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Under The Shield: Inside Chornobyl’s New Safe Confinement RFE/RL’s Ukrainian Service Andriy Dubchak It has been two years since a giant steel shelter was slid into position over Chornobyl’s crumbling radioactive ruins. RFE/RL’s Ukrainian Service takes a rare look at operations inside of the containment. June 18, 2019

Posted by bohdan.warchomij in : Metaphor Images, Metaphor Online , comments closed

Under The Shield: Inside Chornobyl’s New Safe Confinement:

With HBO releasing a new and dramatic documentary on the events involving the world’s biggest nuclear disaster these photos by Andriy Dubchak are a sobering reminder of the reality of nuclear exclusion.

Chornobyl has been spelled using Ukrainian language spelling rather than Russian language spelling.

Thanks to Radio Free Europe for this post. This two year old steel barrier made by a French company is the latest attempt to contain the nuclear disaster that still impacts Ukraine.


Who Is Afraid of Shahidul Alam? August 24, 2018

Posted by bohdan.warchomij in : Metaphor Images, Metaphor Online, New York Times , comments closed

Photo of Protest by Monirul Alum a contributor to Metaphor Images Agency

Shahidul Alam is a Bangladeshi photographer and writer with a special interest in education and new media. He set up the award winning Drik Picture Library, the Bangladesh Photographic Institute, Pathshala — South Asian Institute of Photography the DrikNews photo agency and Banglarights, the Bangladesh Human rights portal. His work has been shown in leading museums including The Museum of Modern Art (MoMa) in New York, the Tehran Museum of Contemporary Arts, the Royal Albert Hall in London, Le Centre Georges Pompidou in Paris.

Photo Shahidul Alam DRIK Majority World


The current question is. Who is afraid  of Shahidul Alam, a respected photographer and educator in his own country.

On Aug. 5, Shahidul Alam, the acclaimed Bangladeshi photojournalist, was dragged from his home by around 30 plainclothes policemen and taken into custody. The policemen forced their way into Mr. Alam’s apartment building at 10:30 p.m., snatched the cellphones of the building’s security guards and destroyed its video surveillance cameras.

Yet someone managed to record the moment via a cellphone video. Mr. Alam can be heard screaming. “I am innocent,” he says, repeatedly. And, “I want a lawyer.” It was horrifying to watch Mr. Alam, whom I know as an amiable, self-effacing, brilliant man, scream in the video. Thus does terror enter our daily lives these days.

Mr. Alam’s work over the decades has captured some of the most important political and ecological questions in Bangladesh and the region around it. A friend remembers waking up to the tragedy of the Rohingya people from Myanmar after seeing an exhibition of Mr. Alam’s photographs in New York. I first encountered his work after a cyclone in Bangladesh in 1991. I was involved in the relief effort and visited the affected area after the storm. Mr. Alam’s photographs captured the reality of my experience. Befittingly, in 2014, Mr. Alam was awarded the Shilpakala Padak, one of the highest honors for artists in the country, by the president of Bangladesh.

The trigger for Mr. Alam’s arrest was an interview he did with Al Jazeera, in which he spoke critically of the brutal repression of student demonstrations in Dhaka by the government of Prime Minister Sheikh Hasina. He also spoke about official corruption, years of misrule, the suppression of dissent and extrajudicial killings and disappearances under the watch of Ms. Hasina’s governing Awami League. Paradoxically, the imprisonment of Mr. Alam only proved his point.

Photo Shahidul Alam DRIK

After a speeding bus killed two students in Dhaka in late July, thousands of students — including schoolchildren — protested in the streets. As the protests intensified into a general outcry against the government, the government responded by unleashing mobs of the Awami League party faithful to attack the student protesters. Researchers from Human Rights Watch spoke to several eyewitnesses who described how the protesters were attacked by members of Bangladesh Chhatra League and Awami Jubo League, the student wing and the youth wing of the Awami League.

