulvériser de la mousse comme un dernier barout d’honneur.
J'ai pris beaucoup de photos avec différents objectifs et produit une édition de quelques 20 photos sur l’ensemble de la manifestation.”
Image 56 of 93: JIM URQUHART, United States
“I made this image on the morning of the last day of Burning Man. I had been out looking for feature pictures through the morning after the Man had burned. As I rode my bike, the dust was blowing hard and obscuring artwork that had dotted the Playa. Instead of riding my bike up close to the artwork pictured, I chose to stop a distance away and wait until a gust of wind blew the fine powder-like talc dust across the scene.
By sitting and waiting for just a moment, I was allowed to make an image that helped capture the scale of the art while allowing the harsh environment to play a role.”
Canon 5D Mark III, lens 165mm, f4.5, 1/1000, ISO 100
Caption: Dust envelops art installations during the Burning Man 2013 arts and music festival in the Black Rock Desert of Nevada, September 1, 2013.
“I made this image on the morning of the last day of Burning Man. I had been out looking for feature pictures through the morning after the Man had burned. As I rode my bike, the dust was blowing hard and obscuring artwork that had dotted the Playa. Instead of riding my bike up close to the artwork pictured, I chose to stop a distance away and wait until a gust of wind blew the fine powder-like talc dust across the scene.
By sitting and waiting for just a moment, I was allowed to make an image that helped capture the scale of the art while allowing the harsh environment to play a role.”
Canon 5D Mark III, lens 165mm, f4.5, 1/1000, ISO 100
Caption: Dust envelops art installations during the Burning Man 2013 arts and music festival in the Black Rock Desert of Nevada, September 1, 2013.
Image 57 of 93: DARRIN ZAMMIT LUPI, Malta
“The gostra is a tradition stretching back several hundred years and involves locals dashing up a 65-foot-long wooden pole, covered in 15 liters of lard with four flags placed at the very end, jutting out over the sea at an angle. Every year, I try to make it a point to go to photograph the game during the religious feast in the town of St Julian's, very close to my home. It always makes good pictures and is good fun to watch. I usually compose the image and wait for the contestants to run into the frame.
Daniel Caruana's gravity-defying run up the pole must have caught the eye because of the unique combination of his heavy-set physique and the rather hazardous act of running up the greasy pole. The 32-year-old oil rig worker looks like he's flying along the length of the pole, but in reality, it's a very brief snippet in time as he's slipping and losing his footing before plunging into the sea below.”
Canon 1D-X, lens 400mm with a 1.4 converter (560mm), f5.6, 1/2500, ISO 400
Caption: A man runs up the "gostra", a pole covered in grease, during the religious feast of St Julian, patron of the town of St Julian's, outside Valletta August 25, 2013. In the traditional "gostra", a game stretching back to the Middle Ages, young men, women and children have to make their way to the top and try to uproot one of the flags to win prizes. From May to September in Malta, there is hardly any weekend when a town or a village is not celebrating the feast of its patron saint or other saints revered in different churches.
“Il-ġostra hi tradizzjoni li tmur lura mijiet ta’ snin u titlob li n-nies tal-lokal jixxabtu ma’ arblu tal-injam 65 pied twil miksi b’xi 15-il litru xaħam. Ikun hemm erba’ bnadar fit-tarf tal-arblu u min jixxabbat irid jaqbadhom.
Kull sena mmur niġbed ir-ritratti fil-festa ta’ San Ġiljan, ir-raħal fejn issir il-ġostra. Fija daħqa u normalment nissettja l-kamera mbagħad nistenna lill-kontestanti jiġru għal ġol-frejm.
Il-ġirja ta’ Daniel Caruana ġibdet l-attenzjoni minħabba t-toqol tiegħu u l-ġirja li ħa. Daniel għandu 32 sena u jaħdem fuq rig taż-żejt. Meta tara r-ritratt taħseb li qed itir, imma fil-verità malajr żelaq u baqa nieżel dritt il-baħar.”
“The gostra is a tradition stretching back several hundred years and involves locals dashing up a 65-foot-long wooden pole, covered in 15 liters of lard with four flags placed at the very end, jutting out over the sea at an angle. Every year, I try to make it a point to go to photograph the game during the religious feast in the town of St Julian's, very close to my home. It always makes good pictures and is good fun to watch. I usually compose the image and wait for the contestants to run into the frame.
Daniel Caruana's gravity-defying run up the pole must have caught the eye because of the unique combination of his heavy-set physique and the rather hazardous act of running up the greasy pole. The 32-year-old oil rig worker looks like he's flying along the length of the pole, but in reality, it's a very brief snippet in time as he's slipping and losing his footing before plunging into the sea below.”
Canon 1D-X, lens 400mm with a 1.4 converter (560mm), f5.6, 1/2500, ISO 400
Caption: A man runs up the "gostra", a pole covered in grease, during the religious feast of St Julian, patron of the town of St Julian's, outside Valletta August 25, 2013. In the traditional "gostra", a game stretching back to the Middle Ages, young men, women and children have to make their way to the top and try to uproot one of the flags to win prizes. From May to September in Malta, there is hardly any weekend when a town or a village is not celebrating the feast of its patron saint or other saints revered in different churches.
“Il-ġostra hi tradizzjoni li tmur lura mijiet ta’ snin u titlob li n-nies tal-lokal jixxabtu ma’ arblu tal-injam 65 pied twil miksi b’xi 15-il litru xaħam. Ikun hemm erba’ bnadar fit-tarf tal-arblu u min jixxabbat irid jaqbadhom.
Kull sena mmur niġbed ir-ritratti fil-festa ta’ San Ġiljan, ir-raħal fejn issir il-ġostra. Fija daħqa u normalment nissettja l-kamera mbagħad nistenna lill-kontestanti jiġru għal ġol-frejm.
Il-ġirja ta’ Daniel Caruana ġibdet l-attenzjoni minħabba t-toqol tiegħu u l-ġirja li ħa. Daniel għandu 32 sena u jaħdem fuq rig taż-żejt. Meta tara r-ritratt taħseb li qed itir, imma fil-verità malajr żelaq u baqa nieżel dritt il-baħar.”
Image 58 of 93: UMIT BEKTAS, Turkey
“Reyhanli is a Turkish border town in Hatay province. Syrians use the town to enter Turkey from the Turkish Cilvegozu border gate, located opposite the Syrian commercial crossing point Bab al-Hawa which is just a few miles from Reyhanli. I have been there several times since the start of Syria's civil war to work on various stories about Syrian refugees. In the early afternoon of May 11, twin car bombs ripped into the crowded streets near Reyhanli's shopping district, scattering concrete blocks and smashing cars. Some 51 people were killed and dozens injured. I was in Ankara when the bombings occurred and flew to Hatay immediately. This picture was taken two days after the bombings.
Search and rescue teams were still on scene and there were still bodies being found under collapsed buildings. I decided to take a picture which would capture the size of the damage. I found a building which was also heavily damaged and deserted on the opposite side of the street. I climbed the stairs and found a spot on the roof that would be a good vantage point for pictures. The building in this picture was nextdoor to another which totally collapsed when one of the cars exploded in front of it. When the neighboring building collapsed it took the side walls of this building with it.
Suddenly, a man appeared in one of the apartments of the damaged building. He stood there for a minute and disapeared just as quickly as he had come. I don't know who he is. But this is why I like news photography. Even if you don't know all the details you can still tell an impressive story. We don't know his name or his age but we know that he is a victim; victim of war, victim of violence, victim of terrorism. The apartment may be his or maybe it is one of his friend's. He may live in Reyhanli, or he may not. Who knows? He may have lost a loved one during the blast. Even though we cannot answer these questions we can read a message by reading the picture in the right way: every day we, the people of this world, create new victims in different parts of the world just because of not understanding each other, not being respectful to people different than us...”
Canon EOS -1D Mark 4, lens 70-200mm, f6.3, 1/640, ISO 400
Caption: A man checks an apartment on a damaged building at the site of a blast in the town of Reyhanli in Hatay province, near the Turkish-Syrian border, May 13, 2013.
“Reyhanlı, Hatay ili sınırları içerisinde bir sınır kasabası. Suriyeli mültecilerin Türkiye'ye giriş yaptığı önemli ve en yoğun geçiş noktalarından biri olan Cilvegözü Sınır Kapısı, sınırın öte yanındaki adıyla Bab al-Hawa, Reyhanlı'nın hemen yanıbaşında. Suriye'deki iç savaşın alevlendiği günden bu yana Suriyeli mültecilere dair haberler yapmak üzere defalarca bölgeye seyahat edip bu coğrafyada oldukça fazla zaman geçirdim. 11 Mayıs 2013 Cumartesi günü öğle saatlerinde Reyhanlı'nın en işlek iki noktasında iki bomba yüklü araç infilak etti. Şiddetli patlamalar 51 kişinin ölümüne, onlarca insanın yaralanmasına , arabaların parçalanıp hurdaya dönmesine ve binaların yerlebir olmasına neden oldu. Patlamalar yaşandığında Ankara'daydım. Haberi alır almaz Hatay'a uçtum. Bölgeye vardığım geceden itibaren olay yerinden o gün ve takip eden günlerde çok sayıda fotoğraf çektim. Baktığınız bu fotoğraf da onlardan biri. Patlamadan iki gün sonra yani 13 Kasım Pazartesi günü çekildi.
O gün arama-kurtarma ekipleri hala olay yerindeki çalışmalarını sürdürüyor, yıkıntıların arasında insan cesetleri buluyorlardı. Son duruma ve olay yerindeki yıkımın boyutuna dair fikir verecek bir fotoğraf çekmeye karar verdim. Patlamalardan birinin gerçekleştiği caddenin hemen karşı tarafında, kendisi de patlamada ağır hasar görmüş ve terkedilmiş halde bulunan bir binaya girdim. Uygun bir açı bulmak için merdivenleri tırmanıp çatıya kadar çıktım. Bulunduğum yerden fotoğrafladığım bu apartman, bombalardan biri hemen önünde patladığı için tamamen yıkılan bir binanın bitişiğinde. Komşu bina çöktüğünde onun da yan duvarlarını beraberinde alıp götürmüş.
Birden hasarlı binanın artık duvarsız dairelerinden birinde bir adam belirdi. Bir dakika kadar dairenin içine göz gezdirip sonra geldiği gibi aniden yok olup gitti. Adamın kim olduğunu öğrenemedim. Ama haber fotoğrafçılığını sevmemin asıl nedeni tam da burada gizli: Elinizde yeterli bilgi olmasa dahi bir öyküyü bir fotoğrafla olabildiğince etkileyici şekilde anlatmanızın mümkün olması!
Adamın adını, yaşını bilmiyoruz. Tek bildiğimiz onun bir kurban olduğu. Savaşın, şiddetin, terörizmin kurbanı... Belki o apartman kendisinin ya da bir arkadaşına ait. Belki Reyhanlı'da yaşayan biri belki de değil. Kimbilir belki de patlamada sevdiği birini yitirdi. Bu sorulara yanıt vermesek de fotoğrafı doğru şekilde okuduğumuzda mesajı algılamamız mümkün:
Biz; bu dünya üzerinde yaşayan insanlar, hergün yeryüzünün farklı yerlerinde sadece birbirimizi anlamadığımız, bizden farklı olanlara saygı duymadığımız için kendi kendimize yeni kurbanlar yaratıp duruyoruz!”
“Reyhanli is a Turkish border town in Hatay province. Syrians use the town to enter Turkey from the Turkish Cilvegozu border gate, located opposite the Syrian commercial crossing point Bab al-Hawa which is just a few miles from Reyhanli. I have been there several times since the start of Syria's civil war to work on various stories about Syrian refugees. In the early afternoon of May 11, twin car bombs ripped into the crowded streets near Reyhanli's shopping district, scattering concrete blocks and smashing cars. Some 51 people were killed and dozens injured. I was in Ankara when the bombings occurred and flew to Hatay immediately. This picture was taken two days after the bombings.
Search and rescue teams were still on scene and there were still bodies being found under collapsed buildings. I decided to take a picture which would capture the size of the damage. I found a building which was also heavily damaged and deserted on the opposite side of the street. I climbed the stairs and found a spot on the roof that would be a good vantage point for pictures. The building in this picture was nextdoor to another which totally collapsed when one of the cars exploded in front of it. When the neighboring building collapsed it took the side walls of this building with it.
Suddenly, a man appeared in one of the apartments of the damaged building. He stood there for a minute and disapeared just as quickly as he had come. I don't know who he is. But this is why I like news photography. Even if you don't know all the details you can still tell an impressive story. We don't know his name or his age but we know that he is a victim; victim of war, victim of violence, victim of terrorism. The apartment may be his or maybe it is one of his friend's. He may live in Reyhanli, or he may not. Who knows? He may have lost a loved one during the blast. Even though we cannot answer these questions we can read a message by reading the picture in the right way: every day we, the people of this world, create new victims in different parts of the world just because of not understanding each other, not being respectful to people different than us...”
Canon EOS -1D Mark 4, lens 70-200mm, f6.3, 1/640, ISO 400
Caption: A man checks an apartment on a damaged building at the site of a blast in the town of Reyhanli in Hatay province, near the Turkish-Syrian border, May 13, 2013.
“Reyhanlı, Hatay ili sınırları içerisinde bir sınır kasabası. Suriyeli mültecilerin Türkiye'ye giriş yaptığı önemli ve en yoğun geçiş noktalarından biri olan Cilvegözü Sınır Kapısı, sınırın öte yanındaki adıyla Bab al-Hawa, Reyhanlı'nın hemen yanıbaşında. Suriye'deki iç savaşın alevlendiği günden bu yana Suriyeli mültecilere dair haberler yapmak üzere defalarca bölgeye seyahat edip bu coğrafyada oldukça fazla zaman geçirdim. 11 Mayıs 2013 Cumartesi günü öğle saatlerinde Reyhanlı'nın en işlek iki noktasında iki bomba yüklü araç infilak etti. Şiddetli patlamalar 51 kişinin ölümüne, onlarca insanın yaralanmasına , arabaların parçalanıp hurdaya dönmesine ve binaların yerlebir olmasına neden oldu. Patlamalar yaşandığında Ankara'daydım. Haberi alır almaz Hatay'a uçtum. Bölgeye vardığım geceden itibaren olay yerinden o gün ve takip eden günlerde çok sayıda fotoğraf çektim. Baktığınız bu fotoğraf da onlardan biri. Patlamadan iki gün sonra yani 13 Kasım Pazartesi günü çekildi.
O gün arama-kurtarma ekipleri hala olay yerindeki çalışmalarını sürdürüyor, yıkıntıların arasında insan cesetleri buluyorlardı. Son duruma ve olay yerindeki yıkımın boyutuna dair fikir verecek bir fotoğraf çekmeye karar verdim. Patlamalardan birinin gerçekleştiği caddenin hemen karşı tarafında, kendisi de patlamada ağır hasar görmüş ve terkedilmiş halde bulunan bir binaya girdim. Uygun bir açı bulmak için merdivenleri tırmanıp çatıya kadar çıktım. Bulunduğum yerden fotoğrafladığım bu apartman, bombalardan biri hemen önünde patladığı için tamamen yıkılan bir binanın bitişiğinde. Komşu bina çöktüğünde onun da yan duvarlarını beraberinde alıp götürmüş.
Birden hasarlı binanın artık duvarsız dairelerinden birinde bir adam belirdi. Bir dakika kadar dairenin içine göz gezdirip sonra geldiği gibi aniden yok olup gitti. Adamın kim olduğunu öğrenemedim. Ama haber fotoğrafçılığını sevmemin asıl nedeni tam da burada gizli: Elinizde yeterli bilgi olmasa dahi bir öyküyü bir fotoğrafla olabildiğince etkileyici şekilde anlatmanızın mümkün olması!
Adamın adını, yaşını bilmiyoruz. Tek bildiğimiz onun bir kurban olduğu. Savaşın, şiddetin, terörizmin kurbanı... Belki o apartman kendisinin ya da bir arkadaşına ait. Belki Reyhanlı'da yaşayan biri belki de değil. Kimbilir belki de patlamada sevdiği birini yitirdi. Bu sorulara yanıt vermesek de fotoğrafı doğru şekilde okuduğumuzda mesajı algılamamız mümkün:
Biz; bu dünya üzerinde yaşayan insanlar, hergün yeryüzünün farklı yerlerinde sadece birbirimizi anlamadığımız, bizden farklı olanlara saygı duymadığımız için kendi kendimize yeni kurbanlar yaratıp duruyoruz!”
Image 59 of 93: MOHAMED ABD EL GHANY, Egypt
“The pictures team in Cairo and I were informed that the Egyptian security forces would be building a barrier between the anti-Mursi protesters and themselves. There were always strong clashes occurring between the two sides. So, I was in place from the night until the early morning. I took this photo at 5:30 a.m. as the protesters in Tahrir Square marked the second anniversary of the “January 25 revolution” that overthrew former President Mubarak.”
Canon EOS Mark IIII, lens 70-200mm at 200mm, f2.8, 1/80, ISO 1600
Caption: Protesters flee from tear gas fired by riot police during clashes after protesters removed a concrete barrier at Qasr al-Aini Street near Tahrir Square in Cairo January 24, 2013.
“The pictures team in Cairo and I were informed that the Egyptian security forces would be building a barrier between the anti-Mursi protesters and themselves. There were always strong clashes occurring between the two sides. So, I was in place from the night until the early morning. I took this photo at 5:30 a.m. as the protesters in Tahrir Square marked the second anniversary of the “January 25 revolution” that overthrew former President Mubarak.”
