Elissa Bogos: Afghan Tea House Poets

"Let all the infidels become Muslims"

Here's a wonderful short (too short!) video made by Elissa Bogos in a tea house in Afghanistan on 11.11.11 for One Day on Earth.

I describe it as wonderful, not because of the unfortunate intolerance expressed by the old man towards the end of the clip, but because it's beautifully filmed, because of its ambience and because of the music. I wished the clip had been much longer, and that it tarried longer with the "poets" who recited traditional verses (and expressed their gripes), and that it lingered around the corners of the tea house.

Elissa Bogos is a freelance photojournalist and videojournalist based in Kabul, Afghanistan. She was the editor-in-chief of The Sakhalin Times, an English language weekly in the Russian Far East.

Her photographs and videos were published in The New York Times, BBC, The Guardian, EurasiaNet, The Huffington Post, The Montreal Gazette, Reuters, New York Daily News and in other media. In Afghanistan, she freelances for a variety of NGOs and private companies and has worked with the Associated Press, Tolo TV and Channel One TV.

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Darkness Visible Afghanistan

I occasionally post on projects that I believe ought to be supported by the public at large, and one such project is Darkness Visible Afghanistan by photojournalist Seamus Murphy, whose aim is to raise $10,000 to create a documentary movie based on his many years traveling and photographing in Afghanistan.

"My mission is to promote an understanding of this mysterious, complex and fascinating culture."

Seamus Murphy has been photographing Afghanistan since 1994. He published a book, also titled A Darkness Visible: Afghanistan, as a chronicle of the country and its people over those tumultuous years. For two decades, Seamus has also worked extensively in the Middle East, Asia, Africa, Latin America and most recently, America. He has won 7 World Press Photo Awards and a World Understanding Award (POYi) for his work from Afghanistan.

Of the book Darkness Visible, Afghanistan, Philip Jones Griffiths wrote that "Seamus Murphy was a poet with a camera who captured the essence of life in one of the oldest countries in the world. It is a humanistic view of a misunderstood country and a rare glimpse into the nation's soul."

Many of the documentaries on Afghanistan that I've read about are focused on war, on the Taliban and its excesses...so I'm happy to dedicate a post to Mr Murphy's project...a documentary that hopes to promote its culture, its history and its people.

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Simon Norfolk: Afghanistan

"This current war is tragedy, is an imperial game, is a folly...

Following the welcome demise of Bin Laden, I thought it timely to feature photographs or a multimedia essay on Afghanistan. I didn't want it to be of the conflict, or some other cliches, so this short movie on Simon Norfolk's Afghanistan project seemed much more appropriate.

In October 2010, Simon Norfolk began a photo series of Afghanistan, influenced by the work of 19th-century British photographer John Burke. Norfolks photographs of "modern" Kabul is presented along with Burkes original portfolios.

Norfolk is critical of the Afghanistan war and of journalists who report from the safety of armored compounds, and especially of photographers who travel around Kabul with a security details. He was told on his arrival that he couldn't photograph freely in Kabul except with bodyguards, but he did.

The accompanying audio is really wonderful. The Afghan music and songs are hauntingly beautiful, and the call to prayer (towards the end of the piece) accompanied by pictures of Kabul at dawn may give you goosebumps.

A welcome change from the depressingly unimaginative photojournalism work we see out of Afghanistan.

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Matthieu Paley: Prisoners of the Himalaya

I've featured the extraordinary work of Matthieu Paley a number of times on The Travel Photographer blog already, and while my favorite is still his work on a Sufi festival honoring Hazrat Lal Shahbaz Qalandar in Pakistan, it's also this recent ongoing film project "Prisoners of the Himalaya" that is equally remarkable. It's a documentary film aimed at capturing the life of the last Kyrgyz nomads of Afghanistan.

Matthieu returned to the Afghanistan's Pamir mountains to cooperate in the production of his first movie, along with Louis Meunier (as Director of the project) and others.

When you finish viewing the above trailer, drop by the movie's main website The Roof of the World which gives you more background to the project, and lists the team members that were involved in its making. Also spend time exploring Matthieu's website, and his unique galleries. You certainly will not regret it.

Currently based in Istanbul, Matthieu photographs explore themes of remoteness and isolation in geopolitically sensitive areas, and his work has appeared in Go, National Geographic Adventure, Newsweek, Time, Outside, Discovery, Vanity Fair and Figaro among others. He has collaborated on numerous books. Since 1999, he travels extensively throughout the mountainous regions of Pakistan, Afghanistan, Northern India and Central Asia.