Mr. Alam was among the journalists who witnessed the Awami League faithful attacking student protesters while the police stood by. He photographed the protests and the repression.

The celebrated photojournalist wasn’t the only person arrested. Numerous student protesters were also arrested and were tortured in police custody.

General elections in Bangladesh are expected between October and December. It is the obligation of artists and intellectuals to be constructively critical of their country of citizenship. Ms. Hasina’s government must be deeply afraid of a credible, respected person like Mr. Alam, whose criticisms are taken seriously, both nationally and globally. His arrest and imprisonment is an attempt to silence critical voices.

Ms. Hasina’s government is not stopping with his arrest. It is trying to find ways of defaming him and tarnishing his reputation. Mr. Alam’s partner, Rahnuma Ahmed, an anthropologist, visited him in prison and was startled to realize their meeting was being secretly videotaped by the prison authorities.

“Friends in the electronic media tell me they have been instructed by the agencies to produce ‘dirty stories’ on Shahidul, there is even talk of constructing him as a pedophile — pathetic given his love for children known to everyone,” Ms. Ahmed said in an email.

This is not surprising, given the bleak drift toward authoritarianism in Bangladesh in the past few years. As reported by Human Rights Watch and numerous journalists, hundreds of Bangladeshis have been picked up by law enforcement agencies and have disappeared for weeks or months at a time. The whereabouts of many of them remains unknown. In the name of a war on drugs, hundreds have been killed by extrajudicial means.

Two days after Mr. Alam’s arrest, he was produced in a Dhaka court and charged under Section 57 of Bangladesh’s infamous Information and Communication Technology Act, for online speech that “hurts the image of the nation.” He was barefoot and limping when he was dragged into court. Witnesses said Mr. Alam showed clear signs of mental and physical abuse. He shouted: “I have been assaulted. My bloodstained shirt was washed and put back on me. I was threatened that if I didn’t testify as they directed, I would be further … ” Then his voice trailed off and the rest of what he said was unclear.

The court allowed the police to keep Mr. Alam in custody for a week and also allowed brief visits to a hospital for medical treatment. On Aug. 12, Mr. Alam was produced in court again and sent to jail until the investigations into charges against him are completed. If convicted, he faces up to 14 years in prison.


Making an Impact: Georgina Goodwin Metaphor Images May 14, 2018

Posted by bohdan.warchomij in : Georgina Goodwin Metaphor Images, Head On, Metaphor Images, Metaphor Online , comments closed

Photo Georgina Goodwin

Congratulations Georgina Goodwin on your important contribution to the Head On Photo Festival with a powerful image that is a contributor to the peace process!

Georgina Goodwin Photojournalist is honoured to have her image ”Broken” of 14 year old South Sudan refugee twins Jacob and Simon exhibited as a semi-finalist in this years @HeadOnPhotoFest, Australia’s leading annual photo festival. The exhibition is being held 5-20 May Paddington Reservoir Gardens, #Sydney.
#HeadOn over if you’re in the neighborhood!
For more info and bookings go to https://www.headon.com.au/


Image caption:
”Broken” : South Sudan refugee twins Jacob and Simon, 14 at the new arrivals centre in Kenya’s Kakuma Refugee Settlement on the Kenya-South Sudan border. They explained how they had walked barefoot for 21 days to reach Kenya with their mother Adut Akot Ker, 44 and 5 siblings, showing swollen and cut feet. With tears rolling down their cheeks, they recounted how last December armed men shot and killed their elder brother and father as the family escaped fighting in South Sudan’s capital, Juba: “There was a lot of shooting and shouting, they told us to go on ahead… They went back to try and stop them chasing us, but the men shot and killed them,” Simon recounted.
They are traumatised.
I photographed the twins just after they met UN High Commissioner for Refugees Filippo Grandi who spent this week in #Uganda and #Kenya to witness at first hand the consequences of 5 years of conflict in the country. As of October 31, 2017 Kenya had 111, 892 refugees from South Sudan. By ‪December 31, 2018‬ Kenya is projected to have 140,000 refugees from South Sudan. Grandi appealed to South Sudan’s leaders to agree to peace.
Image taken on assignment for @refugees.
#headon18 #photofestival #documentary #portrait#portraitphotography #photojournalism@canon_photos @canoncnafrica #mycanon#lenscultureportraits #ReportageSpotlight#hildrenofinstagram #humanrights#everydayrefugees @everydayrefugees #refugees