Canon EOS Mark IIII, lens 70-200mm at 200mm, f2.8, 1/80, ISO 1600
Caption: Protesters flee from tear gas fired by riot police during clashes after protesters removed a concrete barrier at Qasr al-Aini Street near Tahrir Square in Cairo January 24, 2013.
لقد علمنا فريق التصوير في القاهرة ان قوات الامن سوف يبنوا جدار بينهم و بين المحتجين, لذا انا كنت في مكان الحادث منذ اليل حتي الصباح الباكر و قمت بتصوير هذه الصورة الساعة 5:30 صباحا , و هذه الصورة كانت لذكري
يوم 25 يناير بالقرب من ميدان التحرير حيث كان بداية الأحتجاج علي مرسي .
Image 59 of 93:
Image 60 of 93: GIANNI MANIA, Italy
“When I arrived on the scene, the sea was continuing to give back the migrants’ belongings – bags, shoes, documents, Korans – but it was done with returning the bodies. After the initial confusion and panic as people confronted this tragedy, piety took over. All the suburned bodies had been covered up by a friendly person, in exactly the same place where the sea had given them back to the shore. One instant was all it took. The scenario in front of me was heartbreaking but in one frame you could evoke all the drama and the desolation found in a one-way trip."
Canon Eos 5D MARK III, lens 70-200mm, f8, 1/500, ISO 400 Caption: Bodies of migrants who drowned lie on the beach in the Sicilian village of Sampieri September 30, 2013.
“Quando sono arrivato sul luogo della tragedia, il mare restituiva ancora gli effetti personali dei migranti, borsoni, scarpe, documenti, copie del Corano, storie di vita ... ma aveva finito di restituire corpi. Alle iniziali fasi di panico e di sgomento, tra i presenti, mentre si attendevano le formalità di rito, cominciava a sostituirsi la Pietà ...quei corpi arsi dal solesono stati amorevolmente coperti lì, dove giacevano, così come li aveva lasciati il mare. E’ stato un istante, la scena che mi si parava davanti era straziante ma in un unico frame ti restituiva tutto il dramma e la disperazione di questi viaggi di solo andata.”
“When I arrived on the scene, the sea was continuing to give back the migrants’ belongings – bags, shoes, documents, Korans – but it was done with returning the bodies. After the initial confusion and panic as people confronted this tragedy, piety took over. All the suburned bodies had been covered up by a friendly person, in exactly the same place where the sea had given them back to the shore. One instant was all it took. The scenario in front of me was heartbreaking but in one frame you could evoke all the drama and the desolation found in a one-way trip."
Canon Eos 5D MARK III, lens 70-200mm, f8, 1/500, ISO 400 Caption: Bodies of migrants who drowned lie on the beach in the Sicilian village of Sampieri September 30, 2013.
“Quando sono arrivato sul luogo della tragedia, il mare restituiva ancora gli effetti personali dei migranti, borsoni, scarpe, documenti, copie del Corano, storie di vita ... ma aveva finito di restituire corpi. Alle iniziali fasi di panico e di sgomento, tra i presenti, mentre si attendevano le formalità di rito, cominciava a sostituirsi la Pietà ...quei corpi arsi dal solesono stati amorevolmente coperti lì, dove giacevano, così come li aveva lasciati il mare. E’ stato un istante, la scena che mi si parava davanti era straziante ma in un unico frame ti restituiva tutto il dramma e la disperazione di questi viaggi di solo andata.”
Image 61 of 93: STEFANO RELLANDINI, Italy
“Every Wednesday the Holy Father leads a weekly audience in St. Peter’s Square. This was repetitive in one way for us photographers. At least, it had been – until Pope Francis.
This pope totally changed the schedule including the weekly Wednesday audience where we now need to focus our total attention the moment he appears in the square.
The faithful in the square share more now than they did during the classic tours of the pope inside the pope mobile. Now they take part with more passion and Pope Francis never forgets to bless and wave at everybody.
All this keeps us concentrating and targeting on the Holy Father as we wait in the hopes of an unexpected picture. I saw a handkerchief flying toward the pope, solely on instinct I took the shot.”
Canon EOS Mark 1 DX, lens 600mm, f8, 1/1000, ISO 640
Caption: Pope Francis waves as he tries to grab an handkerchief thrown by a faithful as he arrives to lead his Wednesday general audience in Saint Peter's square at the Vatican October 16, 2013.
“Tutti I mercoledi il papa tiene un udienza in piazza san pietro, qesto puo’ diventare monotono e a volte noioso per un fotografo.Nelle varie udinze con i papi precedenti almeno era cosi.
Con papa Francesco no. Questo papa ha cambiato completamente tutti gli schemi compreso quello delle udienze del mercoledi che oggi sono oggetto di continua attenzione dal momento in cui compare in piazza.
La gente e’ molto piu’ partecipe durante il classico giro di papa Francesco sulla pope mobile avendo un apporoccio piu’ confidenziale con il pontefice, che non manca di salutare e benedire tutti . Tutto Questo ci porta ad aver puntato il nostro obbietivo in maniera costante il sua persona sapendo e sperando ci catturare una foto anomala. Ho visto un fazzoletto volare verso il papa , unicamente d’istinto ho scattato!”
“Every Wednesday the Holy Father leads a weekly audience in St. Peter’s Square. This was repetitive in one way for us photographers. At least, it had been – until Pope Francis.
This pope totally changed the schedule including the weekly Wednesday audience where we now need to focus our total attention the moment he appears in the square.
The faithful in the square share more now than they did during the classic tours of the pope inside the pope mobile. Now they take part with more passion and Pope Francis never forgets to bless and wave at everybody.
All this keeps us concentrating and targeting on the Holy Father as we wait in the hopes of an unexpected picture. I saw a handkerchief flying toward the pope, solely on instinct I took the shot.”
Canon EOS Mark 1 DX, lens 600mm, f8, 1/1000, ISO 640
Caption: Pope Francis waves as he tries to grab an handkerchief thrown by a faithful as he arrives to lead his Wednesday general audience in Saint Peter's square at the Vatican October 16, 2013.
“Tutti I mercoledi il papa tiene un udienza in piazza san pietro, qesto puo’ diventare monotono e a volte noioso per un fotografo.Nelle varie udinze con i papi precedenti almeno era cosi.
Con papa Francesco no. Questo papa ha cambiato completamente tutti gli schemi compreso quello delle udienze del mercoledi che oggi sono oggetto di continua attenzione dal momento in cui compare in piazza.
La gente e’ molto piu’ partecipe durante il classico giro di papa Francesco sulla pope mobile avendo un apporoccio piu’ confidenziale con il pontefice, che non manca di salutare e benedire tutti . Tutto Questo ci porta ad aver puntato il nostro obbietivo in maniera costante il sua persona sapendo e sperando ci catturare una foto anomala. Ho visto un fazzoletto volare verso il papa , unicamente d’istinto ho scattato!”
Image 62 of 93: LISI NIESNER, Germany
“I already knew that I wanted to cover this story before I moved to Germany last October. I had read about Werner Freund and his wolf sanctuary in a guidebook about Germany's western province of Saarland. I desperately wanted snow for this story, so I waited for the right time. Finally, in January, I traveled to the little town of Merzig not far from the French border. In the beginning, I was not sure what to expect and if my hopes for a good story would be fulfilled. Initially, I was disappointed that it was not possible to shoot from inside the enclosure or to put a remote camera into it. When Werner entered the enclosure my doubts quickly faded. Surprisingly, he laid down and bit into the deer’s leg. He was the alphamale so he ate as the first ‘wolf’. To me, the moment shows not only a predator coming slowly closer to the prey but it is much more an expression of subordination and respect of a wolf towards the human Werner Freund.”
Canon EOS 5D Mark III, lens 400mm, f2.8, 1/1250, ISO 320
Caption: Wolf researcher Werner Freund bites into a deer cadaver next to a Mongolian wolf in an enclosure at Wolfspark Werner Freund, in Merzig in the German province of Saarland, January 24, 2013.
“Schon bevor ich letzten Oktober nach Deutschland umzog, wusste ich, dass ich diese Story fotografieren wollte: Ich hatte von Werner Freund und seinem Wolfspark in einem Reiseführer über das Saarland im Westen Deutschlands gelesen. Weil ich unbedingt wollte, dass auf den Fotos Wölfe im Schnee zu sehen sind, musste ich auf die richtige Jahreszeit warten. Im Januar war es dann soweit: ich fuhr nach Merzig, eine kleine Stadt nicht weit von der französischen Grenze. Ich wusste nicht, was mich dort erwarten würde und ob sich meine Hoffnungen auf eine gute Geschichte erfüllen. Zunächst war ich enttäuscht, weil ich nicht innerhalb des Zauns fotografieren und dort auch keine Remote Kamera aufstellen konnte. Doch als Werner Freund das Gehege betrat waren meine Zweifel schnell verfolgen. Ich war überrascht, dass er sich wirklich auf den Boden legte und in das Bein des toten Rehs biss und gemäß eines Alphatiers als erster "Wolf" fraß. Für mich zeigt dieser Moment nicht nur ein Raubtier, das sich langsam der Beute nähert, sondern vielmehr einen Augenblick der Unterordnung und des Respekts, die der Wolf dem Mensch Werner Freund entgegenbringt.”
“I already knew that I wanted to cover this story before I moved to Germany last October. I had read about Werner Freund and his wolf sanctuary in a guidebook about Germany's western province of Saarland. I desperately wanted snow for this story, so I waited for the right time. Finally, in January, I traveled to the little town of Merzig not far from the French border. In the beginning, I was not sure what to expect and if my hopes for a good story would be fulfilled. Initially, I was disappointed that it was not possible to shoot from inside the enclosure or to put a remote camera into it. When Werner entered the enclosure my doubts quickly faded. Surprisingly, he laid down and bit into the deer’s leg. He was the alphamale so he ate as the first ‘wolf’. To me, the moment shows not only a predator coming slowly closer to the prey but it is much more an expression of subordination and respect of a wolf towards the human Werner Freund.”
Canon EOS 5D Mark III, lens 400mm, f2.8, 1/1250, ISO 320
Caption: Wolf researcher Werner Freund bites into a deer cadaver next to a Mongolian wolf in an enclosure at Wolfspark Werner Freund, in Merzig in the German province of Saarland, January 24, 2013.
“Schon bevor ich letzten Oktober nach Deutschland umzog, wusste ich, dass ich diese Story fotografieren wollte: Ich hatte von Werner Freund und seinem Wolfspark in einem Reiseführer über das Saarland im Westen Deutschlands gelesen. Weil ich unbedingt wollte, dass auf den Fotos Wölfe im Schnee zu sehen sind, musste ich auf die richtige Jahreszeit warten. Im Januar war es dann soweit: ich fuhr nach Merzig, eine kleine Stadt nicht weit von der französischen Grenze. Ich wusste nicht, was mich dort erwarten würde und ob sich meine Hoffnungen auf eine gute Geschichte erfüllen. Zunächst war ich enttäuscht, weil ich nicht innerhalb des Zauns fotografieren und dort auch keine Remote Kamera aufstellen konnte. Doch als Werner Freund das Gehege betrat waren meine Zweifel schnell verfolgen. Ich war überrascht, dass er sich wirklich auf den Boden legte und in das Bein des toten Rehs biss und gemäß eines Alphatiers als erster "Wolf" fraß. Für mich zeigt dieser Moment nicht nur ein Raubtier, das sich langsam der Beute nähert, sondern vielmehr einen Augenblick der Unterordnung und des Respekts, die der Wolf dem Mensch Werner Freund entgegenbringt.”
Image 63 of 93: WANG YIXUAN, BEIJING TIMES, China
“I was deployed to cover the earthquake aftermath with the second group of journalists from my paper. I went with text reporters directly to the Minxian hospital. My main assignment was to photograph the injured people. From when I set foot inside the hospital, I saw victims of different ages and conditions. I decided to shoot a set of profile pictures of them. In the long corridor of the hospital, I was drawn to a girl sitting on a bed, especially by her eyes which gave away a mixture of insecurity and panic. It was obvious by the look on her face and her messy hair what she might have witnessed during the disaster. I tried my best not to bother her but I also tried to capture her heartbreaking expression. She told me she was scared. The girl’s relative was there when I took the picture, helping her comb her hair and clean her feet.”
Nikon D3, lens 35mm, f1.4, 1/250, ISO 2500
Caption: An injured woman receives treatment at a hospital after a 6.6 magnitude earthquake hit Minxian county, Dingxi, Gansu province July 23, 2013.
我属于报社地震报道组的第二批人员抵达灾区，随文字来到了岷县医院，镜头落脚点在伤者身上。从进医院的那刻起，许多岁数、伤势、状态不一的伤者都进入了自己的视线，我力图构思完成一组伤者的肖像。当我步入医院长长的走道时，一名正坐在病床上的女孩吸引了我，特别是她那双眼神，惊恐夹杂不安，和着她那头乱蓬凌垢的头发，定格在了自己的画面中。很明显，她在地震中刚刚经历了一场死里逃生，尚未从那份恐惧中离开。脸上的伤痕，紧握合起的双手，都将她那时那刻的状态显露无疑。她表示，她很害怕。女孩的亲人也在一旁准备开始为她梳理头发，清洗双腿。我没有太多的打扰。
“I was deployed to cover the earthquake aftermath with the second group of journalists from my paper. I went with text reporters directly to the Minxian hospital. My main assignment was to photograph the injured people. From when I set foot inside the hospital, I saw victims of different ages and conditions. I decided to shoot a set of profile pictures of them. In the long corridor of the hospital, I was drawn to a girl sitting on a bed, especially by her eyes which gave away a mixture of insecurity and panic. It was obvious by the look on her face and her messy hair what she might have witnessed during the disaster. I tried my best not to bother her but I also tried to capture her heartbreaking expression. She told me she was scared. The girl’s relative was there when I took the picture, helping her comb her hair and clean her feet.”
Nikon D3, lens 35mm, f1.4, 1/250, ISO 2500
Caption: An injured woman receives treatment at a hospital after a 6.6 magnitude earthquake hit Minxian county, Dingxi, Gansu province July 23, 2013.
我属于报社地震报道组的第二批人员抵达灾区，随文字来到了岷县医院，镜头落脚点在伤者身上。从进医院的那刻起，许多岁数、伤势、状态不一的伤者都进入了自己的视线，我力图构思完成一组伤者的肖像。当我步入医院长长的走道时，一名正坐在病床上的女孩吸引了我，特别是她那双眼神，惊恐夹杂不安，和着她那头乱蓬凌垢的头发，定格在了自己的画面中。很明显，她在地震中刚刚经历了一场死里逃生，尚未从那份恐惧中离开。脸上的伤痕，紧握合起的双手，都将她那时那刻的状态显露无疑。她表示，她很害怕。女孩的亲人也在一旁准备开始为她梳理头发，清洗双腿。我没有太多的打扰。
Image 64 of 93: SHANNON STAPLETON, United States
“I was in Williston, North Dakota, doing a story on the oil boom there. It was the heart of winter and probably around 13 degrees Fahrenheit (minus 10 degrees Celsius) in the morning when I made this photo. I was leaving early to chase the sunrise and noticed this sleeper semi-truck parked on the road outside my weekly rental. The ice was still defrosting on my window and the sun was rising. I liked the frame because in Williston the shortage of living quarters often makes the numerous men seeking a piece of the modern day gold rush live and rest anywhere possible.”
Canon 5D Mark III, lens 35mm, f2.8, 1/125, ISO 2500
Caption: A truck parked along side of a road is pictured through a frosted window during sunrise in Williston, North Dakota March 14, 2013.
“I was in Williston, North Dakota, doing a story on the oil boom there. It was the heart of winter and probably around 13 degrees Fahrenheit (minus 10 degrees Celsius) in the morning when I made this photo. I was leaving early to chase the sunrise and noticed this sleeper semi-truck parked on the road outside my weekly rental. The ice was still defrosting on my window and the sun was rising. I liked the frame because in Williston the shortage of living quarters often makes the numerous men seeking a piece of the modern day gold rush live and rest anywhere possible.”
Canon 5D Mark III, lens 35mm, f2.8, 1/125, ISO 2500
Caption: A truck parked along side of a road is pictured through a frosted window during sunrise in Williston, North Dakota March 14, 2013.
Image 65 of 93: JIM URQUHART, United States
“To get this image I had two GoPros affixed to the rig Dan and Shadow were hang gliding on. The cameras were aimed prior to take off and I set each one to fire a frame every second of flight. Everything worked as planned until I downloaded my cards. My heart sunk and I was almost sick when the first several dozen frames were garbage because the camera was not changing exposure as Dan flew from shadow to direct light resulting in nuclear overexposed frames. But, eventually the camera began changing exposure and I was rewarded with several good frames.”
GoPro Hero II, lens 5mm, f3.6, 1/464, ISO 100
Caption: Dan McManus and his service dog Shadow hang glide together outside Salt Lake City, Utah, July 22, 2013. McManus suffers from anxiety and Shadow's presence and companionship help him to manage the symptoms. The two have been flying together for about nine years with a specially made harness for Shadow.
Click here for a related blog
“To get this image I had two GoPros affixed to the rig Dan and Shadow were hang gliding on. The cameras were aimed prior to take off and I set each one to fire a frame every second of flight. Everything worked as planned until I downloaded my cards. My heart sunk and I was almost sick when the first several dozen frames were garbage because the camera was not changing exposure as Dan flew from shadow to direct light resulting in nuclear overexposed frames. But, eventually the camera began changing exposure and I was rewarded with several good frames.”
