In an age when video journalism is increasinly paramount and printing is arguably no longer necessary, how do you feel the still image is still pertinent to documentary or news work?
Video journalism serves its purpose and is growing as it is easier to create and distribute, but photos haven’t lost their power in this new environment. A single strong image can be viewed and summarize a situation in seconds. In our fast paced world there will always be a place for the still frame.
Do you think documentary and art photography are important for the development of photo journalism? Is there enough of that going on in Egypt (with the Cairo Image Collective, for example) to create a photographic culture?
As a photojournalist I often steal style from art and commercial photography. We must be aware of their modern visual language in our work to stay relevant and interesting. But even though the internet has broken down barriers it can be impossible to find many documentary or art photo books in Cairo. While in the west you can pick up a thick fashion magazine at almost any store and get inspired by the commercial portraiture it takes conscious effort for photographers to suss out inspiration in Egypt.
Cairo, 15 January 1850
[…] Here we are then, in Egypt, the land of the Pharoahs, the land of the Ptolemies, the kingdom of Cleopatra (as they say in the grand style). Here we are, and here we abide, with our heads shaven as clean as your knee, smoking long pipes and drinking our coffee lying on divans. What can I say? How can I write to you about it? I have scarcely recovered from my initial astonishment.
Once, long ago, my mother fled a genocide (the Al Anfal campaign). She fled on foot over massive Kurdish mountains carrying me on her back and my little brother in her stomach.
My grandparents, Kurdish villagers/farmers, were faced with brutal oppression. They were forced into the Kurdish struggle, taking up arms to resist the annihilation of their identity. For 50 years they lived with war and the struggle of the Kurds. My grandfather Selman Mahmod Bamernî became a peshmerga at an early age. He was involved in many bloody battles and lost many comrades in the process. He was seriously injured twice, and twice placed in Iraqi prisons. He was often separated from his family, once for over five years, so long that, when he came back, his youngest children did not recognize their own father. He has devoted his life to the Kurdish struggle. A humble person with honor, compassion and an absolutely wonderful sense of humor. He has made many laugh heartily in his day.
“How can you stick at a game when the rules keep on changing? I shall call myself Alice and play croquet with the flamingos. In Wonderland everyone cheats and love is Wonderful, isn’t it?”
— Jeanette Winterson