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Archives for March 2011

From the printed page to the online app

Phil Coomes | 17:00 UK time, Thursday, 31 March 2011

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A man in a devil costume runs around the streets of La Vega before a rally for Chavez

One of the big questions for photographers and indeed those working in the field of journalism is how to fund projects. I recently blogged about Emphas.is which uses the crowdsourcing model to pull in both large and small donations, allowing photographers to seek backing from a wide range of sources.

Yet in all of this, one area in question is the audience: how do we grow it? It's all very well producing strong work and the internet can help spread the word. But ultimately many of those looking at photojournalism, and thus supporting it, through specialist websites are those who work or are already interested in the medium.

What is needed is a way to draw readers into stories and issues through the pictures. What comes first: the interest in the story and content, or just the love of photography per se?

One of the ways currently being explored is of course through the latest range of mobile phones and devices, such as tablets. These provide a fantastic way to lead readers into content via pictures. They also open up new markets for photographers.

Many of the major news website have their own versions, including the 91Èȱ¬, but there are plenty more out there.

It's not just news sites - the , a leading magazine for professional photographers in the UK, is also about to get in on the act and bring it's magazine content to the app world. On their website, Editor Simon Bainbridge says the app will offer:

"The best content from the print magazine, together with some unique content. We're going to be adding multimedia, videos. There will be longer slideshows - we'll be able to put a lot more pictures than we can in print. We want you to think about this as a fully-fledged app - not like some of the other photography apps out there."

But what about photographers? Many already have mobile friendly websites, or use social media to drive potential viewers to their own content, and yet most photographers will tell you that the ultimate prize is still good old-fashioned, well-crafted, conventional book. Yet even the best of these sell in small numbers, so maybe there is a third way?


An iphone screenshot from Capitolio

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Photographer has just launched his own app based on his highly praised book, Capitolio, which explores life in Caracus, Venezuela, during a period described by President Chavez as "revolution". It's an in-depth exploration of a city and its inhabitants.

The online version runs on iPads and iPhones and offers an extended exploration of the book, some extra photos as well as a video interview with Christopher, shot by Tim Hetherington. Indeed, as far as I am aware, this is the first photo book to transfer to the app world.

I asked Christopher to explain why he was opening up his book in this way?

"The book was selling out and that got me thinking about the finite audience that can see a photo book. In the case of Capitolio, that was only 3,000 people. On top of that, the price is so high that those 3,000 people are of a certain means. Now, millions of people have these devices and it occurred to me that I could reach a potentially infinite audience where cost is not so prohibitive. I could 'democratise' the precious photo book so to speak."

Does he think it will attract a new market, a new range of people who might not browse the photographic section of a book shop, but could be enticed to buy this - thus growing the market for photojournalism?

"This is really uncharted water. No-one knows. I think that there certainly is a potential for a new model of self-publishing. I am curious to see what this experiment will reveal in terms of the viability of this model. I certainly don't expect to get rich from it. There is not mass appeal like Angry Birds for instance. But perhaps a large enough audience can be engaged to allow photographers the means to produce their own work."

This maybe the first, but I doubt it will be the last book to migrate online. There are many going down the self-publishing route, some using conventional sites such as Blurb and others who offer PDF files for a small fee. With the world as your market, perhaps this is the future?

Your pictures of the week: Defeat

Phil Coomes | 14:04 UK time, Thursday, 31 March 2011

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Photo by Laurence Ang

Here are some more of our readers' pictures, this time on the theme of defeat. Each week we ask you to submit your pictures on a set theme and you can see the ones I have selected here.

Many thanks to those of you who sent in your work.

If you'd like to see one of your pictures on the 91Èȱ¬ website then take a look at the upcoming themes, grab your camera and start shooting.

Next week's theme is: Playtime

Interpret this in any way you see fit and send your pictures to us at yourpics@bbc.co.uk or upload them directly from your computer.

Please include the word "playtime" in the subject line of your message.

The deadline is midnight GMT Tuesday 5 April 2011, and remember to add your name and a caption: who, what, where and when should be enough, though the more details you give, the better your chance of being selected.

We will publish a selection of your photos this time next week.

If you want to plan ahead, you can see a list of the upcoming themes here.