GoPro Hero II, lens 5mm, f3.6, 1/464, ISO 100
Caption: Dan McManus and his service dog Shadow hang glide together outside Salt Lake City, Utah, July 22, 2013. McManus suffers from anxiety and Shadow's presence and companionship help him to manage the symptoms. The two have been flying together for about nine years with a specially made harness for Shadow.
Click here for a related blog
Image 66 of 93: GORAN TOMASEVIC, Kenya
“I was at home when I heard from a friend about something happening, but we weren’t sure what it was. I went to the Westgate mall and saw some bodies lying in the car park and realized it was serious. I saw some police so I hid behind the cars to take cover and slowly got closer to the gate.
An injured child was being pushed in a supermarket trolley. The woman said to me: “Please, take this child”. But the police jumped in and helped her. I took some pictures and then saw a couple of plainclothes and regular police. I asked when they would be moving and they said they were going to try and enter the shopping mall from the top. I went with them.
Children were following their parents. I saw a mother carrying her child. They were hiding when plainclothes police who said they were good guys gave instructions on how to run.
I followed the police up and down through the mall, bodies were here and there. One of the policemen told me there were a lot of bodies in a shop near the entrance. I went there and took a couple of pictures.
There was one moment when the police and I were hiding behind a column in the mall, sort of a stand holding something up. It wasn’t part of the building. I knocked on it and it was made out of thin material. I said “Hey guys knock on this!” Everyone started to knock. They said “So, what?” I said “It’s not going to protect us.” So, I dived down and everyone followed.
A woman ran out from a shop with some children and I helped some of them to get out. I took one of their hands and helped them run together. There was an older lady and she couldn’t run. People were in panic. Some kids were running and kids run quite well so they didn’t need any help. All of them were in total shock; they didn’t know what was going on.”
Canon EOS 1DX, lens 16-35mm at 16mm, f3.2, 1/200, ISO 1000
Caption: A child runs to safety as armed police hunt gunmen who went on a shooting spree at Westgate shopping center in Nairobi September 21, 2013.
Click here for a related gallery
“I was at home when I heard from a friend about something happening, but we weren’t sure what it was. I went to the Westgate mall and saw some bodies lying in the car park and realized it was serious. I saw some police so I hid behind the cars to take cover and slowly got closer to the gate.
An injured child was being pushed in a supermarket trolley. The woman said to me: “Please, take this child”. But the police jumped in and helped her. I took some pictures and then saw a couple of plainclothes and regular police. I asked when they would be moving and they said they were going to try and enter the shopping mall from the top. I went with them.
Children were following their parents. I saw a mother carrying her child. They were hiding when plainclothes police who said they were good guys gave instructions on how to run.
I followed the police up and down through the mall, bodies were here and there. One of the policemen told me there were a lot of bodies in a shop near the entrance. I went there and took a couple of pictures.
There was one moment when the police and I were hiding behind a column in the mall, sort of a stand holding something up. It wasn’t part of the building. I knocked on it and it was made out of thin material. I said “Hey guys knock on this!” Everyone started to knock. They said “So, what?” I said “It’s not going to protect us.” So, I dived down and everyone followed.
A woman ran out from a shop with some children and I helped some of them to get out. I took one of their hands and helped them run together. There was an older lady and she couldn’t run. People were in panic. Some kids were running and kids run quite well so they didn’t need any help. All of them were in total shock; they didn’t know what was going on.”
Canon EOS 1DX, lens 16-35mm at 16mm, f3.2, 1/200, ISO 1000
Caption: A child runs to safety as armed police hunt gunmen who went on a shooting spree at Westgate shopping center in Nairobi September 21, 2013.
Click here for a related gallery
Image 67 of 93: ALEXANDER DEMIANCHUK, Russia
“It was after a gloomy, cold and dank winter (which in St. Petersburg lasts from November to the end of April) on one of the few winter sunny days, some fans of extreme relaxation went to the beach at the Peter and Paul Fortress. They stood against the wall and sunbathed. This usually takes place in March, when the city has a lot of snow and the temperature is still -10 and -15 degrees Celsius (5 to 14 degrees Fahrenheit) but the sun is out and it slowly begins to warm the city.”
Canon EOS-1D Mark IV, lens 200mm, f9.0, 1/1000, ISO 250
Caption: People sunbathe by the wall of the Peter and Paul Fortress in St. Petersburg March 10, 2013.
“После хмурой, холодной и промозглой зимы, которая длится в Санкт - Петербурге с ноября месяца по конец апреля, в один из солнечных дней ,которых зимой бывает мало,некоторые любители экстремального отдыхы приходят на пляж Петропавловской крепости , становятся у стены и загорают. Это происходит обычно в марте месяце когда в городе еще много снега и температура бывает до -10 и -15 градусов мороза, но солнышко уже потихоньку начинает согревать город.”
“It was after a gloomy, cold and dank winter (which in St. Petersburg lasts from November to the end of April) on one of the few winter sunny days, some fans of extreme relaxation went to the beach at the Peter and Paul Fortress. They stood against the wall and sunbathed. This usually takes place in March, when the city has a lot of snow and the temperature is still -10 and -15 degrees Celsius (5 to 14 degrees Fahrenheit) but the sun is out and it slowly begins to warm the city.”
Canon EOS-1D Mark IV, lens 200mm, f9.0, 1/1000, ISO 250
Caption: People sunbathe by the wall of the Peter and Paul Fortress in St. Petersburg March 10, 2013.
“После хмурой, холодной и промозглой зимы, которая длится в Санкт - Петербурге с ноября месяца по конец апреля, в один из солнечных дней ,которых зимой бывает мало,некоторые любители экстремального отдыхы приходят на пляж Петропавловской крепости , становятся у стены и загорают. Это происходит обычно в марте месяце когда в городе еще много снега и температура бывает до -10 и -15 градусов мороза, но солнышко уже потихоньку начинает согревать город.”
Image 68 of 93: LARRY DOWNING, United States
“This picture turned out to be one of my favorite photographic moments of the year. It was taken on one of the most routine events for news photographers at the White House when U.S. President Barack Obama took off in Marine One from the South Lawn. Usually that assignment is considered protective and doesn't promise a nice picture but this day was different.
What caught my eye before the helicopter even landed to pick up the president was the fact every child in the guest viewing area seemed to be wearing similar red sweaters with the same crest identifying them as a special group. I shot a tight image of the crest which read, "Park Maitland School" and knew I could "Google" the name and location of the school afterwards if the picture was good. It was, and my search discovered they were from Florida. So I called the school to verify if their students were in Washington, DC.
I knew once the helicopter started its powerful liftoff from the lawn, a huge blast of wind would blow right through the kids and I knew from experience they would react with enthusiasm. Marine One is loud and very windy. Hats and umbrellas don't stand a chance once this helicopter revs up its engine. What I got was a uniform and spontaneous reaction from both the kids, and their hair, which gave the picture its life. The back lighting gave all the hair the same spun-glass look to it.
The guest area is about 75 feet from the press viewing area and I used a longer telephoto lens to reach across to capture the picture. My camera was a Canon 5D Mark III which gives me a very high resolution image making it easy to blow up a small portion of the image.”
Canon 5D Mark III, lens 300mm, f4, 1/1000, ISO 250
Caption: Sixth grade students from the Park Maitland School in Maitland, Florida, watch as Marine One carrying U.S. President Barack Obama takes off from the South Lawn at the White House in Washington as he departs for Las Vegas, January 29, 2013.
“This picture turned out to be one of my favorite photographic moments of the year. It was taken on one of the most routine events for news photographers at the White House when U.S. President Barack Obama took off in Marine One from the South Lawn. Usually that assignment is considered protective and doesn't promise a nice picture but this day was different.
What caught my eye before the helicopter even landed to pick up the president was the fact every child in the guest viewing area seemed to be wearing similar red sweaters with the same crest identifying them as a special group. I shot a tight image of the crest which read, "Park Maitland School" and knew I could "Google" the name and location of the school afterwards if the picture was good. It was, and my search discovered they were from Florida. So I called the school to verify if their students were in Washington, DC.
I knew once the helicopter started its powerful liftoff from the lawn, a huge blast of wind would blow right through the kids and I knew from experience they would react with enthusiasm. Marine One is loud and very windy. Hats and umbrellas don't stand a chance once this helicopter revs up its engine. What I got was a uniform and spontaneous reaction from both the kids, and their hair, which gave the picture its life. The back lighting gave all the hair the same spun-glass look to it.
The guest area is about 75 feet from the press viewing area and I used a longer telephoto lens to reach across to capture the picture. My camera was a Canon 5D Mark III which gives me a very high resolution image making it easy to blow up a small portion of the image.”
Canon 5D Mark III, lens 300mm, f4, 1/1000, ISO 250
Caption: Sixth grade students from the Park Maitland School in Maitland, Florida, watch as Marine One carrying U.S. President Barack Obama takes off from the South Lawn at the White House in Washington as he departs for Las Vegas, January 29, 2013.
Image 69 of 93: ALEXANDER DEMIANCHUK, Russia
“After the adoption of a Russian law prohibiting homosexual “propaganda” to minors, I wanted to see how people live and work in gay clubs in St. Petersburg. As it turned out, nothing much had changed since the adoption of the law. People at gay clubs carried on with their night lives. In town, there were only a few clubs so I decided to visit one of them. After a phone call to the administration, I was kindly allowed to pay a visit to the club. I got there after midnight to find many visitors. The atmosphere at the club was nice, people were friendly, not shy or afraid of being photographed – that’s what I remember from my visit. Life goes on.”
Canon EOS-1D Mark IV, lens 16mm, f5.0, 1/30, ISO 800
Caption: People dance at a private gay club called "Malevich" in St. Petersburg February 2, 2013.
“После принятия Россией закона запрещающего пропаганду гомосексуализма мне хотелось посмотреть как живут и работают гей клубы в Петербурге. На самом деле ничего не изменилось после принятия закона. Гей клубы живут своей ночной жизнью а их в городе несколько. Один из них я решил посетить.После телефонного общения с администрацией мне любезно разрешили нанести визит в клуб.В один из дней после полуночи я был в там. Много посетителей, очень приятная клубная атмосфера, люди были дружелюбны, не стеснялись и не боялись фотосьемки – вот что мне запомнилось при посещении . Жизнь продолжается.”
“After the adoption of a Russian law prohibiting homosexual “propaganda” to minors, I wanted to see how people live and work in gay clubs in St. Petersburg. As it turned out, nothing much had changed since the adoption of the law. People at gay clubs carried on with their night lives. In town, there were only a few clubs so I decided to visit one of them. After a phone call to the administration, I was kindly allowed to pay a visit to the club. I got there after midnight to find many visitors. The atmosphere at the club was nice, people were friendly, not shy or afraid of being photographed – that’s what I remember from my visit. Life goes on.”
Canon EOS-1D Mark IV, lens 16mm, f5.0, 1/30, ISO 800
Caption: People dance at a private gay club called "Malevich" in St. Petersburg February 2, 2013.
“После принятия Россией закона запрещающего пропаганду гомосексуализма мне хотелось посмотреть как живут и работают гей клубы в Петербурге. На самом деле ничего не изменилось после принятия закона. Гей клубы живут своей ночной жизнью а их в городе несколько. Один из них я решил посетить.После телефонного общения с администрацией мне любезно разрешили нанести визит в клуб.В один из дней после полуночи я был в там. Много посетителей, очень приятная клубная атмосфера, люди были дружелюбны, не стеснялись и не боялись фотосьемки – вот что мне запомнилось при посещении . Жизнь продолжается.”
Image 70 of 93: DAMIR SAGOLJ, Japan
“If you have ever been to Japan, you know how big vending machines are there – shiny, blinking boxes, sucking tons of energy and ready to serve your cold and hot drinks, are everywhere.
In coastal areas of Fukushima prefecture, wrecked by the 2011 tsunami, that ‘everywhere’ gets a totally different meaning. From a field near Minamisoma, probably a good half-mile from the sea, one of these shiny red boxes sprouted. I knew about it, I’d already seen pictures of that Coca Cola box, brought inland by a powerful wave, so I drove inside the exclusion zone around the crippled nuclear plant to check it out for myself. I had plenty of time to walk around the red machine that appeared to scream from a depressing emptiness, to choose the angle and the lens, but every picture I took was equally, absurdly beautiful.
Just as beautiful was the whole area – beaches alongside a blue ocean, green hills and fertile rice fields. Only some other strange fruits grow here – cars on top of a building, a piano in river, a vending machine in a field.”
Camera Canon EOS 5D Mark III, lens 50mm, f2, 1/8000, ISO 100
Caption: A vending machine, brought inland by a tsunami, is seen in a abandoned rice field inside the exclusion zone at the coastal area near Minamisoma in Fukushima prefecture September 21, 2013.
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“日本に行ったことがあるならどれだけ自販機が多いか分かっているだろう。ちかちか光って大量のエネルギーを消費して、いつでもすぐに冷たい飲み物も暖かい飲み物を出してくれる。そんな箱があらゆるところにある。
しかし２０１１年に津波の被害を受けた福島県の沿岸部では「あらゆるところ」というのは全く違った意味を持つ。南相馬市の近くの野原---おそらく海から何キロも離れている---に赤い自販機が一台。
大津波によって運ばれてきたこのコカ・コーラの自販機のことは以前に写真で見て知っていたが、自分の目で確かめるために原発近くの避難区域に入っていった。時間はたっぷりあったので重苦しい空虚の中に立つけばけばしい赤い箱の周りを歩き回ってレンズやアングルを考えた。だが撮った写真はどれも同じようにあきれるほど美しかった。
その場所の全部-‐-砂浜や青い海や緑の丘や豊かな田んぼ---が美しかった。ただそこにはいくつかの「奇妙な果実」があった。ビルのてっぺん車が、川の中にピアノが、そして野原に自販機…。”
“If you have ever been to Japan, you know how big vending machines are there – shiny, blinking boxes, sucking tons of energy and ready to serve your cold and hot drinks, are everywhere.
In coastal areas of Fukushima prefecture, wrecked by the 2011 tsunami, that ‘everywhere’ gets a totally different meaning. From a field near Minamisoma, probably a good half-mile from the sea, one of these shiny red boxes sprouted. I knew about it, I’d already seen pictures of that Coca Cola box, brought inland by a powerful wave, so I drove inside the exclusion zone around the crippled nuclear plant to check it out for myself. I had plenty of time to walk around the red machine that appeared to scream from a depressing emptiness, to choose the angle and the lens, but every picture I took was equally, absurdly beautiful.
Just as beautiful was the whole area – beaches alongside a blue ocean, green hills and fertile rice fields. Only some other strange fruits grow here – cars on top of a building, a piano in river, a vending machine in a field.”
Camera Canon EOS 5D Mark III, lens 50mm, f2, 1/8000, ISO 100
Caption: A vending machine, brought inland by a tsunami, is seen in a abandoned rice field inside the exclusion zone at the coastal area near Minamisoma in Fukushima prefecture September 21, 2013.
Click here for a related blog
“日本に行ったことがあるならどれだけ自販機が多いか分かっているだろう。ちかちか光って大量のエネルギーを消費して、いつでもすぐに冷たい飲み物も暖かい飲み物を出してくれる。そんな箱があらゆるところにある。
しかし２０１１年に津波の被害を受けた福島県の沿岸部では「あらゆるところ」というのは全く違った意味を持つ。南相馬市の近くの野原---おそらく海から何キロも離れている---に赤い自販機が一台。
大津波によって運ばれてきたこのコカ・コーラの自販機のことは以前に写真で見て知っていたが、自分の目で確かめるために原発近くの避難区域に入っていった。時間はたっぷりあったので重苦しい空虚の中に立つけばけばしい赤い箱の周りを歩き回ってレンズやアングルを考えた。だが撮った写真はどれも同じようにあきれるほど美しかった。
その場所の全部-‐-砂浜や青い海や緑の丘や豊かな田んぼ---が美しかった。ただそこにはいくつかの「奇妙な果実」があった。ビルのてっぺん車が、川の中にピアノが、そして野原に自販機…。”
Image 71 of 93: WU FANG, China
“I was among a group of Chinese photojournalists who were participating in a riding tour around the lake, part of the annual Dali International Photography Festival. When I got to the streets of Shuanglang, I saw a local woman carrying a washing machine on her back. She was walking really quickly. Naturally, I raised my camera and captured the moment.”
Nikon D3s, lens 24-70mm at 45mm, f2.8, ISO 500
Caption: A woman carries home a washing machine in Dali, Yunnan province July 30, 2013.
“这张图片拍摄于2013年7月30日，云南大理洱海边的双廊古镇，当时是参加中国媒体摄影记者环洱海骑行活动。在双廊街头，看到一个当地妇女背着洗衣机匆匆走过”
“I was among a group of Chinese photojournalists who were participating in a riding tour around the lake, part of the annual Dali International Photography Festival. When I got to the streets of Shuanglang, I saw a local woman carrying a washing machine on her back. She was walking really quickly. Naturally, I raised my camera and captured the moment.”
Nikon D3s, lens 24-70mm at 45mm, f2.8, ISO 500
Caption: A woman carries home a washing machine in Dali, Yunnan province July 30, 2013.
“这张图片拍摄于2013年7月30日，云南大理洱海边的双廊古镇，当时是参加中国媒体摄影记者环洱海骑行活动。在双廊街头，看到一个当地妇女背着洗衣机匆匆走过”
Image 72 of 93: BASSAM KHABIEH, Syria
“It was the morning of the chemical attack in Eastern Ghouta. When I arrived at the makeshift morgue, I saw people looking at the dead bodies. They could not believe what had happened during the night. They were looking for their relatives between scores of dead bodies that had arrived in Duma city, from Zamalka and Ein Tarma, in a desperate attempt to provide treatment to them before they died.