His photographs have been exhibited in galleries in New York, Hong Kong and Munich, and his multimedia presentations were projected at festival such as the Perpignan Photojournalism festival, the Banff Mountain Festival, and MountainFilm in Colorado. He has lectured at the Royal Geographical Society and the Asia Society in Hong Kong, at the Grand Bivouac Festival in France as well as at the Vancouver Mountain Festival.

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POV: Omid And Why We Will Never Win

Photo  Michael Kamber- Courtesy The New York Times

Michael Kamber is a well known New York City-based freelance writer and photographer for The New York Times. He worked in West Africa, the Middle East and the Caribbean, covering conflicts in the Ivory Coast, Congo, Liberia, Haiti, Afghanistan and Iraq. Apart from frequently-published photo essays in The New York Times, he also authors a journal of his Afghanistan experiences. Its entries began in December 2010 and appear on the newspaper's LENS blog.

His latest entry -along with over a dozen of his excellent photographs- is on yesterday's LENS blog under the title of Deeper Into Fathomless Afghanistan, and reading Michael's journal entries, I was compelled to leave a comment on the blog.

Here's one of the entries in Michael's journal that prompted my comment:

He writes:

Beside me, an Afghan, clearly an interpreter, introduces himself in accented English as Bob.

Whats your real name? I ask him.

My names Omid. But on the first day at this job, the sergeant asked me my terp name. I told him: I dont have a terp name. My name is Omid.

Omid is too complicated for us to remember, he told me. From now on, your name is Bob.

My comment on the LENS blog:

"It's too bad that the guy who uttered this insulting and ignorant nonsense to the interpreter hasn't realized that he's insulting Omid by his stupidity and arrogance. What if the roles were reversed, and the Afghan was to tell a Robert that this name didn't roll off his tongue easily, and he'd be called Mohammed from now on? How would Robert feel?

Omid's is entitled to be proud of his name...it probably has a long lineage...and since we are occupying his country, we ought to show immense respect to those who risk their lives for a few dollars a day and work with the US army. Learning how to pronounce their names is the civil and respectful thing to do. Omid is not a stray pet adopted by the sergeant.

My hat's off to Mr Kamber for quoting this and other statements in this piece...i'm sure he's as dismayed as I am by them."

Reading the other entries added to my long standing pessimism; we will never win. When we are unable (or unwilling) to respect people who help us by risking their lives, we will gain no allies unless we abet their corruption. They, in turn, view our presence in Afghanistan as a cow to be milked, and eventually will stab us in the back.

Another thing. Just look at the expression of the Afghan in Kamber's photograph above this post. He's holding a copy of a Chicken Soup For The Soul given to him by a well-meaning US charity. Who dreamed of sending a collection of "inspirational" platitudes (and in English) to Afghanistan? I obviously can't speak for this Afghan, but I bet he looked at the book with amusement, and eventually guffawed with his friends at the naivete of the Americans.

Chicken Soup For The Soul to change Afghanistan? The mind boggles.

Addendum:  I've received a few emailed comments on this post.

One from a frequent reader of this blog who suggests that my post came across as anti-military. That's incorrect. I am anti-war...especially wars that are unnecessary like the Iraq war, and those wars that devolved into aimless havoc and propping an unsupportable government, like the war in Afghanistan...and the least we -and our military- can do is respect those Afghans or Iraqis who work for us, at the risk of their lives.  I'm hopeful the individuals depicted in Mr Kamber's journal are the exception.

The other email comments from a handful of readers agreed with my point of view.

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VII: Franco Pagetti: Afghanistan's Agony

The exciting VII The Magazine features Afghanistan' Agony, the multimedia work of Franco Pagetti which combines movies, stills in both color and black & white.

Although I'm getting tired of war stories and its imagery, Pagetti manages to infuse this work with his own personality as when he says (I paraphrase) in his Italian accent"...the only thing a photographer really wants...more than life, more than sex...more than anything...is to be invisible." Brilliant!

This multimedia piece provides a very realistic of what Afghanistan must be...it merges color stills with black & white images (which, in my view, are the best of the lot), aerial shots and movie footage.