Files should be sent as JPEGs. They shouldn't be larger than 10Mb and ideally much smaller: around 1Mb is fine, or you can resize your pictures to 1,000 pixels across.

Please see our terms and conditions, but remember that the copyright remains with you. The pictures will only be used by the 91Èȱ¬ for the purposes of this project. Finally, when taking photos, please do not endanger yourself or others, take unnecessary risks or infringe any laws.

Pictures from Japan

Phil Coomes | 09:15 UK time, Monday, 28 March 2011

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Photo by Jake Price

The earthquake that hit Japan on 11 March and the powerful tsunami it triggered is now known to have killed more than 10,000 people, with more than 17,000 still missing. Add to that nearly 200,000 people who are living in temporary shelters, then this is a tragedy on a massive scale. Lives will remain uprooted for many years, and the loss of loved ones and communities is something that may never be re-built. On top of this there is the continuing threat of a major radiation leak at the Fukushima nuclear plant.

For photographers the immediate aftermath provided shocking images of widespread destruction on a scale that is hard to imagine, with satellite photographs perhaps being the only real way to try and grasp the enormity of it.

Now, however, there is a need to tell the stories of those who escaped, who survived and are struggling to figure out what to do next.

Photographer Jake Price has sent this report from Tokyo having returned from a trip to affected areas in the north of the country, primarily around Sendai.

He said:

"As I boarded the plane in Tokyo bound for Yamagata in northern Japan the note on the lounge screen remarked that the plane might be returned to Tokyo because of snow. Despite the warning I boarded and headed north. About an hour later the plane started its descent. Visibility was next to nothing, but the plane pushed on, emblematic I thought of how the Japanese handled this most horrid of catastrophes I was descending into.
Clearing the streets in Sendai

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"Once on the ground I could not rent a car due to rationing of gasoline. With no other option I traveled by bus, changing three times, to reach the tsunami zone, west of Yamagata.
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"In Yamagata, after wandering the snowy streets for a couple of hours I came upon the Hotel New Marble that had a room. The following morning I met a women named Kobayashi from Miyagi who had lost everything and was put up in the hotel by her company. She told me the thing she remembered most from the day was: 'The water that engulfed us was totally black, as if it was another substance all together. To escape it I climbed to the fourth story of an adjacent building, but the blackness kept coming. Finally it abated, but in my memory sometimes it continues to climb.' She shook while she spoke. I was the first one, outside of her husband whom she spoke with. 'Just to tell someone is a great relief.' She and her husband were staying in the hotel for one more night.
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"Six hours, two buses and two more taxis later I arrived in Tagajo, a small industrial town adjacent to Sendai. I arrived late in the afternoon. As dusk fell it was evident that there was no place to sleep when I came to a centre for the displaced. I asked if I could rest there and was given a small space to stay amongst the hundreds of others that now call the gymnasium home. In total 1,300 people lived on the school grounds. I slept there for two nights.
Belongings piled high


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"I cannot say that I lived as they did because I do not have the weight of loss hanging over me, or the precariousness of the future to occupy my thoughts. But, by living there, at least I could understand the conditions that people lived in. You can tell a lot about the state of people at four in the morning when the night is at its darkest and time moves the slowest.
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"At the back of the gymnasium a young boy violently howled with a raspy cry. Inconsolable at first, he was gradually placated and fell back to sleep. Nearest me were mainly the elderly.
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"As I walked the streets the next morning I was struck by the small things that people did to order their lives. A relentless sense of order prevailed over the destruction. In front of homes, magazines and books were neatly wrapped for disposal, along with furniture, clothing and other household items all neatly grouped together.
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"On the larger scale some factory workers had already returned to their workplaces and started working on small things such as sweeping the grounds to keep them tidy in preparation for the day when the heavy equipment would start to do the substantial work. In all, these small efforts contribute to the whole which will get life moving again. Much has been said about Japanese stoicism, but I don't see people as merely stoic. There's also a lot of hope here. If there is hope it is because of a pragmatic approach to life which leads to a future worth living."