This man held an infant baby girl. She did not look dead. She looked as though she had fallen into a deep sleep. He raised her body and checked if she was really dead. He then returned her body to its place near her father and brother’s bodies who were also killed in the chemical attacks on Zamalka and Ain Tarma in the Damascus countryside.”
Nikon D7000, lens 18-105mm, f11, 1/100, ISO 200
Caption: A man holds the body of a dead child among bodies of people activists say were killed by nerve gas in the Ghouta region, in the Duma neighborhood of Damascus August 21, 2013.
“It was the morning of the chemical attack in Eastern Ghouta. When I arrived at the makeshift morgue, I saw people looking at the dead bodies. They could not believe what had happened during the night. They were looking for their relatives between scores of dead bodies that had arrived in Duma city, from Zamalka and Ein Tarma, in a desperate attempt to provide treatment to them before they died.
This man held an infant baby girl. She did not look dead. She looked as though she had fallen into a deep sleep. He raised her body and checked if she was really dead. He then returned her body to its place near her father and brother’s bodies who were also killed in the chemical attacks on Zamalka and Ain Tarma in the Damascus countryside.”
Nikon D7000, lens 18-105mm, f11, 1/100, ISO 200
Caption: A man holds the body of a dead child among bodies of people activists say were killed by nerve gas in the Ghouta region, in the Duma neighborhood of Damascus August 21, 2013.
صبيحة يوم الهجوم الكيماوي عىلى الغوطة الشرقية، و عندما وصلت إلى النقطة الطبية التي تم التقاط الصورة فيها، كان الناس يقفون أمام الجثث غير مصدقين ما حدث، كانوا يبحثون بين عشرات الجثث عن أقربائهم المفقودين الذين
تم إسعافهم من مدينتي زملكا و عين ترما إلى مدينة دوما في محاولة يآئسة لمعالجتعم قبل أن ينال منهم الموت،
الشخص الذي يظهر في الصورة، أمسك جثة لطلفة رضيعة كان يبدو عليها أنها تغط في نوم عميق، رفعها من بين الجثث و بدأ يتأكد من أنها بالفعل ميتة ثم أعاد الجثة إلى مكانها حيث كانت قد وضعت بالقرب من جثة أبيها و أخوتها
الذين ماتوا أيضاً في الهجوم الكيماوي على الغوطة الشرقية في ال 21-8-2013.
Image 72 of 93:
Image 73 of 93: CARLOS BARRIA, Mongolia
“I learned about this group a year ago when I read an article in the local media. I started to research a bit and I found just one article in the foreign press, from 2010. I got in contact with a fixer in Ulan Bator who works for a human rights group and she helped me to get in touch with the ultra-nationalists. I asked for permission to photograph them, although at that moment I didn't know they were turning to environmental issues.
A couple of weeks prior to my trip to Mongolia, the fixer I was working with told me that the leader of the group was no longer prioritizing attacks on women suspected of being prostitutes, and that they wanted to focus on environmental issues. That was a very interesting twist in the story.
I went to Mongolia for 10 days to cover the presidential elections and other stories. I met with the Tsagaan Khass four times. During the first interview, I was a little tense. I wanted to make sure there wouldn't be any misunderstandings about the project or any negative consequences for the fixer and translator helping me, since they live in Mongolia. After that I went alone. Some members of the group were quite relaxed but at the same time they were always very secretive about where we were going. That part was a little tense for me.
Things turned a little strange when they introduced me to members of the Khukh Mongol (Blue Mongolia) at the gym. I was asking if it would be possible for me to join one of their ‘environmental patrols’ when someone asked me if I had seen dead bodies before. I answered: “Yes, many times.” Then the same man asked me through a translator (one of the members of the Tsagaan Khass) if I would like to see how they "kill some Chinese people." He made a gesture of cutting his throat with a knife.
I told him I would go where they go, but under no circumstance would I photograph acts of violence. I told them: "I will walk away.” I didn't want them to attack someone because they had a photographer with them, and I didn't want to be used by them to show violence.
They laughed at me, and in the end there was no violence.
The experience was intense. I was thinking all the time about how they see themselves. I was not surprised to see a lot of young members. When you take into account that Mongolia has 30 percent unemployment, despite a mining boom, it seemed likely that some young people might turn to groups like this one looking for answers. I asked two teenagers why they were part of this group, and they told me because they wanted to help people.
I think the challenging part was trying to be as open as possible to understand their position, to understand why they do what they do. It's easy to see them in a negative light, based on their actions, with which I don't agree. But as a journalist, the most challenging part was trying to go deeper, and at the same time to see the wider picture of what is going on in Mongolia society today. I’m still trying to do that.
I took this picture during a walk around a construction site; they wanted to show me a place where undocumented immigrants work.”
Canon EOS 5D Mark III, lens 16-35mm at 16mm, f2.8, 1/1600, ISO 250
Caption: Ariunbold and Uranjargal (L), leaders of the Mongolian neo-Nazi group Tsagaan Khass, stand next to a construction site in Ulan Bator June 22, 2013. The group has rebranded itself as an environmentalist organisation fighting pollution by foreign-owned mines, seeking legitimacy as it sends Swastika-wearing members to check mining permits. Over the past years, ultra-nationalist groups have expanded in the country and among those garnering attention is Tsagaan Khass, which has recently shifted its focus from activities such as attacks on women it accuses of consorting with foreign men to environmental issues, with the stated goal of protecting Mongolia from foreign mining interests. This ultra-nationalist group was founded in the 1990s and currently has 100-plus members.
“Би энэ бүлгийн тухай орон нутгийн сониноос нийтлэл уншсанаар мэдэж авсан юм. Цааш дэлгэрүүлэн судлахыг оролдсон ч 2010 онд гадаадын хэвлэлд бичсэн нийтлэл л лосон. Харин дараа нь Улаанбаатарт хүний эрхийн байгууллагад ажилладаг эмэгтэйтэй холбогдсоноор хэт үндсэрхэг үзэлтнүүдтэй холбогдох боломжтой болсон. Мөн тухайн үед тэднийг хүрээлэн буй орчны талаар анхаарлаа хандуулж байгааг мэдээгүй ч, найзаараа тэдний тухай гэрэл зургийн сурвалжлага хийж болох эсэхийг асуулгасан.
Монголд хоёр долоо хоног болоход хамт ажилласан хүн маань тэднийг биеэ үнэлэгч эмэгтэйчүүдээс илүү хүрээлэн буй орчны талаар анхаарлаа хандуулах болсныг дуулгасан юм. Энэ нь нийтлэлийг минь харин ч маш сонирхолтой болгох юм шиг санагдсан.
Би Монгол руу Ерөнхийлөгчийн сонгууль болон өөр хэд хэдэн асуудлын талаар сурвалжлага бэлтгэхээр 10 хоногийн хугацаатай очсон. Тэр үед “Цагаан хас” бүлгэмийнхэнтэй дөрвөн удаа уулзсан юм. Миний хувьд, тэднийг сурвалжлагын талаар маань буруу ойлгох вий, нөгөөтэйгүүр тэд Монголд амьдардаг тул тусалж байсан хүн болон орчуулагчид минь муу зүйл тохиохгүй байгаа гэж санаа зовж байлаа. Тиймээс дараа нь ганцаараа явсан юм. Бүлгэмийн залуус маш тайван байсан ч хаа нэг тийш явахдаа маш нууцлаг байдал үзүүлж байсан нь надад эвгүй санагдаж байв.
Ялангуяа, тэд “Хөх Монгол” бүлгэмийн гишүүдийг нэгэн спорт клубт танилцуулсан нь их сонин санагдсан. Намайг байгаль орчны эргүүлтэй уулзаж болох эсэхийг асуухад тэд надаас урьд нь үхсэн хүн харж байсан талаар асуусан юм. Би “Тийм ээ, олон удаа” гэхэд тэр залуу (“Цагаан хас” бүлгэмийн гишүүн) орчуулагчаар дамжуулан “Хятад хүн хэрхэн алдгийг хармаар байна уу” гэж асуулгав. Тэгээд хутгаар хоолой хэрчиж байгаа мэт дүрслэл үзүүлсэн.Тэдэнтэй цааш хамт явахыг хүсэхэд хүчирхийллийн аливаа үзэгдлийн зургийг авч болохгүй гэсэн нөхцөлтэйгээр зөвшөөрсөн юм. Харин “Би тэгвэл явахгүй” гэж хэлсэн. Би тэднийг гэрэл зурагчинтай яваа учраас хэн нэгэнд халдах, хэн нэгэнд хүчирхийлэл үйлдэхдээ намайг ашиглаасай гэж хүсээгүй.
Харин тэд над руу инээгээд, эцэст нь мэдээж тэнд ямар нэг хүчирхийлэл байгаагүй. Надад дээрх тохиолдлууд их хүчтэй нөлөөлсөн. Тэд өөрсдийгөө юу гэж боддог, хэрхэн хардаг талаар би маш удаан бодсон. Тэнд олон залуу гишүүдийг хараад би тийм ч гайхаагүй. Хэдийгээр уул уурхайн огцом тэсрэлт болж байгаа ч, хүн амын 30% нь ажилгүй байгаа нийгмийн хувьд залуус ийнхүү бүлэглэж асуултын хариу хайх нь аргагүй мэт. Тэдгээр залуугаас яагаад энэ бүлгэмд байгааг сонирхоход хүмүүст туслахыг хүссэн гэж хариулж байлаа.
Хамгийн хэцүү нь тэдний үзэл бодол, яагаад ийм зүйл хийж байгаа зэргийг ойлгох, нээлттэйгээр хандах нь нэг төрлийн сорилт байлаа. Мэдээж тэдний үйлдлийг хараад санал нийлэхгүй зүйлсээрээ далайлган шууд эсрэг талаас нь харах амархан л даа. Гэхдээ сэтгүүлчийн хувьд илүү гүн рүү нь орохын зэрэгцээ Монголын өнөөгийн нийгэмд болж буй зүйлсийг өргөн хүрээгээр авч үзэх нь чухал юм. Би одоог хүртэл ингэхийг л оролдож байна.
Дараах зургуудийг бид барилгын барилгын ажил явагдаж буй газруудаар явахад авсан юм. Тэд хэлэхдээ бичиг, баримтгүй гадаадын иргэд тийнхүү ажилладаг гээд намайг авч очсон.”
“I learned about this group a year ago when I read an article in the local media. I started to research a bit and I found just one article in the foreign press, from 2010. I got in contact with a fixer in Ulan Bator who works for a human rights group and she helped me to get in touch with the ultra-nationalists. I asked for permission to photograph them, although at that moment I didn't know they were turning to environmental issues.
A couple of weeks prior to my trip to Mongolia, the fixer I was working with told me that the leader of the group was no longer prioritizing attacks on women suspected of being prostitutes, and that they wanted to focus on environmental issues. That was a very interesting twist in the story.
I went to Mongolia for 10 days to cover the presidential elections and other stories. I met with the Tsagaan Khass four times. During the first interview, I was a little tense. I wanted to make sure there wouldn't be any misunderstandings about the project or any negative consequences for the fixer and translator helping me, since they live in Mongolia. After that I went alone. Some members of the group were quite relaxed but at the same time they were always very secretive about where we were going. That part was a little tense for me.
Things turned a little strange when they introduced me to members of the Khukh Mongol (Blue Mongolia) at the gym. I was asking if it would be possible for me to join one of their ‘environmental patrols’ when someone asked me if I had seen dead bodies before. I answered: “Yes, many times.” Then the same man asked me through a translator (one of the members of the Tsagaan Khass) if I would like to see how they "kill some Chinese people." He made a gesture of cutting his throat with a knife.
I told him I would go where they go, but under no circumstance would I photograph acts of violence. I told them: "I will walk away.” I didn't want them to attack someone because they had a photographer with them, and I didn't want to be used by them to show violence.
They laughed at me, and in the end there was no violence.
The experience was intense. I was thinking all the time about how they see themselves. I was not surprised to see a lot of young members. When you take into account that Mongolia has 30 percent unemployment, despite a mining boom, it seemed likely that some young people might turn to groups like this one looking for answers. I asked two teenagers why they were part of this group, and they told me because they wanted to help people.
I think the challenging part was trying to be as open as possible to understand their position, to understand why they do what they do. It's easy to see them in a negative light, based on their actions, with which I don't agree. But as a journalist, the most challenging part was trying to go deeper, and at the same time to see the wider picture of what is going on in Mongolia society today. I’m still trying to do that.
I took this picture during a walk around a construction site; they wanted to show me a place where undocumented immigrants work.”
Canon EOS 5D Mark III, lens 16-35mm at 16mm, f2.8, 1/1600, ISO 250
Caption: Ariunbold and Uranjargal (L), leaders of the Mongolian neo-Nazi group Tsagaan Khass, stand next to a construction site in Ulan Bator June 22, 2013. The group has rebranded itself as an environmentalist organisation fighting pollution by foreign-owned mines, seeking legitimacy as it sends Swastika-wearing members to check mining permits. Over the past years, ultra-nationalist groups have expanded in the country and among those garnering attention is Tsagaan Khass, which has recently shifted its focus from activities such as attacks on women it accuses of consorting with foreign men to environmental issues, with the stated goal of protecting Mongolia from foreign mining interests. This ultra-nationalist group was founded in the 1990s and currently has 100-plus members.
“Би энэ бүлгийн тухай орон нутгийн сониноос нийтлэл уншсанаар мэдэж авсан юм. Цааш дэлгэрүүлэн судлахыг оролдсон ч 2010 онд гадаадын хэвлэлд бичсэн нийтлэл л лосон. Харин дараа нь Улаанбаатарт хүний эрхийн байгууллагад ажилладаг эмэгтэйтэй холбогдсоноор хэт үндсэрхэг үзэлтнүүдтэй холбогдох боломжтой болсон. Мөн тухайн үед тэднийг хүрээлэн буй орчны талаар анхаарлаа хандуулж байгааг мэдээгүй ч, найзаараа тэдний тухай гэрэл зургийн сурвалжлага хийж болох эсэхийг асуулгасан.
Монголд хоёр долоо хоног болоход хамт ажилласан хүн маань тэднийг биеэ үнэлэгч эмэгтэйчүүдээс илүү хүрээлэн буй орчны талаар анхаарлаа хандуулах болсныг дуулгасан юм. Энэ нь нийтлэлийг минь харин ч маш сонирхолтой болгох юм шиг санагдсан.
Би Монгол руу Ерөнхийлөгчийн сонгууль болон өөр хэд хэдэн асуудлын талаар сурвалжлага бэлтгэхээр 10 хоногийн хугацаатай очсон. Тэр үед “Цагаан хас” бүлгэмийнхэнтэй дөрвөн удаа уулзсан юм. Миний хувьд, тэднийг сурвалжлагын талаар маань буруу ойлгох вий, нөгөөтэйгүүр тэд Монголд амьдардаг тул тусалж байсан хүн болон орчуулагчид минь муу зүйл тохиохгүй байгаа гэж санаа зовж байлаа. Тиймээс дараа нь ганцаараа явсан юм. Бүлгэмийн залуус маш тайван байсан ч хаа нэг тийш явахдаа маш нууцлаг байдал үзүүлж байсан нь надад эвгүй санагдаж байв.
Ялангуяа, тэд “Хөх Монгол” бүлгэмийн гишүүдийг нэгэн спорт клубт танилцуулсан нь их сонин санагдсан. Намайг байгаль орчны эргүүлтэй уулзаж болох эсэхийг асуухад тэд надаас урьд нь үхсэн хүн харж байсан талаар асуусан юм. Би “Тийм ээ, олон удаа” гэхэд тэр залуу (“Цагаан хас” бүлгэмийн гишүүн) орчуулагчаар дамжуулан “Хятад хүн хэрхэн алдгийг хармаар байна уу” гэж асуулгав. Тэгээд хутгаар хоолой хэрчиж байгаа мэт дүрслэл үзүүлсэн.Тэдэнтэй цааш хамт явахыг хүсэхэд хүчирхийллийн аливаа үзэгдлийн зургийг авч болохгүй гэсэн нөхцөлтэйгээр зөвшөөрсөн юм. Харин “Би тэгвэл явахгүй” гэж хэлсэн. Би тэднийг гэрэл зурагчинтай яваа учраас хэн нэгэнд халдах, хэн нэгэнд хүчирхийлэл үйлдэхдээ намайг ашиглаасай гэж хүсээгүй.
Харин тэд над руу инээгээд, эцэст нь мэдээж тэнд ямар нэг хүчирхийлэл байгаагүй. Надад дээрх тохиолдлууд их хүчтэй нөлөөлсөн. Тэд өөрсдийгөө юу гэж боддог, хэрхэн хардаг талаар би маш удаан бодсон. Тэнд олон залуу гишүүдийг хараад би тийм ч гайхаагүй. Хэдийгээр уул уурхайн огцом тэсрэлт болж байгаа ч, хүн амын 30% нь ажилгүй байгаа нийгмийн хувьд залуус ийнхүү бүлэглэж асуултын хариу хайх нь аргагүй мэт. Тэдгээр залуугаас яагаад энэ бүлгэмд байгааг сонирхоход хүмүүст туслахыг хүссэн гэж хариулж байлаа.
Хамгийн хэцүү нь тэдний үзэл бодол, яагаад ийм зүйл хийж байгаа зэргийг ойлгох, нээлттэйгээр хандах нь нэг төрлийн сорилт байлаа. Мэдээж тэдний үйлдлийг хараад санал нийлэхгүй зүйлсээрээ далайлган шууд эсрэг талаас нь харах амархан л даа. Гэхдээ сэтгүүлчийн хувьд илүү гүн рүү нь орохын зэрэгцээ Монголын өнөөгийн нийгэмд болж буй зүйлсийг өргөн хүрээгээр авч үзэх нь чухал юм. Би одоог хүртэл ингэхийг л оролдож байна.