Pride in Perth Photos Bohdan Warchomij November 26, 2017

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Photo Bohdan Warchomij

This is the 26th year PrideWA has run the parade and it was the biggest with a record number of floats. Included in the 84 floats are some first time paraders with a few of Perth’s corporate giants participating.

Qantas and Shell and Synergy made their PrideFest debut with floats this year, as well as the new addition of the Pinnacle Foundation (a mental health service for the LGBTIQ community).

There was a sense of achievement for participants and a sense of engagement and a real sense of acceptance with the YES Vote going through in the week before the parade.

Here are some of the photos from the event.

Kimberley Echo Tour Photos Bohdan Warchomij September 26, 2017

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The Kimberley provides the backdrop to a musical experience par excellence. Sharing the tour with the people of the Dampier Peninsular and the East Kimberley is the Narli ensemble  featuring Didgeridoo player and poet Mark Atkins, Bart Willoughby from No Fixed Address, Broom’s Stephen Pigram, and Erkki Veltheim (violin), Stephen Magnusson (guitar) and Tristen Parr (cello). 

The 2017 culmination of Tura’s Kimberley cross cultural collaborative Touring Program has been announced for the Perth Concert Hall. A new combination of artists visiting new places and creating a new program with new collaborations will bring a rich taste of the Kimberley to Perth audiences.

This year’s Echo Tour brings together three of Australia’s leading indigenous performers, Bart Willoughby, Mark Atkins and Stephen Pigram with an ensemble of some of Australia’s finest instrumentalists including Erkki Veltheim (violin), Stephen Magnusson (guitar) and Tristen Parr (cello) creating a vibrant and uniquely Australian sound. Enjoy the final celebratory concert in the series at the Perth Concert Hall on the 28th of September.

The Tour, which collaborates with artists on the way, brings Gabriel Nodea from Warmun, John Barnett from Bidyadanga and Naomi Pigram from Broome to re-join the Tour in Perth for the finale celebration.

A Day in the Life of Wyndham Photos Bohdan Warchomij August 20, 2017

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Everytime one runs into a new town or city the antennae switch on. Wyndham is a welcoming town. I feel comfortable immediately. Wyndham is the oldest and most northern town in the  Kimberley region of Western Australia and it is empty of humanity. Located on the Great Northern Highway 2,210 kilometres (1,373 mi) northeast of Perth. It was established in 1886 as a result of a gold rush at Halls Creek, and it is now a port and service centre for the east Kimberley with a population of just under a 1000 people.

It seems trapped in time and Dixie Ferguson’s Bric-a-Brac shop is possibly unique in Australia, selling art work and carved boab nuts, displaying royal paraphernalia and an obsession with Princess Diana. It is the the only shop open in the main street and Patterson’s Hotel stands opposite derelict and shuttered. Literally it is the pub with no beer and has been closed for some time and awaits a new entrepreneur to bring it back to life.

Most of Wyndham’s population is at the races for the Wyndham Cup, dressed to the nines and in party mode. There are four jockey’s only at the meet and only four horses per race and when the racing stops the two up begins. The energy is good natured, fuelled by four XXXX and joy as the sun sets in a deep red sky.

Magnum Manifesto June 15, 2017

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NEW YORK, NY (APRIL 21, 2017) — The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, continues its designated “Year of Social Change” with Magnum Manifesto, which celebrates the 70th anniversary of the renowned Magnum Photos collective. Premiering at the ICP Museum (250 Bowery, New York, NY) on May 26, the landmark exhibition underscores ICP’s long-standing connection to concerned photography and the social and historic impact of the medium as a whole.