Here a few pictures of Jake's from Sendai

Sendai

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Footprints in Sendai

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Inside a factory destroyed by the tsunami

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Debris on a street in Sendai

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A worker sweeps pieces of wood into a fire

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Belongings sorted into piles

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People in a temporary shelter

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Update 11 April 2011: Jake Price has narrated an audio slideshow which you can now view on the 91Èȱ¬.

John D McHugh on covering protests in Bahrain

Phil Coomes | 08:34 UK time, Friday, 25 March 2011

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Pearl roundabout

The recent protests and revolutions that have swept across parts of the Middle East and North Africa have of course attracted waves of photographers.

One of those was experienced photojournalist John D McHugh who was drawn to Bahrain and the Pearl Roundabout, the focus of protests in that country.

Following clashes in mid February that left at least seven people dead, anti-government protesters camped out in the capital in an attempt to force political reforms and end the monarchy's grip on power.

Children at the camp

Within days the camp was the scene of a violent confrontation between the protestors and government forces, yet it remained in place for more than one month before being cleared by the authorities.

John D arrived after the initial unrest and began his work in the rebuilt camp. He said:

"They showed me the bullet holes, and the place where one protester died. Considering the recent bloodshed, I was amazed to see so many women and children participating in the protest."

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Covering such an event is not without both danger and complications. John D said:

"Working in Pearl Roundabout, also known as Lulu Roundabout, was difficult. Everyone had a story, and they were desperate for the international community to hear them, to help them. I was filming a documentary on a small camcorder, but even that drew a lot of attention.

"But with my unobtrusive compact camera, I shot these photographs and recorded audio, barely noticed by people. There was an air of hope, of expectation and the small camera made me inconspicuous, allowing me to capture moments that wouldn't have been possible if I was working with my usual kit."

"When protests started in Bahrain journalists rushed to the island kingdom. But soon they were being detained at the airport, some were held for 16 hours, and their professional filming and photographic equipment was being seized. So when I travelled in, I brought the smallest kit I could, a small handheld HD video camera that looks like a phone, and a compact Canon G12, that shoots stills and video.

"Although the army and police had been pulled of the streets by the King, there was still a very real possibility of more violence. Because I was trying to enter the country 'low profile' I had to leave my usual personal protection equipment at home. I felt naked travelling without my body armour and helmet. However, I did take my battlefield first aid kit, which I wear at all times on my belt. There are some things I just won't travel without."

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A selection of John D's pictures can be seen below.

Protests in the square
Inside the camp
Protests in the camp
Inside the camp
Bullet holes

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A handful of pictures from 50,000

Phil Coomes | 11:05 UK time, Thursday, 24 March 2011

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I thought I'd offer my congratulations to the 10 winning amateur photographers whose pictures have been selected from more than 50,000 entries to this year's Open category of the Sony World Photography Awards.

It's a mammoth competition that spans many categories for amateurs, and indeed professional photographers, the latter received more than 100,000 entries.

The winning amateur pictures reflect a current trend for the use of HDR and a somewhat unreal feel, but there is no denying the visual pull of the frames and you can see why the judges whisked these out of the huge pile before them.

Here are a few of the 10 winning photos, starting with Punk City by Edina Csoboth.

Punk City by Edina Csoboth

Buffalo Race by Chan Kwok Hung won the Action category. The picture was taken in Indonesia and shows an annual race held by farmers. Chan said: "They believe they will be lucky if their buffalo wins the race."

Buffalo Race by Chan Kwok Hung

Andiyan Lutfi 's picture is entitled Ration. Andiyan said: "I tried to take a picture with a low angle for a good body shape and used available light to give a more natural tone."

Ration by Andiyan Lutfi

The Travel category was won by James Chong.

Going To Work by James Chong

The full list of those selected is below and an overall amateur winner will be announced in late April.

  • Action: Chan Kwok Hung (Hong Kong)
  • After Dark: Chumlong Nilkon (Thailand)
  • Architecture: Marek Troszczynski (Poland)
  • Arts & Culture: Hubert Januar (Indonesia)
  • Fashion: Edina Csoboth (Hungary)
  • Nature & Wildlife: Andiyan Lutfi (Indonesia)
  • Panoramic: Wolfgang Weinhardt (Germany)
  • People: Raghuranjan Sarkar (India)
  • Smile: Carlos Henrique Reinesch (Brazil)
  • Travel: James Chong (Singapore)

The winning photographs will be exhibited as part of the World Photography Festival at London's Somerset House, 26 April - 22 May. You can find out more about the awards at .