Дараах зургуудийг бид барилгын барилгын ажил явагдаж буй газруудаар явахад авсан юм. Тэд хэлэхдээ бичиг, баримтгүй гадаадын иргэд тийнхүү ажилладаг гээд намайг авч очсон.”
Image 74 of 93: JOHN GRESS, United States
“It’s not every day that an assignment teaches you something about your own childhood.
When I was seven years, old my father, who shared my name, passed away and when I looked down today, I saw a boy, Ronnie Chambers Jr., who is about the same age as I was back then, sitting at my feet with RIP carved in the back of his hair. He was there mourning the loss of his father, who also shared his name.
Ronnie Chambers was shot in the head on January 26. His mother Shirley Chambers has lost all four of her children to gun violence.
Seeing Ronnie Jr. caused me to choke up a little, thinking about the parallels between his life and mine. Seeing him move about the church, seemingly unaware of the gravity of the situation, explained to me in that moment why all I can recall about my father’s funeral was sitting in my uncle’s lap during the service, and a photo of my father in his casket that my mother used to keep in the glove box of her car.
For me, as significant as that day was, to a child it wasn’t much different than many other church experiences we have while navigating through the adult world. The situation was already emotional for me having met Ms. Chambers last week during an interview. Looking her in the eye and saying my goodbyes, I was left speechless, knowing there was nothing I could do to comfort her in her bereavement, other than a long look of solace and my silence.”
Canon 5D Mark III, lens 70-200mm at 175mm, f2.8, 1/100, ISO 2500
Caption: Ronnie Chambers Jr. looks at his mother Tahitah Myles (obscured) as she collapses during the funeral for his father Ronnie Chambers, 33, a victim of gun violence, in Chicago February 4, 2013.
“It’s not every day that an assignment teaches you something about your own childhood.
When I was seven years, old my father, who shared my name, passed away and when I looked down today, I saw a boy, Ronnie Chambers Jr., who is about the same age as I was back then, sitting at my feet with RIP carved in the back of his hair. He was there mourning the loss of his father, who also shared his name.
Ronnie Chambers was shot in the head on January 26. His mother Shirley Chambers has lost all four of her children to gun violence.
Seeing Ronnie Jr. caused me to choke up a little, thinking about the parallels between his life and mine. Seeing him move about the church, seemingly unaware of the gravity of the situation, explained to me in that moment why all I can recall about my father’s funeral was sitting in my uncle’s lap during the service, and a photo of my father in his casket that my mother used to keep in the glove box of her car.
For me, as significant as that day was, to a child it wasn’t much different than many other church experiences we have while navigating through the adult world. The situation was already emotional for me having met Ms. Chambers last week during an interview. Looking her in the eye and saying my goodbyes, I was left speechless, knowing there was nothing I could do to comfort her in her bereavement, other than a long look of solace and my silence.”
Canon 5D Mark III, lens 70-200mm at 175mm, f2.8, 1/100, ISO 2500
Caption: Ronnie Chambers Jr. looks at his mother Tahitah Myles (obscured) as she collapses during the funeral for his father Ronnie Chambers, 33, a victim of gun violence, in Chicago February 4, 2013.
Image 75 of 93: DAMIR SAGOLJ, Pakistan
“A man wearing traditional white Pakistani clothes disappeared from the window back into the burning building. A minute later, a different man wearing black emerged from inside but it looked like someone was holding his lifeless body. The body was slowly pushed over the edge of the window and then released. Twenty seconds later the man in white came out again. He sat calmly for a few seconds in the open window with his back turned outwards and then just fell.
And that was it; both men were dead in less than a minute. After several long hours of fighting a raging fire (or were they short hours? Time gets twisted in extreme situations like this), this part of the story ended in the way I had feared from the beginning – the worst possible way. I shot pictures of people falling from the building to their deaths, of others crying on the ground, of desperate and helpless rescue workers.”
Canon EOS 5D Mark III, lens 135mm, f3.2, 1/2000, ISO 100
Caption: A man falls from a high floor of a burning building in central Lahore May 9, 2013.
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“A man wearing traditional white Pakistani clothes disappeared from the window back into the burning building. A minute later, a different man wearing black emerged from inside but it looked like someone was holding his lifeless body. The body was slowly pushed over the edge of the window and then released. Twenty seconds later the man in white came out again. He sat calmly for a few seconds in the open window with his back turned outwards and then just fell.
And that was it; both men were dead in less than a minute. After several long hours of fighting a raging fire (or were they short hours? Time gets twisted in extreme situations like this), this part of the story ended in the way I had feared from the beginning – the worst possible way. I shot pictures of people falling from the building to their deaths, of others crying on the ground, of desperate and helpless rescue workers.”
Canon EOS 5D Mark III, lens 135mm, f3.2, 1/2000, ISO 100
Caption: A man falls from a high floor of a burning building in central Lahore May 9, 2013.
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ایک شخص جو روایتی سفید پاکستانی لباس میں ملبوس تھا وہ ایک جلتی ہوئی عمارت کے پچھلی کھڑکی سے غائب ہوگیا ۔ایک لمحے بعد ،ایک مختلف شخص جو سیاہ لباس میں تھااندر سے برآمد ہوالیکن ایسا لگتاتھا کہ اس کے بے جان جسم
کو کوئی تھامے ہوئے ہے ۔اس جسم کو کھڑکی کے کنارے پر دھکیل کر چھوڑدیاگیا ۔پھر 20 سیکنذکے بعد وہی سفید لباس والا آدمی دوبارہ باہر آیا۔وہ کچھ دیر کھلی کھڑکی میں بیرونی جانب الٹی کمر کےساتھ پرسکون بیٹھا اور پھر گرگیا
بس اتنا ہوا،ایک منٹ میں دونوں آدمی مرچکے تھے۔بھڑکتی آگ سے کئی گھنٹوں نمٹنے کے بعد ( یا شاید وہ کچھ مختصر گھنٹوں،ایسے موقعوں پر وقت لمبا ہوجاتا ہے)کہانی کا یہ حصہ بھی اسی طرح ختم ہوگیاجیسا کہ مجھے ڈرتھا کہ وہ
.جیسی شروع ہوئی تھی۔ بدترین ممکنہ انداز سے ۔ میں نے لوگوں کو عمارت سے گرکر مرتے ہوئے ،دوسروں کو زمین پرروتے ہوئے،ناامید اورمجبورزندہ بچانے والے کارکنوں کی تصویر کشی کی
Image 75 of 93:
Image 76 of 93: JACKY NAEGELEN, Chile
“This photo was made from the top of a sand dune during the desert rides through a fine clay-limestone powder resulting from erosion of the land. The Paris-Dakar rally presents various and spectacular landscapes across three South American countries – Argentina, Bolivia and Chile. The combination of interesting light and rugged terrain, as riders and their vehicles pass through the frame, provide photographers with an original opportunity to make unusual images.”
Canon EOS-1DX, lens 28-300mm, f7, 1/3200, ISO 500
Caption: South Africa's Riaan Van Niekerk rides his KTM during the 5th stage of the Dakar Rally 2013 from Arequipa in Peru to Arica in Chile, January 9, 2013.
“Esta foto fue tomada desde la cima de una duna de arena en el desierto. El polvo es una mezcla de arcilla y cal, producto de la erosión. El Rally Dakar presenta varios paisajes espectaculares a través de tres países sudamericanos, Argentina, Bolivia y Chile. La combinación de luz y terreno por los cuales pasan los pilotos con sus vehículos, provee a fotógrafos con una oportunidad original para realizar imágenes inusuales.”
“This photo was made from the top of a sand dune during the desert rides through a fine clay-limestone powder resulting from erosion of the land. The Paris-Dakar rally presents various and spectacular landscapes across three South American countries – Argentina, Bolivia and Chile. The combination of interesting light and rugged terrain, as riders and their vehicles pass through the frame, provide photographers with an original opportunity to make unusual images.”
Canon EOS-1DX, lens 28-300mm, f7, 1/3200, ISO 500
Caption: South Africa's Riaan Van Niekerk rides his KTM during the 5th stage of the Dakar Rally 2013 from Arequipa in Peru to Arica in Chile, January 9, 2013.
“Esta foto fue tomada desde la cima de una duna de arena en el desierto. El polvo es una mezcla de arcilla y cal, producto de la erosión. El Rally Dakar presenta varios paisajes espectaculares a través de tres países sudamericanos, Argentina, Bolivia y Chile. La combinación de luz y terreno por los cuales pasan los pilotos con sus vehículos, provee a fotógrafos con una oportunidad original para realizar imágenes inusuales.”
Image 77 of 93: MIKE BLAKE, United States
“You sit in a tuxedo slotted in like dominos on a vertically rising board; everyone pretty much in black and white, the occasional female photographer in a dress that seems completely impractical to work in. It’s called the “Photo Room” and at the Academy Awards it’s where the winners come, sometimes directly after they win, but most times in a frenzied swarm of famous faces and designer fashion at the conclusion of the show.
Sixty or so of us sit facing a 50-foot-wide golden draped backdrop with a raised stage about 25 feet away. There are three larger-than-human gold painted Oscar statues placed at either end with one in the center. The idea is that the newly announced Oscar winner is brought up from behind the stage at one end and then will pose for the 60 or so photographers, from three set positions along the stage. It is an extremely efficient system, although somewhat lacking in originality and creativity, considering the industry putting on the show.
While accepting her best actress award for “Silver Linnings Playbook” at the 85th Academy Awards, Jennifer Lawrence had a little difficulty making it up on stage in front of pretty much the whole world. So when she turned the corner into the photo room to step up onto our little stage, one of the continually yapping photographers yelled out “Watch Your Step”. Jennifer’s timing was swift and direct and she delivered what I thought was a perfect reaction to a snide remark.
My camera can shoot 10 frames a second, and my finger went down, I was shooting available light because we are no longer allowed to light the room with our lighting kits. At 250th of a second, 500 ISO and F5.6 I caught another photographer’s strobe almost perfectly, with the exception that his camera was set different from mine and mine came in a little “hot” (overexposed). But our snap team of editors and processors took the image from my cameras that were connected to their edit room on the other side of the building, and they made it sing.”
Canon DX, lens 70-200mm, f5.6, 1/250, ISO 500
Caption: Jennifer Lawrence reacts as she poses backstage with her Oscar after winning the best actress award for her role in "Silver Linings Playbook" at the 85th Academy Awards in Hollywood, California, February 24, 2013. Lawrence reacted to some photographers telling her to watch her step as she went onto the platform.
“You sit in a tuxedo slotted in like dominos on a vertically rising board; everyone pretty much in black and white, the occasional female photographer in a dress that seems completely impractical to work in. It’s called the “Photo Room” and at the Academy Awards it’s where the winners come, sometimes directly after they win, but most times in a frenzied swarm of famous faces and designer fashion at the conclusion of the show.
Sixty or so of us sit facing a 50-foot-wide golden draped backdrop with a raised stage about 25 feet away. There are three larger-than-human gold painted Oscar statues placed at either end with one in the center. The idea is that the newly announced Oscar winner is brought up from behind the stage at one end and then will pose for the 60 or so photographers, from three set positions along the stage. It is an extremely efficient system, although somewhat lacking in originality and creativity, considering the industry putting on the show.
While accepting her best actress award for “Silver Linnings Playbook” at the 85th Academy Awards, Jennifer Lawrence had a little difficulty making it up on stage in front of pretty much the whole world. So when she turned the corner into the photo room to step up onto our little stage, one of the continually yapping photographers yelled out “Watch Your Step”. Jennifer’s timing was swift and direct and she delivered what I thought was a perfect reaction to a snide remark.
My camera can shoot 10 frames a second, and my finger went down, I was shooting available light because we are no longer allowed to light the room with our lighting kits. At 250th of a second, 500 ISO and F5.6 I caught another photographer’s strobe almost perfectly, with the exception that his camera was set different from mine and mine came in a little “hot” (overexposed). But our snap team of editors and processors took the image from my cameras that were connected to their edit room on the other side of the building, and they made it sing.”
Canon DX, lens 70-200mm, f5.6, 1/250, ISO 500
Caption: Jennifer Lawrence reacts as she poses backstage with her Oscar after winning the best actress award for her role in "Silver Linings Playbook" at the 85th Academy Awards in Hollywood, California, February 24, 2013. Lawrence reacted to some photographers telling her to watch her step as she went onto the platform.
Image 78 of 93: FEISAL OMAR, Somalia
“I was making daily life pictures when I saw Somali children playing. I went into the Mogadishu guest house, bought a soda and sat in the hall where children were playing, swimming and cycling. I sat near them but started sipping my soda so as not to distract them from their games. They kept on playing as I glanced in all directions. I spotted children peddling in front of a beautiful background. I reached for my camera and took the image. This was the first time I had seen Somali children playing and enjoying themselves like this in more than two decades.”
Canon EOS 5D MARK III, lens 17-35mm, f5.6, 1/125, ISO 400
Caption: Children play at a guest hotel in Mogadishu October 10, 2013.
“Waxaan samay nayay sawiro nolol maalmedka ah kadib waxaan arkay caruur Somali ah oo ku ciyaaaraysa bushkuleeti Waxaan galay mugadishu geust house oo udhow xeebta liido waxaan gatay kooko Waxaan la galay hoolka ay ilmaha ku ciyaarayeen, kudabalanayeen kuna ciyaarayen wiifoow iyo qalab kala duwan. Agtoodaan fariistay kookadiiina cabid ayaan ku bilaabay si aysan ilmaha ciyaartooda kaga mashquulin .ciyaartoda aya sii wateen markaan kabadaba kokada gesahaan fiirinayay kadibna waxa aad ii soo jiitay ilmahan bushkuleetiga ku ciyaarayay gadaashoodana uu ka muuqday sawir darbiyeed qurxoon ayagoon I arkayn ayaan kamaradeyda kala soo baxay boorsada garabka aan ku watay kadibna sawir ayaan ka qaaday.”
“I was making daily life pictures when I saw Somali children playing. I went into the Mogadishu guest house, bought a soda and sat in the hall where children were playing, swimming and cycling. I sat near them but started sipping my soda so as not to distract them from their games. They kept on playing as I glanced in all directions. I spotted children peddling in front of a beautiful background. I reached for my camera and took the image. This was the first time I had seen Somali children playing and enjoying themselves like this in more than two decades.”
Canon EOS 5D MARK III, lens 17-35mm, f5.6, 1/125, ISO 400
Caption: Children play at a guest hotel in Mogadishu October 10, 2013.
“Waxaan samay nayay sawiro nolol maalmedka ah kadib waxaan arkay caruur Somali ah oo ku ciyaaaraysa bushkuleeti Waxaan galay mugadishu geust house oo udhow xeebta liido waxaan gatay kooko Waxaan la galay hoolka ay ilmaha ku ciyaarayeen, kudabalanayeen kuna ciyaarayen wiifoow iyo qalab kala duwan. Agtoodaan fariistay kookadiiina cabid ayaan ku bilaabay si aysan ilmaha ciyaartooda kaga mashquulin .ciyaartoda aya sii wateen markaan kabadaba kokada gesahaan fiirinayay kadibna waxa aad ii soo jiitay ilmahan bushkuleetiga ku ciyaarayay gadaashoodana uu ka muuqday sawir darbiyeed qurxoon ayagoon I arkayn ayaan kamaradeyda kala soo baxay boorsada garabka aan ku watay kadibna sawir ayaan ka qaaday.”
Image 79 of 93: NIR ELIAS, Israel
“On the morning of this event, I received a call from a contact I have in the ultra-Orthodox community saying there was a protest planned for somewhere in Beit Shemesh. After calling me many times before and nothing happening when I arrived, I regarded this latest information suspiciously. After some time I decided to go and check it out. I found a group of Orthodox Jews challenging security forces around the construction site where they believed there were graves belonging to Jews. Things started to get violent. When they protest, the Orthodox Jews are very direct and seem not to be afraid to challenge the police. I felt that the special element of this protest was that the demonstrators were so determined to deliver their message that they wouldn’t give up.The police, who are generally very experienced in dealing with protests, react quickly and aggressively. However, the police were not very experienced with these types of protesters which made them lose their temper at some point and go as far as to drag some of them across the protest lines.
In my head, the immediate association visually, for an ultra-Orthodox Jew to be dragged like that in the street was very strong and as much as I could understand both sides of the protest, seeing this visual had a very dramatic association in Israel with regards to the Jewish history.”
Canon 5D Mark III, lens 24 mm, f5.5, 1/1000, ISO 100
Caption: An Israeli policeman drags an ultra-Orthodox man during clashes in the town of Beit Shemesh, near Jerusalem August 12, 2013.
“On the morning of this event, I received a call from a contact I have in the ultra-Orthodox community saying there was a protest planned for somewhere in Beit Shemesh. After calling me many times before and nothing happening when I arrived, I regarded this latest information suspiciously. After some time I decided to go and check it out. I found a group of Orthodox Jews challenging security forces around the construction site where they believed there were graves belonging to Jews. Things started to get violent. When they protest, the Orthodox Jews are very direct and seem not to be afraid to challenge the police. I felt that the special element of this protest was that the demonstrators were so determined to deliver their message that they wouldn’t give up.The police, who are generally very experienced in dealing with protests, react quickly and aggressively. However, the police were not very experienced with these types of protesters which made them lose their temper at some point and go as far as to drag some of them across the protest lines.
In my head, the immediate association visually, for an ultra-Orthodox Jew to be dragged like that in the street was very strong and as much as I could understand both sides of the protest, seeing this visual had a very dramatic association in Israel with regards to the Jewish history.”