“When you look through the Magnum archive, you cannot help but feel a mixture of jubilation and vertigo.

The vast collection of images and information amassed over the seven decades since the creation of the cooperative—the great events of the day, together with the commonplace facts and deeds of everyday life, the laughter, the violence, moments of magic or of symbolic signi cance, and even representations of abstract thought—potentially it contains all the histories of the world,” says Chéroux. “Magnum Manifesto points to how vast the exploitable elds covered by the collection are. It offers a small reconstruction of the entire range of human experience and shows that Magnum is a world in itself.”

The exhibition is organized into three main parts:
• Part I: 1947–1968: “Human Rights and Wrongs” views the Magnum archive through a humanist lens, focusing on post-war ideals of commonality and utopianism. A centerpiece of this section will be the Paul Fusco series, RFK Funeral Train.

• Part II: 1969–1989: “An Inventory of Differences” shows a world fragmenting, with a focus on subcultures, minorities, and outsiders. This section features images from a range of photographers, including Danny Lyon and Susan Meiselas.

• Part III: 1990–2017: “Stories about Endings” charts the ways in which Magnum photographers have captured—and continue to capture—a world in flux and under threat, from Thomas Dworzak’s images of the Taliban to Donovan Wyle’s Maze series, and very recent photos such as those from Alessandra Sanguinetti in the aftermath of the Nice terrorist attacks.

CZECHOSLOVAKIA. Slovakia. Zehra. 1967. Gypsies.

Magnum Manifesto features group and individual projects and includes more than 250 prints and 300 projected photographs, as well as more than 130 objects—books, magazines, videos, and rarely-seen archival documents. Among many others, it incorporates the work of Christopher Anderson, Jonas Bendiksen, Henri Cartier- Bresson, Cornell and Robert Capa, Chim, Raymond Depardon, Bieke Depoorter, Elliott Erwitt, Martine Franck, Leonard Freed, Paul Fusco, Cristina Garcia Rodero, Burt Glinn, Jim Goldberg, Joseph Koudelka, Sergio Larrain, Susan Meiselas, Wayne Miller, Martin Parr, Marc Riboud, Alessandra Sanguinetti, Eugene W. Smith, Alec Soth, Chris Steele-Perkins, Dennis Stock, Mikhael Subotzky, and Alex Webb.

ICP’s presentation of Magnum Manifesto is supported in part by an award from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Collecting History Now: Harriet Logan of the INCITE PROJECT and its curator Tristan Lund on building a collection of images of war, conflict and other challenging themes June 5, 2017

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Collecting History Now: A Collector and an Art Advisor Discuss

Harriet Logan of the Incite Project and its curator Tristan Lund on building a collection of images of war, conflict and other challenging themes:

With a large print of Richard Drew’s famous shot of a man falling from the World Trade Centre featuring prominently on the stairs of her home, former photojournalist, and now collector of photography, Harriet Logan wants the rest of the world to see and appreciate some of the more difficult images in photojournalism as large prints displayed on a wall. With the collection she started to build only four years ago, Logan wants to show that “photojournalism is not purely an illustration for text” and to both define and preserve important moments of history and history-in-the-making. In doing so she aims to support photojournalists producing work today. The Incite Project, run by Harriet Logan and her husband, is a private collection of issue-driven photographic prints, motivated by current political and social concerns that are still within our power to change.

Also featuring in Logan’s private collection are: a Tom Stoddart shot from Sarajevo; Josef Koudelka’s photograph of a gypsy with a horse – “that’s one of my favourites, if the house was on fire we’d take that picture,” she says; and work by Diane Arbus, Richard Mosse, Moises Saman and Robert Capa. And in her dream collection she’d like to own Koudelka’s iconic picture of a dog, which she narrowly missed out on at an auction, having stuck diligently to her set budget. Logan and the collection’s curator Tristan Lund, recently spoke to Magnum about the motivation to collect contemporary photojournalism.

