Best photos of the year 2013
Reuters Full Focus
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.
“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.
Click here for a related blog
"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.”
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.
Click here for a related blog
"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
Click here for a related gallery
“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
Click here for a related gallery
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.
Click here for a related blog
“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.
Click here for a related blog
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.
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.”
“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.
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.”
“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 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.
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.
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 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 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 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.
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"
“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
XIAO, 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:
0 comments:
إرسال تعليق