All photographs courtesy of Sony World Photography Awards 2011.

Your pictures of the week: Heavy

Phil Coomes | 09:37 UK time, Thursday, 24 March 2011

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Cheese market in Holland

Here are some more of our readers' pictures, this time on the theme of heavy. Each week we ask you to submit your pictures on a set theme and you can see the ones I have selected here.

Many thanks to those of you who sent in your work. Jorge Sanz's cheese picture raised a smile here and Laura Mabin's ink in water is an interesting look at the theme.

Your pictures

If you'd like to see one of your pictures on the 91Èȱ¬ website then take a look at the upcoming themes, grab your camera and start shooting.

Next week's theme is: Defeat

Interpret this in any way you see fit and send your pictures to us at yourpics@bbc.co.uk or upload them directly from your computer.

Please include the word "defeat" in the subject line of your message.

The deadline is midnight GMT Tuesday 29 March 2011, and remember to add your name and a caption: who, what, where and when should be enough, though the more details you give, the better your chance of being selected.

We will publish a selection of your photos this time next week.

If you want to plan ahead, you can see a list of the upcoming themes here.

Files should be sent as JPEGs. They shouldn't be larger than 10Mb and ideally much smaller: around 1Mb is fine, or you can resize your pictures to 1,000 pixels across.

Please see our terms and conditions, but remember that the copyright remains with you. The pictures will only be used by the 91Èȱ¬ for the purposes of this project. Finally, when taking photos, please do not endanger yourself or others, take unnecessary risks or infringe any laws.

Your pictures of the week: Movement

Phil Coomes | 13:06 UK time, Thursday, 17 March 2011

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Photo by Will Blackmore

It's Thursday, so once again it is time to show off some of our readers' photographs. Each week we ask you to submit your pictures on a set theme, this week the subject was movement.

You can see the ones I have selected here.

Many thanks to those of you who sent in your work. Kate Swanson's picture of her dog is both delightful and somewhat mysterious while Sally Nixon's description really added to the moment she had captured.

Your pictures

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If you'd like to see one of your pictures on the 91Èȱ¬ website then take a look at the upcoming themes, grab your camera and start shooting.

Next week's theme is: Heavy

Interpret this in any way you see fit and send your pictures to us at yourpics@bbc.co.uk or upload them directly from your computer.

Please include the word "heavy" in the subject line of your message.

The deadline is midnight GMT Tuesday 22 March 2011, and remember to add your name and a caption: who, what, where and when should be enough, though the more details you give, the better your chance of being selected.

We will publish a selection of your photos this time next week.

If you want to plan ahead, you can see a list of the upcoming themes here.

Files should be sent as JPEGs. They shouldn't be larger than 10Mb and ideally much smaller: around 1Mb is fine, or you can resize your pictures to 1,000 pixels across.

Please see our terms and conditions, but remember that the copyright remains with you. The pictures will only be used by the 91Èȱ¬ for the purposes of this project. Finally, when taking photos, please do not endanger yourself or others, take unnecessary risks or infringe any laws.

Your pictures of the week: Black and white

Phil Coomes | 13:50 UK time, Thursday, 10 March 2011

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Each week we ask our readers to submit their photographs on a set theme, this week the subject was black and white.

You can see the ones I have selected here.

Thanks to everyone who submitted their photos and congratulations to those whose were selected.

Your pictures

If you'd like to see one of your pictures on the 91Èȱ¬ website then take a look at the upcoming themes, grab your camera and start shooting.

Next week's theme is: Movement

Interpret this in any way you see fit and send your pictures to us at yourpics@bbc.co.uk or upload them directly from your computer.

Please include the word "movement" in the subject line of your message.

The deadline is midnight GMT Tuesday 15 March 2011, and remember to add your name and a caption: who, what, where and when should be enough, though the more details you give, the better your chance of being selected.

We will publish a selection of your photos this time next week.

If you want to plan ahead, you can see a list of the upcoming themes here.