Canon 5D Mark III, lens 24 mm, f5.5, 1/1000, ISO 100
Caption: An Israeli policeman drags an ultra-Orthodox man during clashes in the town of Beit Shemesh, near Jerusalem August 12, 2013.
בבוקר היום של האירוע בצילום קיבלתי שיחת טלפון מאיש קשר שמודיע לי על אירועים בקהילה החרדית והוא מסר לי שיש הפגנה מתוכננת איפה שהוא באיזור בית שמש בהמשך היום. כיוון שבהרבה מקרים קודמים
המידע שקיבלתי ממנו היה מוגזם ביחס לגודל האירוע ולרצינות שלו התיחסתי גם לאירוע הזה באותו אופן אך בכל זאת החלטתי לנסוע לראות מה קורה בשטח. כשהגעתי ראיתי קבוצה לא מאוד גדולה של חרדים
מאתגרים את חברת השמירה שהוצבה במקום ואיתה היה כבר כוח משטרה. המפגינים טענו, באופן כללי, שיש במקום קברים של יהודים ולכן עבודות הפיתוח של האיזור חייבות להיפסק. החרדים, ככלל, בהפגנות שלהם
ובעיקר בעניינים כאלו, מאוד נחושים ופשוט לא מוותרים. נראה כאילו הם פשוט חסרי כל פחד מהשוטרים ומאנשי האבטחה וגם כשממש גוררים אותם מהמקום- הם חוזרים ומאתגרים את השוטרים שוב ושוב.
נראה כוחות היס"מ שמאוד מנוסים בפיזור הפגנות לא ממש מתרגשים מעוצמת ההתנגדות אבל בהחלט לא יודעים איך להתיחס לסוג כזה של מפגינים שפשוט לא מוותרים ולא נראה שאכפת להם לחטוף מכות, זרנוקי
מים, גרירות על הרצפה או כל דבר אחר.
בעיני, האסוציציה הויזואלית המיידית של איש חרדי נגרר בצורה כזאת על הרצפה קשה מאוד וכמה שאני יכול להבין את שני הצדדים מאירוע מהסוג הזה- הדימוי הזה, בהקשר ההיסטורי היהודי- קשה לצפיה ודרמתי
ביותר עבורי
Image 79 of 93:
Image 80 of 93: GORAN TOMASEVIC, Syria
“I photographed one two-man fire team crouched against a breeze-block garden wall, about 50 meters from their target.
In blue jeans, sneakers and muffled against a morning chill, their role was to wait for comrades to hit the army position with rocket-propelled grenades then rake the soldiers with their AK-47 automatic rifles as they were flushed out into the open.
There was little to make a sound in the abandoned streets. The attackers whispered to each other under their breath.
Then two shots rang out. One of the two riflemen, heavy set and balding, screamed in pain and collapsed back on the tarmac. The day's assault was going wrong before it even started.
Another fighter crept over to help. Realizing the casualty was gravely hurt, two more came up and they dragged the man's inert bulk back across the street, through a narrow gap to relative safety.
Battlefield first-aid is helpless in the face of single shot to the belly. The man died in minutes, his gut ripped through and his blood warming the bare concrete floor. But there was no time to mourn - the army was alerted to the squad's presence.
As the rebels regrouped, a tank shell struck the deserted building, sending shattered concrete and dust raining down on us and the survivors ran for cover, ready to fight another day.”
Canon EOS 1DX, lens 16-35mm at 35mm, f5, 1/1250, ISO 1600
Caption: A Free Syrian Army fighter (L) looks at his comrade as he gets shot by sniper fire during heavy fighting in the Ain Tarma neighborhood of Damascus January 30, 2013. The Free Syrian Army fighter on the left was wounded moments later. The fighter on the right died soon after being shot.
Click here for a related blog
“I photographed one two-man fire team crouched against a breeze-block garden wall, about 50 meters from their target.
In blue jeans, sneakers and muffled against a morning chill, their role was to wait for comrades to hit the army position with rocket-propelled grenades then rake the soldiers with their AK-47 automatic rifles as they were flushed out into the open.
There was little to make a sound in the abandoned streets. The attackers whispered to each other under their breath.
Then two shots rang out. One of the two riflemen, heavy set and balding, screamed in pain and collapsed back on the tarmac. The day's assault was going wrong before it even started.
Another fighter crept over to help. Realizing the casualty was gravely hurt, two more came up and they dragged the man's inert bulk back across the street, through a narrow gap to relative safety.
Battlefield first-aid is helpless in the face of single shot to the belly. The man died in minutes, his gut ripped through and his blood warming the bare concrete floor. But there was no time to mourn - the army was alerted to the squad's presence.
As the rebels regrouped, a tank shell struck the deserted building, sending shattered concrete and dust raining down on us and the survivors ran for cover, ready to fight another day.”
Canon EOS 1DX, lens 16-35mm at 35mm, f5, 1/1250, ISO 1600
Caption: A Free Syrian Army fighter (L) looks at his comrade as he gets shot by sniper fire during heavy fighting in the Ain Tarma neighborhood of Damascus January 30, 2013. The Free Syrian Army fighter on the left was wounded moments later. The fighter on the right died soon after being shot.
Click here for a related blog
قمت بتصوير فريق قناص مؤلف من رجلين وهم يختبؤن تحت جدار حديقة على بعد خمسين مترا عن هدفهم.
كانت مهمتهم في ذلك الصباح بوجوههم الملثمة امام البرد والجينز والحذاء الرياضي انتظار رفاقهم ريثما يقوموا بهجوم ضد موقع للجيش بقذائف ار بي جي لكي يفتحوا نيران رشاشات الاتوماتيكية على الجنود الهاربة
لم يكن هناك ما يصدر صوتا في تلك الطرقات المهجورة. كان المهاجمون يهمسون فيما بينهم
م سمع صوت طلقتين. احد القناصين وهو واصلع ضخم الجثة صرخ من شدة الالم وارتمى على الاسفلت
الهجوم المخطط قد بدأ يفشل حتى قبل ان يبدأ
زحف مقاتل آخر لتقديم المساندة ولما بدا ان الاصابة خطيرة اتى مقاتلين آخرين لسحب جثة الرجل التي همدت للجهة المقابلة من الطريق من خلال فجوة ضيقة توصلهم الى مكان آمن نسبيا
الاسعافات الاولية في المعركة لا تنفع امام اصابة رصاصة واحدة في البطن. مات الرجل خلال دقائق. الدم السائل من امعائه الممزقة اعطى الارض دفئا. لم يكن هناك وقتا للحزن - الجيش قد علم بوجود المجموعة
وفيما كان المقاتلون يعيدون تنظيم صفوفهم اصابت قذيفة دبابة احد المباني الخالية وتساقطت اجزاء من الاسمنت علينا وعم الغبار. ركض من بقي حيا للاحتماء وهم جاهزين للقتال في يوم آخر
Image 80 of 93:
Image 81 of 93: DANISH SIDDIQUI, India
“This rape shook everyone in Mumbai, especially journalists because the victim was one of them. I received news of the crime early in the morning. I went to the scene and found a few policemen hanging out at the abandoned mill where the crime had been committed.
There was complete silence inside the mill and it looked like a haunted place. I made this picture because I wanted to show how scary the place looked, even during the day. For me the picture speaks for itself that this is not anyone’s regular hang out.”
Canon 5D Mark III, lens 16-35mm, f5.6, 1/60, ISO 800
Caption: A general view of the abandoned textile mill where a photo journalist was raped by five men, in Mumbai August 23, 2013.
इस बलात्कार के वारदात ने सबको हिला कर रख दिया था, खासकर पत्रकारों को क्यूंकि पीढित लड़की उनमें से एक थी. वारदात की खबर मुझे सुबह-सुबह मिली. मैं घटना-स्थल पर पहुंचा और वहां मुझे कुछ पोलिसेवाले घूमते हुये नज़र आये. मिल के अंदर पूरी तरह से खामोशी थी और वो नज़ारा काफी खौफनाक लग रहा था. मैने येह फोटो खींची क्यूंकि में येह दिखाना चाहता था की दिन में भी यह जगह कितनी डरावनी लगती है. मेरे हिसाब से येह फोटो यह केहती है की येह सुनसान मिल कोई आम सार-सपाटे की जगह नहीं हैं.
“This rape shook everyone in Mumbai, especially journalists because the victim was one of them. I received news of the crime early in the morning. I went to the scene and found a few policemen hanging out at the abandoned mill where the crime had been committed.
There was complete silence inside the mill and it looked like a haunted place. I made this picture because I wanted to show how scary the place looked, even during the day. For me the picture speaks for itself that this is not anyone’s regular hang out.”
Canon 5D Mark III, lens 16-35mm, f5.6, 1/60, ISO 800
Caption: A general view of the abandoned textile mill where a photo journalist was raped by five men, in Mumbai August 23, 2013.
इस बलात्कार के वारदात ने सबको हिला कर रख दिया था, खासकर पत्रकारों को क्यूंकि पीढित लड़की उनमें से एक थी. वारदात की खबर मुझे सुबह-सुबह मिली. मैं घटना-स्थल पर पहुंचा और वहां मुझे कुछ पोलिसेवाले घूमते हुये नज़र आये. मिल के अंदर पूरी तरह से खामोशी थी और वो नज़ारा काफी खौफनाक लग रहा था. मैने येह फोटो खींची क्यूंकि में येह दिखाना चाहता था की दिन में भी यह जगह कितनी डरावनी लगती है. मेरे हिसाब से येह फोटो यह केहती है की येह सुनसान मिल कोई आम सार-सपाटे की जगह नहीं हैं.
Image 82 of 93: YANG TAO, China
“Heavy rainfall caused a landslide in Yingxiu township early on July 10. The road into some of the villages was blocked by the landslide. Most of the residents were ordered to evacuate the area, but the elderly man in the picture (center) wouldn’t leave because of his pigs. The rain was getting heavier and heavier. For safety reasons, the rescuers managed to convince the elderly man to leave. He was one of the last people out of the area. The excavator was the best and only tool that was strong enough to transport people out of the flood-hit zone. During the operation, someone had to keep a close eye on the hillside to watch out for fresh landslides. I even felt the sensation that the earth was moving at some point, it was a horrible feeling.”
Nikon D3s, lens 70-200mm, f3.5, 1/400, ISO 1000
Caption: An excavator moves villagers away from a flooded area during heavy rainfall in Yingxiu, Wenchuan county, Sichuan province, July 10, 2013.
2013年7月10日，四川省阿坝藏族羌族自治州汶川县映秀镇，这场泥石流出现在7月10日凌晨，去往村里的路被泥石流中断。之前早些时候已经把大部分人转移到镇上安全地带，照片上的老人是因为舍不得自己喂养的几头猪而拒绝离开。当时雨越下越大，为了确保安全，工作人员将老人劝说出来，他们是最后一批离开村子的人。挖掘机的挖斗强劲有力，成为转移受困人员的最佳工具。转移过程中，一直有人在山顶水流下来的方向上观察山中情况。中途有一阵雨很大，我们听见泥石流汹涌而来声音，当时大家都朝正在工作的挖掘机司机叫嚷，并朝和水垂直的方向跑，那种地动山摇的感觉伴随着泥土的腥味，是种很可怕的感觉。
“Heavy rainfall caused a landslide in Yingxiu township early on July 10. The road into some of the villages was blocked by the landslide. Most of the residents were ordered to evacuate the area, but the elderly man in the picture (center) wouldn’t leave because of his pigs. The rain was getting heavier and heavier. For safety reasons, the rescuers managed to convince the elderly man to leave. He was one of the last people out of the area. The excavator was the best and only tool that was strong enough to transport people out of the flood-hit zone. During the operation, someone had to keep a close eye on the hillside to watch out for fresh landslides. I even felt the sensation that the earth was moving at some point, it was a horrible feeling.”
Nikon D3s, lens 70-200mm, f3.5, 1/400, ISO 1000
Caption: An excavator moves villagers away from a flooded area during heavy rainfall in Yingxiu, Wenchuan county, Sichuan province, July 10, 2013.
2013年7月10日，四川省阿坝藏族羌族自治州汶川县映秀镇，这场泥石流出现在7月10日凌晨，去往村里的路被泥石流中断。之前早些时候已经把大部分人转移到镇上安全地带，照片上的老人是因为舍不得自己喂养的几头猪而拒绝离开。当时雨越下越大，为了确保安全，工作人员将老人劝说出来，他们是最后一批离开村子的人。挖掘机的挖斗强劲有力，成为转移受困人员的最佳工具。转移过程中，一直有人在山顶水流下来的方向上观察山中情况。中途有一阵雨很大，我们听见泥石流汹涌而来声音，当时大家都朝正在工作的挖掘机司机叫嚷，并朝和水垂直的方向跑，那种地动山摇的感觉伴随着泥土的腥味，是种很可怕的感觉。
Image 83 of 93: DAN LAMPARIELLO, United States
“When I woke up on April 15, I had no idea I was going to take a photo that would be seen by millions of people around the globe. I came to watch the marathon, as I do every year, with my family and girlfriend. Patriots Day in Boston is always a day of camaraderie, joy and excitement. No one ever thinks that something will ruin that. When the first bomb went off at the finish line no one had any idea what had happened. All we saw was a large amount of smoke rising into the sky. So I just started taking pictures of the situation – taking them as fast as my finger could press the capture button on my iPhone. That’s when the second explosion went off. Everyone I was with turned and ran. We had no idea what was coming next. All we knew is that we needed to get out of the area.
I had no idea what I had caught on my iPhone until I started looking back through the photos once we were in a safe spot. I immediately posted it to Twitter so people could see what had happened.”
iPhone
Caption: Runners continue to run towards the finish line of the Boston Marathon as an explosion erupts near the finish line of the race in Boston, Massachusetts, April 15, 2013.
“When I woke up on April 15, I had no idea I was going to take a photo that would be seen by millions of people around the globe. I came to watch the marathon, as I do every year, with my family and girlfriend. Patriots Day in Boston is always a day of camaraderie, joy and excitement. No one ever thinks that something will ruin that. When the first bomb went off at the finish line no one had any idea what had happened. All we saw was a large amount of smoke rising into the sky. So I just started taking pictures of the situation – taking them as fast as my finger could press the capture button on my iPhone. That’s when the second explosion went off. Everyone I was with turned and ran. We had no idea what was coming next. All we knew is that we needed to get out of the area.
I had no idea what I had caught on my iPhone until I started looking back through the photos once we were in a safe spot. I immediately posted it to Twitter so people could see what had happened.”
iPhone
Caption: Runners continue to run towards the finish line of the Boston Marathon as an explosion erupts near the finish line of the race in Boston, Massachusetts, April 15, 2013.
Image 84 of 93: JIM YOUNG, United States
“Heavy rains brought flooding to the Chicago area. Though most people were already starting the clean-up process, there was still some flooding just north of the city.
I headed up to see how they were coping since the Fox River had yet to crest. As I pulled into town, most of the area looked fairly dry but once you got closer to the lake, some of the streets were several feet under water. As I came around a corner, I could see an American flag hanging over a half-sunken retro soda machine sitting in what looked like a lake, but it was actually someone’s backyard.
The family seemed unusually calm about their circumstances. Though they had been stuck in the same flooded state for four days with more rain on the way, they had several layers of sandbags around their house and a couple of pumps going at full speed. They were just trying to hang in there and hope for the best.
The water level in the next area of town was a couple feet deeper. I put on my chest waders, grabbed one camera and a lens and slowly trudged through the water. Each step I took, the water seemed to creep higher and higher. One, two, three feet, and all the way up to my chest. I was not sure what I was walking on but it was definitely not a road and the water was too deep and murky to tell where I was going as my feet started slowly sinking into the mud. Making my way back down the street, I could see an orange object bobbing in the water. Someone had used a glove as a kind of “marker” by tying a rope to the end of it.
While holding my phone in one hand, and $8,000 worth of camera equipment in the other, I tried to keep my camera just above the waterline to shoot the picture. But I was starting to slip as I rested my chin on the water to look through the viewfinder. Yes, this was definitely not a good idea. I don’t think I could explain trashing all this equipment for an instagram…”
Canon EOS 1D-X, lens 16mm, f14, 1/250, ISO 400
Caption: A rubber glove being used as a marker bobs in the water after flooding in Fox Lake, Illinois April 22, 2013.
“Heavy rains brought flooding to the Chicago area. Though most people were already starting the clean-up process, there was still some flooding just north of the city.
I headed up to see how they were coping since the Fox River had yet to crest. As I pulled into town, most of the area looked fairly dry but once you got closer to the lake, some of the streets were several feet under water. As I came around a corner, I could see an American flag hanging over a half-sunken retro soda machine sitting in what looked like a lake, but it was actually someone’s backyard.
The family seemed unusually calm about their circumstances. Though they had been stuck in the same flooded state for four days with more rain on the way, they had several layers of sandbags around their house and a couple of pumps going at full speed. They were just trying to hang in there and hope for the best.
The water level in the next area of town was a couple feet deeper. I put on my chest waders, grabbed one camera and a lens and slowly trudged through the water. Each step I took, the water seemed to creep higher and higher. One, two, three feet, and all the way up to my chest. I was not sure what I was walking on but it was definitely not a road and the water was too deep and murky to tell where I was going as my feet started slowly sinking into the mud. Making my way back down the street, I could see an orange object bobbing in the water. Someone had used a glove as a kind of “marker” by tying a rope to the end of it.