Overall a very well done production, but if I had to point out a niggling issue, I'd say the decision to include the audio introduction of a muezzin's call to prayers is a lazy one. The Taliban, the insurgents, and the rest of the "bad guys" are fighting us because of a bunch of reasons. Take your pick: because we're occupying their country, because we're defending an unrepresentative corrupt regime, because we're getting in the way of various longstanding tribal and/or ethnic power struggles, and because we're tying to eradicate poppy cultivation...subsistence to many Afghan farmers.

It would have been smarter to find another audio clip to give the project the required sense of the place...perhaps a Pashto song, perhaps some ambient audio of Kabul's market chatter. Some readers might see this as nit-picking, but it's not. Avoiding religious cliches is a much more intelligent production effort and in this case, keeps it honest and neutral as it should be.

Franco Pagetti has covered the conflict in Iraq since January 2003. He has been a news photographer since 1994, and most of his recent work has involved conflict situations. His non-conflict news photography has included assignments in India, the Vatican City, Cambodia, Laos, Indonesia, Saudi Arabia and his native Italy. In his former life, he was a fashion photographer for Italian VOGUE and taught chemistry at Milanos University .

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POV: FP Magazine: Talibanistan

Foreign Policy Magazine has featured an interesting photo/graphical essay on the war in Afghanistan. It's titled Inside Talibanistan, and effectively makes the point that our "enemies" are not a monolithic entity, but a combination of disjointed groups with different agendas and ideologies.

According to our media and politicians, who have the talent of diminishing everything down to simplistic terms in the hope of further dumbing down its viewers, listeners, constituents and readers, we are fighting against the "Taliban"...the problem is that the Taliban (as defined by our talking heads, politicians and their cronies) doesn't exist as such. 

In FP's feature, I've counted 10 groups ranging from Al-Qaeda to some group called Haqqani Network, and added up the estimated members of these groups. Most of them are obviously estimates, but a total of 100,000 seems to be a reasonable one. Possibly included in these numbers are insurgents fighting against an occupying foreign force propping up a deeply unpopular corrupt government....and others who want nothing but power.

To put this in perspective, here's Cost of War which runs a counter for how much the wars in Iraq and Afghanistan are costing us. It's an estimated $1.1 trillion to date.

We would have been so much better off by creating jobs, building modern infrastructure, state of the art trains and airports, new schools, invest in medical research, in alternative energy sources...and taking on China's growing economic power. My politics are diametrically opposed to the Republican Party and its legitimate and illegitimate spawns, but this ad by one of its affiliated group did strike a chord with me....yes, it's obviously over the top but there's still a kernel of truth in it. We are losing ground very quickly to China.  (The video is via FP).

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VII's Seamus Murphy: Phoenix Afghanistan

Photography is part history, part magic. -Seamus Murphy

Here's a multimedia piece published by VII The Magazine with stills and audio by Seamus Murphy titled Phoenix Afghanistan.

Seamus began photographing in Afghanistan in 1994, and for two decades, he has worked extensively in the Middle East, Asia, Africa, Latin America and most recently America on an ongoing project during what he calls a nervous and auspicious time. His accolades include six World Press Photo Awards.

Phoenix Afghanistan compares photographs of life in Kabul from 1994 to photographs in 2010. You'll notice that the 1994 photographs are in black & white, whilst those of 2010 are in color, thereby enhancing the contrast between the two eras.

I wish I hadn't found found the narrative by Seamus to be so stilted...he was probably reading off a sheet of paper rather than having a conversation or reminiscing aloud. Same like good photography, compelling narration is a difficult skill to learn, and requires training.

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TIME: Soldiers' Tattoos In Afghanistan

Photo  Mauricio Lima /AFP/Getty Images-All Rights Reserved
It's really time to leave Afghanistan when magazines start publishing inconsequential and silly photo essays as the one just featured by TIME's website. It's titled Soldiers' Tattoos in Marjah, and is by Mauricio Lima.

The photo essay shows about 10 images of US soldiers showing off tattoos of various illustrations, religious messages and excerpts from the Bible amongst others. The one above is of Lance Corporal Daniel Weber, and the caption reads as follows: "The Arabic inscription on Weber's bicep translates to "unfortunate soldier."

No, it doesn't. It reads "Al Nafs Al Mahzouza", which means "the fortunate soul" in English. So quite different in its intent. If Weber wanted the tattoo to read "unfortunate soldier", he may want to go back to the parlor that did this, and ask for his money back. Although Arabic is not one of Afghanistan's languages, the script is nicely done.