Files should be sent as JPEGs. They shouldn't be larger than 10Mb and ideally much smaller: around 1Mb is fine, or you can resize your pictures to 1,000 pixels across.

Please see our terms and conditions, but remember that the copyright remains with you. The pictures will only be used by the 91Èȱ¬ for the purposes of this project. Finally, when taking photos, please do not endanger yourself or others, take unnecessary risks or infringe any laws.

Right Here, Right Now: At the Format Festival in Derby

Phil Coomes | 12:35 UK time, Monday, 7 March 2011

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Coney Island by Bruce Gilden

A quick zip up the M1 on Friday took me to Derby and the opening day of the .

This year's festival, curated by Louise Clements, explores the work of more than 300 artists working in the public realm, including both traditional street photographers as well as those producing pictures in a more conceptual manner.

The festival is centred on the gallery in Derby but extends to many locations around the city as well as further afield. It features a host of well known names such as , , and but also champions the work of many newcomers in addition to inviting people to submit their own work to an ever .

Quad in Derby

There's also a chance to meet and learn from the photographers through workshops or you can seek inspiration in the galleries or attend a workshop.

I attended the opening conference, here's a rundown of the day.

Sophie Howarth and kicked the day off with a detailed account of how social media is being used by photographers who are working in the public arena.

Sophie is the co-author, with Stephen McLaren, of the book Street Photography Now on the back of which they launched a and then have them judged by the photographer and the online community.

Not all went smoothly though and this is where Sara came in. She was one of those who took up the challenges but found the initial process both confusing and potential unrewarding. Sophie and Sara outlined the way that working online encourages instant feedback, some considered and some not. Sara's grumbling led to the two of them getting in touch and soon she was able to use her own experience to help guide the process.

Together they helped make this smoother and within the groups new ones began to form, smaller communities and ideas, shaped by a number of individuals who emerged to help guide in an unofficial capacity, self moderation of you like.

I found this fascinating, as it's something we are well aware of here at the 91Èȱ¬ and something that we wrestle with constantly.

Next up was Nick Turpin who seems to be a regular in this blog. Alongside showing his work and that of his fellows at In-public he was commissioned by the festival to shoot a documentary on street photographers. The resulting film is on show in Derby for the duration of the festival and provides, well, insight, into the work of many leading practitioners.

Nick Turpin at the Format Festival

A brief clip threw the audience into the chaos of the street showing how the photographer had to make the decision as to whom or what to feature in the final picture. The film includes interviews with a number of leading practitioners and a preview can be seen on .

In contrast curator presented the audience with the work of a number of documentary photographers, some of whom were presenting very challenging work. The pick of the bunch for me was Kosuke Okahara's series entitled Ibasyo which explores the issue of self harm amongst Japanese women. (Warning: Contains pictures that might cause distress to some).

The subject is often taboo and obtaining the trust of those featured can not have been easy, but the import element here is the way the women's story comes across and the pictures draw us into their world - really good documentary work. I'd suggest you explore more of his projects.

From there we slipped into the world of who treated us to a fast paced trawl through his work, all of it up close and very personal. As a child in Brooklyn he was hooked by the vigorous street activity outside his window and he has thrown himself out there ever since.

He described his pictures as, "symbols for what I see," and as fantasies, that allow people to make up stories. The picture at the top of the page was the first he took that he felt had artistic merit and he labelled it Fellini.

Bruce's presentation was fast and fun, full of anecdotes, including one about a man who he photographed holding an inflatable plane (below). Some time later it was about to be published and he needed to get a model release so he duly headed back to Coney Island where the picture was taken and managed to track the man down. As payment, he offered a print or $15, Gilden said: "The man took the money, so I guess he didn't think much of me as a photographer."

Coney island by Bruce Gilden

He also showed us plenty of recent work from Russia and the US where he is exploring the recent financial downturn. He was also commissioned by the festival to shoot picture of Derby.

then took the stage and presented a few pictured from her series Domesticated before moving onto . A twist on the American road trip and a metaphor for the isolated and lost American dream.