While holding my phone in one hand, and $8,000 worth of camera equipment in the other, I tried to keep my camera just above the waterline to shoot the picture. But I was starting to slip as I rested my chin on the water to look through the viewfinder. Yes, this was definitely not a good idea. I don’t think I could explain trashing all this equipment for an instagram…”
Canon EOS 1D-X, lens 16mm, f14, 1/250, ISO 400
Caption: A rubber glove being used as a marker bobs in the water after flooding in Fox Lake, Illinois April 22, 2013.
Image 85 of 93: NACHO DOCE, Brazil
“The Amazon? Nobody can truly understand what it is without spending months or years immersed in it, to see the forest and witness the destruction. Spectacular and heartrending at the same time, it is the focus of great controversy that affects the world as much as it does Brazil. I was shooting inside a saw mill in the city of Morais Almeida, when a man appeared in front of my eyes with a crazy saw (as a friend of mine called it) in his arms.
I took less than three frames of him carrying the blade to chop logs that were cut down illegally from the Amazon rainforest. Does this picture represent the crimes against the Amazon? No, it is very difficult to choose any single image depicting the crimes waged against the Amazon rainforest. It is a crazy situation, like the blade the man carries.”
Canon EO5D Mark III, lens 24mm, f2.2, 1/250, ISO 320
Caption: A worker carries a blade at a sawmill that processes trees illegally logged from the Amazon jungle near the city of Morais Almeida, Para State, June 27, 2013.
Click here for a related blog
“A Amazônia? Ninguém pode realmente entender o que é sem passar meses ou anos imersos nele, para ver a floresta e testemunhar a destruição. Espetacular e comovente ao mesmo tempo, é o foco de grande controvérsia que afeta o mundo tanto quanto ele faz o Brasil. Eu estava filmando dentro de uma serraria na cidade de Morais Almeida, quando um homem aparecer na frente de meus olhos com uma serra louca (como uma pessoa descreveu a imagem) em seus braços,
Eu fotografei mais menos três quadros dele carregando uma lâmina para cortar toras ilegalmente da floresta amazônica. A imagem representa o crime de Amazônia? Não, é muito difícil escolher qualquer imagem do crime dentro de floresta amazônica. Tudo é louco como a lâmina ou serra.”
“The Amazon? Nobody can truly understand what it is without spending months or years immersed in it, to see the forest and witness the destruction. Spectacular and heartrending at the same time, it is the focus of great controversy that affects the world as much as it does Brazil. I was shooting inside a saw mill in the city of Morais Almeida, when a man appeared in front of my eyes with a crazy saw (as a friend of mine called it) in his arms.
I took less than three frames of him carrying the blade to chop logs that were cut down illegally from the Amazon rainforest. Does this picture represent the crimes against the Amazon? No, it is very difficult to choose any single image depicting the crimes waged against the Amazon rainforest. It is a crazy situation, like the blade the man carries.”
Canon EO5D Mark III, lens 24mm, f2.2, 1/250, ISO 320
Caption: A worker carries a blade at a sawmill that processes trees illegally logged from the Amazon jungle near the city of Morais Almeida, Para State, June 27, 2013.
Click here for a related blog
“A Amazônia? Ninguém pode realmente entender o que é sem passar meses ou anos imersos nele, para ver a floresta e testemunhar a destruição. Espetacular e comovente ao mesmo tempo, é o foco de grande controvérsia que afeta o mundo tanto quanto ele faz o Brasil. Eu estava filmando dentro de uma serraria na cidade de Morais Almeida, quando um homem aparecer na frente de meus olhos com uma serra louca (como uma pessoa descreveu a imagem) em seus braços,
Eu fotografei mais menos três quadros dele carregando uma lâmina para cortar toras ilegalmente da floresta amazônica. A imagem representa o crime de Amazônia? Não, é muito difícil escolher qualquer imagem do crime dentro de floresta amazônica. Tudo é louco como a lâmina ou serra.”
Image 86 of 93: MOHSIN RAZA, Pakistan
“I went to shoot pictures in the Christian neighborhood of Joseph Colony in Lahore three days after a Muslim mob had torched the area. It was heart-wrenching to see so many people crying as they sifted through the ashes of their homes, looking to see if there was anything they could salvage from the wreckage of their lives.
In one home, there was an elderly woman called Azra standing in the middle of her burnt-out kitchen. She found a small cage and cried out in grief. It was her pet parrot, who had been burned alive after the family fled their home just before the attack. Azra was very upset to imagine how the bird had suffered and was talking to the remains of her beloved pet, saying “I wish I could have saved you,” while I quietly photographed the scene.”
Canon EOS 5D Mark II, Lens 16-35mm, f 2.8, 1/60 , ISO 400
Caption: Azra, 68, looks at her dead pet bird in a cage at her home, which was burnt by a mob two days earlier, in Badami Bagh, Lahore March 11, 2013.
“I went to shoot pictures in the Christian neighborhood of Joseph Colony in Lahore three days after a Muslim mob had torched the area. It was heart-wrenching to see so many people crying as they sifted through the ashes of their homes, looking to see if there was anything they could salvage from the wreckage of their lives.
In one home, there was an elderly woman called Azra standing in the middle of her burnt-out kitchen. She found a small cage and cried out in grief. It was her pet parrot, who had been burned alive after the family fled their home just before the attack. Azra was very upset to imagine how the bird had suffered and was talking to the remains of her beloved pet, saying “I wish I could have saved you,” while I quietly photographed the scene.”
Canon EOS 5D Mark II, Lens 16-35mm, f 2.8, 1/60 , ISO 400
Caption: Azra, 68, looks at her dead pet bird in a cage at her home, which was burnt by a mob two days earlier, in Badami Bagh, Lahore March 11, 2013.
میں تین دن کے بعد لاہور میں تصویریں بنانے کے لیے مسیحی جوزف کالونی گیا جہاں ناراص مسلمانوں نےاس علاقے کو تشدد کا نشانہ بنایا تھا
مجھے لوگوں کو روتے ہوئے دیکھ کر دکھ اور ذہنی تکلیف ہوئی۔وہ دیکھ رہے تھے کہ اُن کے جلے ہوئے گھروں کی راکھ سے ضروریات زندگی کی وہ چیزیں
جو بچ گی تھیں الگ کر سکیں۔
ایک گھر میں بوڑھی خاتون جو عذرا کہلاتی ہے،اپنے جلے ہوئے باورچی خانہ کے درمیان کھڑی تھی۔اسے ایک جلا ہوا پنجرا ملا، وہ انتہائی غم کے صدمے
سے چلائی، یہ اس کا پالتو تھا جو آگ میں زندہ جل گیا، جب حملہ ہونے سے پہلے گھرانے کے لوگ اپنی جانے بچانے کے لیے وہاں سےبھاگ گےتھے۔عذرا
اس تصور سے بہت پریشان تھی،کہ طوطے نے کس قدر دکھ اور اذیت اٹھائی ہوگی۔وہ اپنے پیارے طوطے کی باقیات کے بارے میں بتا رہی تھی۔یہ کہتے
ہوئے”ہائے کاش میں تجھے بچا سکتی“ اتنے میں میں نے چپکے سے یہ منظر محفوظ کر لیا۔
Image 86 of 93:
Image 87 of 93: TYRONE SIU, Hong Kong
“The gigantic inflatable rubber duck designed by Dutch artish Florentijn Hofman docked at the Victoria Harbour in Hong Kong, creating a splash in the city. For days, tens of thousands of Hong Kongers and tourists lined up and crowded the waterfront of this “Concrete Jungle” to get a picture of the surreal scene.
The 16.5-meter-high oversized kid’s toy turned the bustling waterfront into nothing more than a bathtub. Some said the art brought happiness as it reminded them of the innocence and pressure-free time before adulthood.
When a photo circulated on the internet which showed the yellow duck slightly limp (apparently due to an air leak) I thought it could be a special moment to look at the much-loved ducky. When I arrived on the scene with my camera, the duck was shrinking very slowly and had lowered its head into the water. The crowds were dispirited to see their childhood bath toy “dying”. Some joked that it had unfortunately caught bird flu during its short visit.
I waited until the duck was only half-floating in the water, and captured the moment before it reduced into a puddle of yellow plastic.
It was clear that there were a lot of cultural symbols that could be interpreted from this giant piece of art. A half-floating duck in the water had triggered deep feelings among the people of Hong Kong. It brought happy reminders of our care-free childhood, but it also brought a melancholy that such an innocent time was so fleeting – like the nature of all beautiful things in world.”
Canon EOS-5D Mark III, lens 27mm, f2.8, 1/100, ISO 800
Caption: A deflated Rubber Duck by Dutch conceptual artist Florentijn Hofman floats on Hong Kong's Victoria Harbour, with the island skyline looming at the background, May 14, 2013.
荷蘭藝術家霍夫曼Florentijn Hofman創作的黃色巨型膠鴨，在香港尖沙咀海傍的水面上戴淨戴沉，在生活在這座有石屎森林之稱的城市，逗趣的黃色膠鴨旋即吸引數以十萬計的市民前往觀看，舉辦黃鴨到港活動的商場得到人流、商戶賺到金錢、黃鴨亦為香港人舒發悶氣帶來快樂。原本一只手掌大的膠黃鴨，轉化成現在6層樓高的巨鴨，整個維多利亞港變成它的私人浴缸，巨鴨不像一般藝術品令人覺得高不可攀；相反時與我們童年與膠鴨共浴的回憶有關，這些不可切割的回憶使我們更感親切。拍攝這張照片當晚，我從Facebook上看到一張巨鴨傾斜的照片開始流傳，有傳聞巨鴨已經受損裂開，我沒有多想就帶著相機出發，抵達海傍時已經是一個小時之後，我看到巨鴨低著頭，半浮半沉在海面上，令人感到難過。的確巨鴨背後有太多文化象徵，歡樂、美好、和平，還有美麗事物都是脆弱和不易保存的。我看著那隻巨鴨慢慢的洩氣縮小，直到我覺得這就是我需要的照片，抓緊機會拍攝下來，照片拍攝後幾分鐘，那隻巨鴨已經縮小變成一塊浮在海上的膠布了。
“The gigantic inflatable rubber duck designed by Dutch artish Florentijn Hofman docked at the Victoria Harbour in Hong Kong, creating a splash in the city. For days, tens of thousands of Hong Kongers and tourists lined up and crowded the waterfront of this “Concrete Jungle” to get a picture of the surreal scene.
The 16.5-meter-high oversized kid’s toy turned the bustling waterfront into nothing more than a bathtub. Some said the art brought happiness as it reminded them of the innocence and pressure-free time before adulthood.
When a photo circulated on the internet which showed the yellow duck slightly limp (apparently due to an air leak) I thought it could be a special moment to look at the much-loved ducky. When I arrived on the scene with my camera, the duck was shrinking very slowly and had lowered its head into the water. The crowds were dispirited to see their childhood bath toy “dying”. Some joked that it had unfortunately caught bird flu during its short visit.
I waited until the duck was only half-floating in the water, and captured the moment before it reduced into a puddle of yellow plastic.
It was clear that there were a lot of cultural symbols that could be interpreted from this giant piece of art. A half-floating duck in the water had triggered deep feelings among the people of Hong Kong. It brought happy reminders of our care-free childhood, but it also brought a melancholy that such an innocent time was so fleeting – like the nature of all beautiful things in world.”
Canon EOS-5D Mark III, lens 27mm, f2.8, 1/100, ISO 800
Caption: A deflated Rubber Duck by Dutch conceptual artist Florentijn Hofman floats on Hong Kong's Victoria Harbour, with the island skyline looming at the background, May 14, 2013.
荷蘭藝術家霍夫曼Florentijn Hofman創作的黃色巨型膠鴨，在香港尖沙咀海傍的水面上戴淨戴沉，在生活在這座有石屎森林之稱的城市，逗趣的黃色膠鴨旋即吸引數以十萬計的市民前往觀看，舉辦黃鴨到港活動的商場得到人流、商戶賺到金錢、黃鴨亦為香港人舒發悶氣帶來快樂。原本一只手掌大的膠黃鴨，轉化成現在6層樓高的巨鴨，整個維多利亞港變成它的私人浴缸，巨鴨不像一般藝術品令人覺得高不可攀；相反時與我們童年與膠鴨共浴的回憶有關，這些不可切割的回憶使我們更感親切。拍攝這張照片當晚，我從Facebook上看到一張巨鴨傾斜的照片開始流傳，有傳聞巨鴨已經受損裂開，我沒有多想就帶著相機出發，抵達海傍時已經是一個小時之後，我看到巨鴨低著頭，半浮半沉在海面上，令人感到難過。的確巨鴨背後有太多文化象徵，歡樂、美好、和平，還有美麗事物都是脆弱和不易保存的。我看著那隻巨鴨慢慢的洩氣縮小，直到我覺得這就是我需要的照片，抓緊機會拍攝下來，照片拍攝後幾分鐘，那隻巨鴨已經縮小變成一塊浮在海上的膠布了。
Image 88 of 93: LUCAS JACKSON, United States
“This photo was probably the peak 'moment' of the infamous dance between Robin Thicke and Miley Cyrus during this year's MTV Video Music Awards. It was an obvious moment and as soon as they finished this performance I flagged down a runner to take the card back to the editors because I knew it was going to be a big deal in the media and I wanted the pictures out as fast as possible. The room was extremely dark so luckily I had a camera that maintained high quality at the ISO I was using – five years ago this image would have looked horrible or might not even have worked.”
Canon EOS 1DX, lens 400mm, f5.6, 1/400, ISO 12800
Caption: Miley Cyrus and Robin Thicke perform "Blurred Lines" during the 2013 MTV Video Music Awards in New York August 25, 2013.
Click here for a related blog
“This photo was probably the peak 'moment' of the infamous dance between Robin Thicke and Miley Cyrus during this year's MTV Video Music Awards. It was an obvious moment and as soon as they finished this performance I flagged down a runner to take the card back to the editors because I knew it was going to be a big deal in the media and I wanted the pictures out as fast as possible. The room was extremely dark so luckily I had a camera that maintained high quality at the ISO I was using – five years ago this image would have looked horrible or might not even have worked.”
Canon EOS 1DX, lens 400mm, f5.6, 1/400, ISO 12800
Caption: Miley Cyrus and Robin Thicke perform "Blurred Lines" during the 2013 MTV Video Music Awards in New York August 25, 2013.
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Image 89 of 93: RICARDO MORAES, Brazil
“Arriving in Recife for a series of Confederations Cup matches, I spotted from my hotel window a group of youths playing soccer on the beach, a typical scene in Brazil. I had very little time before leaving for a Spanish team training session. I noticed the shadows of buildings along the beachfront and the effect they had on the improvised soccer field. I waited as long as I could to take advantage of the shapes created by the shadows projected on the beach. I sent the picture and raced to the training. That was my first photo of the Confederations Cup, which would last several weeks, with a lot of soccer and street riots.”
Canon 1DX, lens 24-70mm, f2.8, 1/1250, ISO 50
Caption: Men play soccer between the shadows of buildings in Boa Viagem Beach in Recife June 14, 2013.
“Logo que cheguei a Recife, para a cobertura de 3 jogos da Copa das Confederaçoes, vi desde a janela do meu hotel jovens jogando bola na praia, uma típica cena brasileira. Com pouco tempo pra fotografar, eu tinha que sair para um treinamento da seleçao espanhola, vi as sombras dos predios construidos na beira da praia, se desenhando ao redor campo improvisado. Esperei o maximo que pude, e fui aproveitando as formas que a luz de final de tarde projetava naquela praia. Quando vi que tinha a imagem que procurava, transmiti e fui correndo pro treinamento, chegando bem no horario. Essa foi a primeira foto que fiz em minha cobertura da copa das confederaçoes, que duraria semanas, com muito futebol e, a seguir, violencia nas ruas.”
“Arriving in Recife for a series of Confederations Cup matches, I spotted from my hotel window a group of youths playing soccer on the beach, a typical scene in Brazil. I had very little time before leaving for a Spanish team training session. I noticed the shadows of buildings along the beachfront and the effect they had on the improvised soccer field. I waited as long as I could to take advantage of the shapes created by the shadows projected on the beach. I sent the picture and raced to the training. That was my first photo of the Confederations Cup, which would last several weeks, with a lot of soccer and street riots.”
Canon 1DX, lens 24-70mm, f2.8, 1/1250, ISO 50
Caption: Men play soccer between the shadows of buildings in Boa Viagem Beach in Recife June 14, 2013.
“Logo que cheguei a Recife, para a cobertura de 3 jogos da Copa das Confederaçoes, vi desde a janela do meu hotel jovens jogando bola na praia, uma típica cena brasileira. Com pouco tempo pra fotografar, eu tinha que sair para um treinamento da seleçao espanhola, vi as sombras dos predios construidos na beira da praia, se desenhando ao redor campo improvisado. Esperei o maximo que pude, e fui aproveitando as formas que a luz de final de tarde projetava naquela praia. Quando vi que tinha a imagem que procurava, transmiti e fui correndo pro treinamento, chegando bem no horario. Essa foi a primeira foto que fiz em minha cobertura da copa das confederaçoes, que duraria semanas, com muito futebol e, a seguir, violencia nas ruas.”
Image 90 of 93: HAMID KHATIB, Syria
“When I took the picture I did not know that I would see in it how the war is accelerating the growth of a child by obliging him to work in this weapons factory along with his father. I went to take pictures of the weapons factory where I found Issa working with his father for the whole day. At night, Issa would go home, feed his bird, take a shower and have dinner with his family, during regular power cuts. He then would go to bed only to wake up early in the morning to go back again to carry weapons and do his tasks at the factory.”
Canon EOS 5D Mark II, lens 70-300mm at 75mm, f4.5, 1/50, ISO 1600
Caption: Issa, 10 years old, carries a mortar shell in a weapons factory of the Free Syrian Army in Aleppo, September 7, 2013. Issa works with his father in the factory for ten hours every day except on Fridays.