This captioning error is made either by some clueless soul (a summer intern?) at TIME Magazine, or through careless translation in Marjah. In this particular case, it's an irrelevant mistake....but I shudder to think how much important information is misunderstood or even lost through careless translation by American or Afghanistan individuals.

Why did I bother to mention it here? Well, a photo essay about soldiers' tattoos appears in a national and international magazine, and we still wonder why photojournalism is where it is today? Aren't there more interesting stories in Marjah?

Update: My thanks to Ciara Leeming who just messaged me saying that the caption was changed a few moments ago to this: The Arabic inscription on Weber's bicep translates to "lucky self."

It's still inaccurate, but much closer than the original. Do the TIME staffers read my blog?

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Matthieu Paley: The Pamir Mountains

Here's a 6 minutes trailer from a multimedia documentary "Forgotten on the Roof of the World" by photographer Matthieu Paley and anthropologist Ted Callahan that tells the story of a little-known tribe of Kirghiz nomads in one of earths most remote regions - Afghanistans High Pamirs mountains.

The full documentary will be screened by Matthieu at the Royal Geographical Society (Hong Kong) on Tuesday 22nd of June.

Matthieu Paley is an Asia-based (currently based in Hong Kong) photographer specializing in editorial and documentary photography. His work appeared in Geo, National Geographic, Newsweek, Time, Outside, Discovery and various others.

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NYT's LENS: A.K. Kimoto

Photo  A.K. Kimoto-All Rights Reserved
The New York Times' LENS blog features a poignant photo essay on opium addiction in Afghanistan by the late A.K. Kimoto. The photo essay is in black & white; dark and brooding as befits such a subject matter. See it...I highly recommend it, along with its accompanying article.

Kimoto was a 32-year-old Japanese photographer based in Bangkok, who died in March while traveling to Australia.

He spent years photographing families in the remote northeastern mountains of Afghanistan, controlled by the Taliban. He roamed remote settlements in Badakhshan, Afghanistan, to find out why so many of the inhabitants (even the young) had become addicted to opium. As Emily Anne Epstein explains in the piece: "The poverty in this region is so harsh that parents blow opium smoke into their childrens noses to soothe the pangs of hunger."

A.K. Kimoto wrote:

I offer to transport the mother and child to a clinic. One of the elders cuts me off before I can finish my thought. He smiles gently as he tells me that the child would never survive such a journey in the cold rain, and anyway, this way of life and death have been repeated for centuries in these mountains.

Coincidentally, the New York Times reported yesterday that the United States has discovered nearly "$1 trillion" in untapped mineral deposits in Afghanistan, which translates into approximately $35,000 for every inhabitant of the country. Naturally, massive investments will be required to mine these deposits, but in any event there's little chance that the poor of Badakhshan will see their lives improve from this eventual wealth. Cronyism, and venal corruption are endemic to the region...and only those with the power and connections will reap the benefits.

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Frontline: Dancing Boys of Afghanistan

On Tuesday night, I watched the harrowing Frontline: The Dancing Boys of Afghanistan which exposed an ancient practice know as as "bacha bazi" which, literally translated, means 'boys' play'.

This illegal practice exploits orphans and street boys, and has been revived by powerful warlords, businessmen and military commanders in Afghanistan. These men dress the boys in women's clothes, who are trained to sing and dance for their enjoyment. The dancing boys are also used sexually by these men.

This is outstanding journalism by Afghan journalist Najibullah Quraishi, and my hat's off to PBS and to the Frontline producers for doing such an admirable job. I was particularly impressed by Quraishi and his producers' attempts to arrange the rescue of one of the dancing boys profiled in the film, an 11-year-old boy bought from an impoverished rural family.

In contrast with other productions (see my post of yesterday, for instance) the 11-year boy's face was blurred throughout the film to preserve his anonymity and self-respect.

Homosexuality is forbidden in Islam, and yet pederasty and boy concubinage has had a long history in the Persian cultural world which includes much of Afghanistan.

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Julie Jacobson: Afghans' Opium Addiction

Photo  Julie Jacobson/AP-All Rights Reserved
It is estimated that Afghanistan supplies nearly all the world's opium, the raw ingredient used to make heroin, and while most of the deadly crop is exported, enough remains in it to feed a cycle of addiction among its population. It's also estimated there are at least 200,000 opium and heroin addicts in Afghanistan.