The work proved to be engaging and worked on so many levels, from the mystery of the back story, the feeling of isolation all from such a simple idea. There is also that underlying notion that we are not supposed to stop and help strangers, adding to the vulnerability in these pictures, for the photographer and those pictured.
then ran through the work of a number of African photographers and their lack of voice in the history of photography. He explored the way in which African culture has been captured, manipulated and commodified by the West, for both political and economic gain, leaving us with the thought that the portrayal of Africa as a "continent with an outstretched hand still has to be arrested".

Nate Larson and Marni Shindleman were on next. Their work explores the idea of, as Marni put it: "The narcissistic noise of millions of bloggers all talking about themselves."

Nate and Marni create visual representations of activity on social media, the most engaging, and at times funny, idea being to use the GPS location tags from Twitter messages to fix the location of a shoot.

So, by finding a message on Twitter they will go to the location it was sent from and take a picture, this is then mapped and merged with the Tweet. They do in fact travel via Twitter, and whilst in Derby have been doing just that. .

Photographer worked for Stern magazine for many years as their photographer in Asia, often spending months on one story, when as he put it, the budgets were pretty good.

Michael presented a number of projects including , a series shot in Hong Kong where he photographed the skyscrapers without any reference to scale, removing the skyline and street level, producing what look like graphic shapes, dense architecture that becomes something otherworldly.

But on moving to Paris he felt uncomfortable, and the strict privacy laws worried him so he set about exploring the city via Google Streetview, , searching for as he put it: "interesting narratives that leave something open to the imagination".

He has managed to find many compelling moments and feels that the value of Streetview will: "show itself down the road, a rare all encompassing view of a city, many cities... showing how people dressed and how people looked".

The last speaker was whose story has been well told on the web. Suffice to say it is a fascinating one and one that is by no means at an end. To keep it short, John purchased boxes of work by Vivian Maier, a total unknown, in the hope that she would have some pictures that might fit a book he was then working on about Chicago. She didn't.

However, what was in there turned out to be arguably some of the greatest street photography you will see. The story is a detailed or in this interview with the 91Èȱ¬ earlier this year so I won't re-tell it here.

But please do spend the time taking a look and check back from time to time as the work is still being unearthed. There are many more rolls to be developed and some colour ones that may or may not be salvageable.

One of the most compelling parts of the presentation was seeing the way Maier's work developed from black and white to colour and how it reflected the work of other photographers, especially Lisette Model.

This is more than just unearthing a series of stunning pictures, this requires great detection and the piecing together of a mystery, all credit to John for his tenacity and desire to do the right thing.

Ending full circle, Sophie Howarth offered John her praise for doing just that, pointing out that we can be thankful it was he who found the work, many others might have thrown it in the skip without a second glance.

A great way to end the conference.

The runs until 3 April and a comprehensive listing of events can be seen on their website. You can also follow them on Twitter .

Your pictures of the week: Floating

Phil Coomes | 14:19 UK time, Thursday, 3 March 2011

Comments (1)

Boat by Dennis Kasap

Each week we ask our readers to submit their photographs on a set theme, this week the subject was floating.

You can see the ones I have selected here.

Thanks to everyone who submitted their photos and congratulations to those whose were selected.

Your pictures

If you'd like to see one of your pictures on the 91Èȱ¬ website then take a look at the upcoming themes, grab your camera and start shooting.

Next week's theme is: Black and white

Interpret this in any way you see fit and send your pictures to us at yourpics@bbc.co.uk or upload them directly from your computer.

Please include the word "Black and white" in the subject line of your message.

The deadline is midnight GMT Tuesday 8 March 2011, and remember to add your name and a caption: who, what, where and when should be enough, though the more details you give, the better your chance of being selected.

We will publish a selection of your photos this time next week.

If you want to plan ahead, you can see a list of the upcoming themes here.

Files should be sent as JPEGs. They shouldn't be larger than 10Mb and ideally much smaller: around 1Mb is fine, or you can resize your pictures to 1,000 pixels across.

Please see our terms and conditions, but remember that the copyright remains with you. The pictures will only be used by the 91Èȱ¬ for the purposes of this project. Finally, when taking photos, please do not endanger yourself or others, take unnecessary risks or infringe any laws.