“When I took the picture I did not know that I would see in it how the war is accelerating the growth of a child by obliging him to work in this weapons factory along with his father. I went to take pictures of the weapons factory where I found Issa working with his father for the whole day. At night, Issa would go home, feed his bird, take a shower and have dinner with his family, during regular power cuts. He then would go to bed only to wake up early in the morning to go back again to carry weapons and do his tasks at the factory.”
Canon EOS 5D Mark II, lens 70-300mm at 75mm, f4.5, 1/50, ISO 1600
Caption: Issa, 10 years old, carries a mortar shell in a weapons factory of the Free Syrian Army in Aleppo, September 7, 2013. Issa works with his father in the factory for ten hours every day except on Fridays.
عندما ألتقطت هذه الصورة لم أكن اعرف بأني سأرى فيها كيف تسرع الحرب عجلة نمو طفل لتجبره للعمل في
مصنع أسلحة بجانب والده عشرة ساعات في اليوم , ستة أيام في الأسبوع ...
لقد ذهبت لأصور معمل تصنيع السلاح فوجدت عيسى يعمل مع والده طوال النهار وفي المساء يذهبون إلى البيت ويطعم عصافيره ويغتسل ويتناول العشاء مع عائلته أثناء انقطاع الكهرباء وبعدها يذهب للنوم ليستيقظ في الصباح الباكر
.ويعود مجدداً ليحمل القذائف ويقوم بعمله
Image 90 of 93:
Image 91 of 93: IVAN ALVARADO, Chile
“To take this photograph I had to consider a whole realm of technical elements other than just camera settings. I had to take into account the weather, the characteristics of the plane, the best altitude to fly, the time of day, the height of the clouds, and of course the permission from the lithium plant owner. At one of the plants that I requested access to, the person on the other end of the phone denied me, in a serious voice: “It’s an industrial secret.” Renting a plane to take photos is not cheap, so I had to minimize the possibility of mistakes so the flight was as productive as possible.
From the ground, lithium plants don’t look different from many other industrial operations in remote regions. But the singular aspect of these is that in the middle of the Atacama Desert, they have enormous, colorful pools that are used in the process of extracting lithium, and these pools are best appreciated from above. When planning this story with my editor, we spoke of what characteristics the plane must have to produce a “clean” image, such as retractable landing gear and wings above the fuselage. After searching a few days, I found one air park that had a Cessna 210M with those features plus a large window. If weather permitted, it would be perfect for this photo. The day of the picture, I checked the sky at dawn to see if it was as the weather report had predicted, and it was. There were very high clouds that served as a filter to soften the morning light. The lithium pools continue there, and they will constantly be modified as the demand for lithium transforms the unusual landscape.”
Canon EOS 1DX, lens 16mm, f5.6, 1/2700, ISO 100
Caption: An aerial view of the brine pools and processing areas of the Rockwood lithium plant on the Atacama salt flat, the largest lithium deposit currently in production, in the Atacama Desert of northern Chile, January 10, 2013.
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“Para tomar esta fotografía tenía que considerar una serie de elementos técnicos que no fueron sólo ajustes de la cámara. Tomé en cuenta el clima, las características del avión, la mejor altura de vuelo, la hora del día, la altura de las nubes, y por supuesto, el permiso del propietario de la planta de litio. En una de las plantas que solicitó el acceso, la persona que me atendió por teléfono me negó con voz seria: "Es un secreto industrial. " Alquilar un avión para tomar fotos no es barato, así que tuve que reducir al mínimo la posibilidad de errores para que el vuelo fuera lo más productivo posible.
Desde el suelo las plantas de litio no se ven diferentes de muchas otras operaciones industriales en regiones remotas. Pero el aspecto singular de estos es que en el medio del desierto de Atacama, tienen enormes piscinas coloridos que se utilizan en el proceso de extracción de litio. Estas piscinas se aprecian mejor desde arriba. Al organizar esta historia con mi editor, hablamos de cuales características el avión debe tener para producir una imagen "limpia," como el tren de aterrizaje retráctil y alas sobre el fuselaje. Después de buscar un par de días encontré un aeroparques que tenía un Cessna 210M con esas características, además de una gran ventana. Si el tiempo lo permitía, iba a ser ideal para esta foto. El día de la foto miré el cielo al amanecer para ver si estaba como decía la predicción de tiempo, y así fue. Había nubes muy altas que sirvieron como filtro para suavizar la luz de la mañana. Las piscinas de litio siguen allí, mientras la demanda de litio continua transformando el paisaje inusual.”
“To take this photograph I had to consider a whole realm of technical elements other than just camera settings. I had to take into account the weather, the characteristics of the plane, the best altitude to fly, the time of day, the height of the clouds, and of course the permission from the lithium plant owner. At one of the plants that I requested access to, the person on the other end of the phone denied me, in a serious voice: “It’s an industrial secret.” Renting a plane to take photos is not cheap, so I had to minimize the possibility of mistakes so the flight was as productive as possible.
From the ground, lithium plants don’t look different from many other industrial operations in remote regions. But the singular aspect of these is that in the middle of the Atacama Desert, they have enormous, colorful pools that are used in the process of extracting lithium, and these pools are best appreciated from above. When planning this story with my editor, we spoke of what characteristics the plane must have to produce a “clean” image, such as retractable landing gear and wings above the fuselage. After searching a few days, I found one air park that had a Cessna 210M with those features plus a large window. If weather permitted, it would be perfect for this photo. The day of the picture, I checked the sky at dawn to see if it was as the weather report had predicted, and it was. There were very high clouds that served as a filter to soften the morning light. The lithium pools continue there, and they will constantly be modified as the demand for lithium transforms the unusual landscape.”
Canon EOS 1DX, lens 16mm, f5.6, 1/2700, ISO 100
Caption: An aerial view of the brine pools and processing areas of the Rockwood lithium plant on the Atacama salt flat, the largest lithium deposit currently in production, in the Atacama Desert of northern Chile, January 10, 2013.
Click here for a related blog
“Para tomar esta fotografía tenía que considerar una serie de elementos técnicos que no fueron sólo ajustes de la cámara. Tomé en cuenta el clima, las características del avión, la mejor altura de vuelo, la hora del día, la altura de las nubes, y por supuesto, el permiso del propietario de la planta de litio. En una de las plantas que solicitó el acceso, la persona que me atendió por teléfono me negó con voz seria: "Es un secreto industrial. " Alquilar un avión para tomar fotos no es barato, así que tuve que reducir al mínimo la posibilidad de errores para que el vuelo fuera lo más productivo posible.
Desde el suelo las plantas de litio no se ven diferentes de muchas otras operaciones industriales en regiones remotas. Pero el aspecto singular de estos es que en el medio del desierto de Atacama, tienen enormes piscinas coloridos que se utilizan en el proceso de extracción de litio. Estas piscinas se aprecian mejor desde arriba. Al organizar esta historia con mi editor, hablamos de cuales características el avión debe tener para producir una imagen "limpia," como el tren de aterrizaje retráctil y alas sobre el fuselaje. Después de buscar un par de días encontré un aeroparques que tenía un Cessna 210M con esas características, además de una gran ventana. Si el tiempo lo permitía, iba a ser ideal para esta foto. El día de la foto miré el cielo al amanecer para ver si estaba como decía la predicción de tiempo, y así fue. Había nubes muy altas que sirvieron como filtro para suavizar la luz de la mañana. Las piscinas de litio siguen allí, mientras la demanda de litio continua transformando el paisaje inusual.”
Image 92 of 93: MOHAMMED SALEM, Gaza
“I got a phone call from a friend asking if I wanted to photograph a wedding in Gaza. I told him I wasn’t interested but when he told me the groom was 15 years old and the bride was one year younger than him, I rushed to the location immediately.
After arriving I saw people celebrating in the street not far from the border between Israel and the northern Gaza Strip. Among them was a young Palestinian boy being carried on the shoulders of relatives and friends. I couldn’t believe that the boy was the groom until I asked him and he replied with a smile, “yes I am”.
After he finished celebrating at a party held a day before the official wedding, he went to play with friends in the street where they enjoyed flavored frozen drinks.
The second day I went back and continued covering the story, the official wedding was to take place that day. I was surprised when I saw the groom’s mother helping him put on his wedding suit. I couldn’t avoid thinking that it looked as if she was dressing him for school. After that he started combing his hair using a broken piece of a mirror.
I realized how poor the family was when I noticed that he and his wife share the three-room house with the rest of the family – another nine people.
I asked the young groom if I could go with him into the house where the bride was getting prepared. When we entered the house, which was only nextdoor, I realized that the family had not yet repaired the damage that was caused from an Israeli strike in 2009. When young Soboh looked at his bride and saw she was veiled, his face became frank and serious. At that moment the bride spoke to her groom and said, “let’s smile and have our photo taken”. One thing she forgot to do before posing for the photograph was to remove her veil.”
Canon EOS-1D X, lens 35mm, f1.4, 1/125
Caption: Young Palestinian groom Ahmed Soboh, 15 and his bride Tala, 14, stand inside Tala's house which was damaged during an Israeli strike in 2009, during their wedding party in the town of Beit Lahiya, near the border between Israeli and northern Gaza Strip September 24, 2013.
“I got a phone call from a friend asking if I wanted to photograph a wedding in Gaza. I told him I wasn’t interested but when he told me the groom was 15 years old and the bride was one year younger than him, I rushed to the location immediately.
After arriving I saw people celebrating in the street not far from the border between Israel and the northern Gaza Strip. Among them was a young Palestinian boy being carried on the shoulders of relatives and friends. I couldn’t believe that the boy was the groom until I asked him and he replied with a smile, “yes I am”.
After he finished celebrating at a party held a day before the official wedding, he went to play with friends in the street where they enjoyed flavored frozen drinks.
The second day I went back and continued covering the story, the official wedding was to take place that day. I was surprised when I saw the groom’s mother helping him put on his wedding suit. I couldn’t avoid thinking that it looked as if she was dressing him for school. After that he started combing his hair using a broken piece of a mirror.
I realized how poor the family was when I noticed that he and his wife share the three-room house with the rest of the family – another nine people.
I asked the young groom if I could go with him into the house where the bride was getting prepared. When we entered the house, which was only nextdoor, I realized that the family had not yet repaired the damage that was caused from an Israeli strike in 2009. When young Soboh looked at his bride and saw she was veiled, his face became frank and serious. At that moment the bride spoke to her groom and said, “let’s smile and have our photo taken”. One thing she forgot to do before posing for the photograph was to remove her veil.”
Canon EOS-1D X, lens 35mm, f1.4, 1/125
Caption: Young Palestinian groom Ahmed Soboh, 15 and his bride Tala, 14, stand inside Tala's house which was damaged during an Israeli strike in 2009, during their wedding party in the town of Beit Lahiya, near the border between Israeli and northern Gaza Strip September 24, 2013.
تلقيت مكالمة هاتفية من صديق يسألني اذا ما أردت أن أقوم بتصوير حفل زواج في قطاع غزة. أخبرته أن ليس لدي
رغبة في ذلك ولكن حينما أخبرني أن العريس يبلغ من العمر 15 عاما وأن العروس أصغر منه بعام واحد، توجهت
نحو المكان حالا
فور وصولي للمكان وجدت الناس يحتفلون في الشارع ولم يكن ذلك بعيدا عن منطقة الحدود ما بين شمال قطاع غزة
واسرائيل. ومن بين هؤلاء الناس كان هناك ولد فلسطيني صغير محمولا على أكتاف أصدقائه وأقاربه. لم أصدق أن
هذا الولد هو العريس نفسه حتى سألته وأجابني مضحكا "نعم أنا." وبعد ما انتهى الاحتفال في حفلته التي حدثت قبل
يوم من حفل الزواج الرسمي، ذهب مع أصدقائه في الشارع ليستمتعوا هناك بالمشروب المثلج "البراد".
في اليوم الثاني عدت مرة أخرى للمكان وواصلت تغطية القصة وذلك تزامنا مع يوم الحفل الرسمي. لقد كنت مندهشا
حينما رأيت والدة العريس وهي تساعده على ارتداء بدلة الفرح. لم أستطع التوقف عن التصور كما لو أنه امه كانت
تساعده لارتداء ملابس المدرسة. وبعد ذلك بدأ بتمشيط شعره مستخدما قطعة مكسورة من مرآة. لقد أدركت مدى فقر
العائلة عندما لاحظت أن العريس وزوجته يسكنون مع 9 اخرين من أفراد عائلته في نفس البيت المكون من ثلاث
غرف. سألت العريس الصغير اذا ما كان هناك امكانية للذهاب معه الى البيت الذي كانت تتجهز العروس فيه. وعندما
دخلت البيت والذي كان مجاور لباب بيت العريس أدركت أن العائلة لم تصلح بعد الضرر الذي لحق بالبيت جراء
قصف اسرائيلي عام 2009. وحينما نظر الصغير صبح الى زوجته وهي تغطي وجهها أصبح وجهه أكثر جدية. في
تلك اللحظات تحدثت العروس مع العريس قائلة:"دعنا نضحك لنتصور." لقد نسيت أن تفعل شيئا واحد قبل التصوير
.وهو ازاله الغطاء عن وجهها
Image 92 of 93:
Image 93 of 93: ERIC GAILLARD, Mali
“During the conflict in Mali, we had traveled north to follow the progression of Malian and French troops and arrived in the recently-liberated town of Konna. A large number of journalists on-site were there to observe the destruction in the city but no bodies of rebels had been left visible by the time the press arrived.
While isolated from the main media group and walking down a dirt road, a civilian resident approached me and said that a rebel soldier had been burned in a house. I asked him if he would discreetly show me where this was and he led me to the house, luckily without drawing the attention of my media colleagues. Arriving in front of a small house made of mud, the man showed me the way in, and then disappeared.
It was very dark as I stepped inside and I was immediately hit with a sickening stench. I quickly discovered the remains of a burned body – that of an Islamist rebel – according to the locals. The detail that stuck in my mind was the almost-perfect alignment of his shoes.
I will never know if he died before or after being set on fire.”
Canon EOS5 Mark III, lens 16-35mm, f 3.5, 1/10, ISO 800
A charred body believed to be an Islamist rebel burnt by inhabitants of Konna, according to local residents, is seen in the recently liberated town of Konna January 27, 2013.REUTERS/Eric Gaillard
“Lors du conflit malien, alors que nous remontions vers le Nord afin de suivre la progression des soldats maliens et francais, nous sommes arrives dans la ville de Konna recemment liberee.
Un grand nombre de journalistes etaient presents constatant les destructions dans la ville sans qu'aucun corps de combattants ne soient visibles sur le terrain. Alors que je m'etais isole du groupe et marchais sur un chemin de terre, un habitant me signala qu'un soldat rebelle avait ete brule dans une maison.
Je lui demandai aussitot s'il pouvait m'y conduire discretement afin de ne pas etre repere par mes confreres. Arrive devant une maison en terre, l'homme me montra l'entree et disparut.
A l'nterieur il faisait tres sombre et j'etais presque dans l'obscurite. Sans grande visibilite, je me suis dirige "a l'odeur" et ai finalement decouvert le corps calcine, suppose (selon les habitants) etre celui d'un rebelle islamiste. Le detail qui m'interpelle encore, reste l'allignenement presque parfait de ses chaussures.
Je n'ai jamais pu verifier ni savoir s'il etait mort avant ou apres avoir ete brule."
“During the conflict in Mali, we had traveled north to follow the progression of Malian and French troops and arrived in the recently-liberated town of Konna. A large number of journalists on-site were there to observe the destruction in the city but no bodies of rebels had been left visible by the time the press arrived.
While isolated from the main media group and walking down a dirt road, a civilian resident approached me and said that a rebel soldier had been burned in a house. I asked him if he would discreetly show me where this was and he led me to the house, luckily without drawing the attention of my media colleagues. Arriving in front of a small house made of mud, the man showed me the way in, and then disappeared.
It was very dark as I stepped inside and I was immediately hit with a sickening stench. I quickly discovered the remains of a burned body – that of an Islamist rebel – according to the locals. The detail that stuck in my mind was the almost-perfect alignment of his shoes.
I will never know if he died before or after being set on fire.”
Canon EOS5 Mark III, lens 16-35mm, f 3.5, 1/10, ISO 800
A charred body believed to be an Islamist rebel burnt by inhabitants of Konna, according to local residents, is seen in the recently liberated town of Konna January 27, 2013.REUTERS/Eric Gaillard
“Lors du conflit malien, alors que nous remontions vers le Nord afin de suivre la progression des soldats maliens et francais, nous sommes arrives dans la ville de Konna recemment liberee.
Un grand nombre de journalistes etaient presents constatant les destructions dans la ville sans qu'aucun corps de combattants ne soient visibles sur le terrain. Alors que je m'etais isole du groupe et marchais sur un chemin de terre, un habitant me signala qu'un soldat rebelle avait ete brule dans une maison.
Je lui demandai aussitot s'il pouvait m'y conduire discretement afin de ne pas etre repere par mes confreres. Arrive devant une maison en terre, l'homme me montra l'entree et disparut.
A l'nterieur il faisait tres sombre et j'etais presque dans l'obscurite. Sans grande visibilite, je me suis dirige "a l'odeur" et ai finalement decouvert le corps calcine, suppose (selon les habitants) etre celui d'un rebelle islamiste. Le detail qui m'interpelle encore, reste l'allignenement presque parfait de ses chaussures.
Je n'ai jamais pu verifier ni savoir s'il etait mort avant ou apres avoir ete brule."
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