It's a fact of life that many rural areas in Afghanistan have no access to basic medicine such as aspirin, so whenever a villager needs a painkiller for a minor ailment, they are given opium instead.

Julie Jacobson is an Associated Press Writer and Photojournalist, who produced a video on opium addiction amongst a family in Afghanistan. In many of Afghanistan's remote mountain villages, opium addiction has infected toddlers to old men.

Julie has also written an interesting article published by Nieman Reports titled Crossing The Line: From Still To Video, which includes these four main guidelines:

"Some moments should be captured in photographs only. With those, be true to your photography and dont worry about video."

"Remain as true to your photography while capturing video imagery. Make good pictures in your video".

"Some moments and events clearly call for video. But it isnt possible to be everywhere and to get everything, so dont try".

"When shooting stills and video, anticipate moments carefully. If theyre not there or time doesnt permit, then make sure to be complete in shooting only one or both will suffer."

A worthwhile read to photographers and photojournalists facing this transition.

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Julie Jacobson: Afghans' Opium Addiction

Photo  Julie Jacobson/AP-All Rights Reserved
It is estimated that Afghanistan supplies nearly all the world's opium, the raw ingredient used to make heroin, and while most of the deadly crop is exported, enough remains in it to feed a cycle of addiction among its population. It's also estimated there are at least 200,000 opium and heroin addicts in Afghanistan.

It's a fact of life that many rural areas in Afghanistan have no access to basic medicine such as aspirin, so whenever a villager needs a painkiller for a minor ailment, they are given opium instead.

Julie Jacobson is an Associated Press Writer and Photojournalist, who produced a video on opium addiction amongst a family in Afghanistan. In many of Afghanistan's remote mountain villages, opium addiction has infected toddlers to old men.

Julie has also written an interesting article published by Nieman Reports titled Crossing The Line: From Still To Video, which includes these four main guidelines:

"Some moments should be captured in photographs only. With those, be true to your photography and dont worry about video."

"Remain as true to your photography while capturing video imagery. Make good pictures in your video".

"Some moments and events clearly call for video. But it isnt possible to be everywhere and to get everything, so dont try".

"When shooting stills and video, anticipate moments carefully. If theyre not there or time doesnt permit, then make sure to be complete in shooting only one or both will suffer."

A worthwhile read to photographers and photojournalists facing this transition.

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Ashley Gilbertson: Bedrooms of the Fallen

The New York Times Sunday Magazine has featured The Shrine Down The Hall: Bedrooms of America's Young War Dead, a powerful photo essay in slideshow format by photographer Ashey Gilbertson (VII Network), which looks at some of the empty bedrooms of the over 5000 U.S. military personnel killed in the wars of Iraq and Afghanistan.

Dexter Filkins starts his accompanying article with the words "Just kids". The ages of these military fallen range from 19 to 25...indeed, just kids.

George McGovern in 1969 speaking about Vietnam said:

"I'm fed up to the ears with old men dreaming up wars for young men to die in".

Now of course, it's also women who die in combat, as indeed Karina Lau did. Her bedroom still has a stuffed teddy bear and floppy-eared rabbit on top of her floral bedspread. She was killed seven years ago when insurgents shot down her helicopter in Falluja, Iraq. She was 20 years old.

In my view, this slideshow should be mandatory viewing by every politician who supported our senseless wars in Iraq and Afghanistan.

I just read that George W. Bush is visiting Haiti. How about visiting these bedrooms first?

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Ashley Gilbertson: Bedrooms of the Fallen

The New York Times Sunday Magazine has featured The Shrine Down The Hall: Bedrooms of America's Young War Dead, a powerful photo essay in slideshow format by photographer Ashey Gilbertson (VII Network), which looks at some of the empty bedrooms of the over 5000 U.S. military personnel killed in the wars of Iraq and Afghanistan.

Dexter Filkins starts his accompanying article with the words "Just kids". The ages of these military fallen range from 19 to 25...indeed, just kids.

George McGovern in 1969 speaking about Vietnam said:

"I'm fed up to the ears with old men dreaming up wars for young men to die in".

Now of course, it's also women who die in combat, as indeed Karina Lau did. Her bedroom still has a stuffed teddy bear and floppy-eared rabbit on top of her floral bedspread. She was killed seven years ago when insurgents shot down her helicopter in Falluja, Iraq. She was 20 years old.

In my view, this slideshow should be mandatory viewing by every politician who supported our senseless wars in Iraq and Afghanistan.