Five years in Afghanistan

Phil Coomes | 16:04 UK time, Tuesday, 1 March 2011

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Afghan and Canadian soldiers under fire

Canadian photographer Louie Palu has been photographing the conflict in Afghanistan for the past five years. During that time his work from the frontline has been widely published and has won him numerous awards, including Canadian photojournalist of the year. Now, however, his focus is shifting to editing the work into a comprehensive record of the country's latest conflict, and with that comes a chance to see his pictures of a quieter Afghanistan.

Louie made his first trip to Kandahar in 2006 while on assignment for The Globe and Mail, a national newspaper in Canada, and since then has undertaken five additional trips working independently between 2007 and 2010, in total spending approximately 18 months in the field.

The final year of his time in Afghanistan was funded by the who awarded Louie their annual photography grant to continue his work in Kandahar.

Here Louie talks about the project and offers his perspective on working in a conflict zone.

Louie Palu:

"When I first went to Kandahar in 2006 I was on an assignment covering Canadian troops on a combat mission. No matter how much I read about or researched it, nothing can ever replace witnessing and gathering information first hand.
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"This was the first war I covered and by the end of my first trip I was deeply affected by a suicide bombing and really had more questions than answers about what I had seen.
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"On my arrival back to my home in Canada I immediately knew that I wanted to cover Kandahar as a long-term project and not just on another news cycle. I planned to spend extended amounts of time in the field and it was clear to me that I had to decide what I was going to photograph, not an assignment desk back in the west. Nor did I want to be taking pictures for a writer who only spent two weeks in the field.
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"I returned in 2007 on my own to find that few media outlets other than a handful of Canadian journalists were covering Kandahar. The amount of fighting there in 2007 was high and it intensified throughout 2008.
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"I think what was interesting in those early years was the media coverage by each nation. The British media primarily covered UK troops in Helmand province, the US media US troops in the north east, mainly in the Korengal valley, and Kandahar was covered by Canadians. So the effect of this is that for those back home they tended to see the war through one region, for that reason I made a trip out to each of those other areas to understand them before continuing with my Kandahar project.
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"The majority of media coverage was from short tours and many journalists made limited trips into the field away from the main base at Kandahar Airfield. As a photographer you have no choice but to report up close and personal on the front lines. I can't blame my colleagues for not going out, it is brutally dangerous in the area's I worked in.
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"But I wanted to see what the fruit stands and markets were like, the daily rituals, in addition to the fighting and NATO troops, which are only a part of the story.
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"Over time I got to know Kandahar so well and was able to work without any other media around or the military. I worked with an Afghan colleague and mastered a local look and I had grown my beard very long, which opened many doors.
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"But I have of course worked extensively as an embed with US, UK and Canadian troops. Many of the villages I wanted to visit and photograph are in the most violent areas of the country and could only be seen if I was with the military. This did not impede me in anyway.
Ìý
"As a photographer there usually can be no sneaking around, as once the camera is out everyone knows that you don't belong. However this year when I started working in Kandahar City I began employing a super wide "toy" panoramic camera, which allowed me to photograph many scenes from the hip with my camera wrapped in a scarf or under my arm.
Ìý
"Cameras are uncommon in the villages as well. I needed to capture images in a manner that could be fast. Using the camera freely was too dangerous in many of the areas I wanted to visit and I had to also consider my fixers safety as well as my own if we were identified in public.
Ìý
"Many times when I worked away from the military I saw incredible scenes that could be great pictures, but I had to hold back due to safety. Any time I did something non-Afghan or was seen with my camera I would draw attention to myself and my Afghan colleague. Most Afghans in the small villages were interested in the function of what a camera could do as a machine and many did not know what a journalist, let alone a photographer was, nor did they care.
Ìý
"I'm now faced with a year or two of editing. My archive of images, video, writing and diaries is extensive and I want to get it all out there for people to see and learn from.
Ìý
"My previous project was on the mining communities in northern Canada and I spent 15 years on that but war is far too exhausting to remain out there for that long. I have now spent four or five years on and off, the odds were going to catch up with me and I think I used up all nine of my lives twice, I don't want to push it."

A slideshow of Louie's black and white panoramic pictures can be seen on the 91Èȱ¬ site.

Soldier in his bunk

Outside a mosque

Harvesting

Executed man

All photographs are copyright of .

You can see more of his work on his and further details of the Alexia Foundation can be found .

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