I just read that George W. Bush is visiting Haiti. How about visiting these bedrooms first?

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Massimo Berutti: Afghan Vaccination

Photo  Massimo Berutti-All Rights Reserved
The Wall Street Photo Journal has featured a photojournalistic gem on its Photo Journal titled Vaccination Diplomacy of black & white photographs by Massimo Berutti.

In my view, it's a singular gem because it's not an Afghanistan reportage of foaming-at-the-mouth wild-eyed hirsute mujahideen aka jihadists aka Taliban (or whatever the mainstream media's stereotype flavor of the day is), isn't about a bloody military offensive or counter-offensive, and isn't about showing dead and maimed people we don't identify with and frequently demonize. No, it's about how the Taliban, Karzai's central government (corrupt as it it may be), Unicef and the World Health Organization are partnering in trying to eradicate polio through a wide ranging campaign.

This uneasy arrangement recognizes the Taliban stranglehold over large areas of Afghanistan, and the anti-polio campaigners are only welcomed in the villages if and when they show a letter signed by Mullah Mohammad Omar, the leader of the Taliban, which requests the people to cooperate. It seems that Mullah Omar promptly issues a new letter for every vaccination round, and the World Health Organization staff print thousands of copies, distributing them to the anti-polio volunteers.

So the power of reason and dialogue works, and the trite cliche of winning hearts and minds is effective after all!

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NYT/Adam Ferguson: The Hazaras

Photo  Adam Ferguson /NYTimes-All Rights Reserved
Today's The New York Times features a photo essay of Adam Ferguson's photographs titled The Resurgence of the Hazaras. Those who have seen the movie The Kite Runner (and/or read the book) will remember that the Hazara (Shi'a) minority of Afghanistan were historically dominated and discriminated against by the Pashtun (Sunni) majority. It's the same old and sad story of religious discrimination and divisiveness that has (and continues to) plague our world.

However, it appears that after the US invasion in 2001, the Hazaras have swiftly remade their circumstances, and in some provinces are overtaking the Pashtuns in many areas. The resurgence is largely built on education, as the Hazaras emphasize educating girls as much as boys, and adopt a stronger belief in gender equality.

I chose the above photograph because it shows a Hazara classroom where a poster of Immanuel Kant, the 18th century influential German philosopher, is displayed on its wall. Among other thoughts, Kant criticized the practices of Christianity and its rituals, as well as its hierarchical church order. I wonder what these young students know of him, and what is taught about his philosophies.

Adam Ferguson is an Australian photographer who trained with Gary Knight of VII, and is now based in Delhi. He has been recognized as a PDN's 30 Emerging Photographers To Watch 2009.

Previous posts on Adam Ferguson's work appeared on TTP here.

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The Globe & Mail: Behind The Veil

Canada's The Globe and Mail provides a rare insight into the lives of Afghan women through a week-long multi-media series, Behind the Veil.

In these series, 10 representative Afghan women in the Kandahar area speak about key issues in their lives. Aided by an interpreter, specific questions were asked from each of the women. The Globe & Mail is well-known for its edgy multimedia, having featured equally interesting and extremely well produced multimedia pieces before.

I haven't got the time to view this except for a few minutes, but I intend to return to it once I'm back from Bhutan.

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WIRED: Kanepari & Ferguson

Photos  Adam Ferguson (L)/Zackary Canepari (R)-Courtesy WIRED

"The photojournalist has long been known as the lone wolf, traveling solo to the far-flung corners of the world to document experiences few are capable of seeing. By function, its often a solitary quest, lonely and alienating; rarely as romantic as the photographs make it appear."

What a great start for the Raw File article written for WIRED by Bryan Derballa!

The article deals with the friendship and healthy competition between Adam Ferguson and Zackary Canepari, two immensely gifted photojournalists working in Pakistan, India and Afghanistan. It appears that they helped each other, and edited one anothers work, always hoping to improve its quality.

WIRED's Raw File's article is in essence two interviews: Ferguson giving his views on Canepari's work, and vice-versa. Quite an interesting read...naturally, they pat each other on the back, but that's what friends do, especially those whose camaraderie withstood difficult circumstances.

Both photojournalists are content to be doing what they want to do at this time. Canepari is back in California pursuing personal projects, while Ferguson is still shooting in Afghanistan.

Zackary Canepari was featured on TTP a few times, and Adam Ferguson's work in Orissa was featured here.

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