Motivation to start a collection

Starting her collection with Dorothea Lange’s Migrant Mother, Logan initially focused on collecting a foundation of exceptional, history-defining, photographs, images that condense major global events into singular objects.

“I hate the word iconic, but it was about collecting the lynchpins of historical photography and documentary photography. I was immediately drawn to Koudelka, Cartier-Bresson and Capa – the ‘godfathers’ of photography, I suppose – and the people that, in my opinion, made images that defined history. That, to me, is the important part of it, particularly now when we live in a world in which everyone is a photographer and history seems to be quite blurred. I’m really interested in the images that are produced almost on a daily basis and how they define the world that we’re living in today.

What’s interesting is how a point in history becomes so defined by an image – the falling man from 9/11, everyone knows that picture. For me it’s such a key, emotive image; we have it printed huge. That moment in history has been condensed down to a single image. Like the tank man in Tiananmen Square, history stops at those still images, and the photographers that took those pictures did an incredible job of essentially isolating, for all of us, those moments of history.” – Harriet Logan

Living with difficult images

Despite the images often being quite difficult to look at, Logan is compelled to give the photographs, and the photographers who took them, a respect she feels they deserve, no doubt down to her own experience as a photojournalist in the field: “Someone has had the drive to actually get out there and show us something about the world we’re living in. I feel like not looking at those pictures is bizarre for me because I think we have an obligation to see them. They went and they made these pictures and to not look at them, I feel is wrong. I feel like the least I could do is look at them every day. The idea of these images getting stuck in drawers and forgotten about feels slightly irresponsible.” – Harriet Logan

Collecting living photographers’ work

By focusing on collecting the work of living photographers who are currently creating work, Logan is able to support their ongoing projects. “We made a decision a while ago to stop buying a dead photographer’s work unless it was something that was an obvious hole in the collection, and that we would really go after photographers who were out there today creating work that we felt was important,” she says.

Logan’s primary motivation is to support the continued work of contemporary photojournalists, and enable the production of more work. She’s supported Matt Black’s Geography of Poverty, enabling the photographer to continue to build a comprehensive document of poverty across the United States, in return for prints of his work; and she’s also supported Magnum’s Moises Saman’s acclaimed Discordia book project, a visual account of the Arab Spring, made up of work compiled over four years spent living in the Middle East, and received prints of this work to add to her collection.

Scouting and supporting new talent

Harriet Logan’s collection spans the true photojournalist heavyweights, established contemporary names, as well as virtual unknowns. She has followed the career of some photographers from emerging talents to in-demand names in the print market. As well as visiting galleries and fairs, Lund and Logan do other types of legwork of their own to find new photojournalists to collect, looking at awards, such as World Press and the Eugene Smith awards, as well as scrolling through Instagram. “We’re taking it beyond what we are offered by galleries, so we’re trying to be proactive about the way we find images and approach photographers,” says Lund.

“We definitely hope it’s encouraging for young photographers that we are coming to them directly and asking to turn their work into physical prints that will go into the collection,” says Lund. “You rarely get shown prints by a photographer now, and one of the things that we feel is really important is that photographers, particularly young photographers, learn the value of printing a set of prints and editioning and signing them – seeing the value of them as a physical object,” adds Logan.

From Instagram to wall

The photographers who have successfully caught the eye of collectors on Instagram, but who also produce highly prized print products take as much care on the fabrication and printing of their fine prints as they do curating their Instagram feed. Magnum photographer – and former printing tech Matt Black – is a case in point. Black’s bold and graphic style has earned him a huge Instagram following, while his printing, which is produced to exacting standards, creates an object that collectors are keen to own.

“The amazing thing about Matt Black’s work, was seeing his photographs as an Instagram feed and then seeing his work in a gallery. He prints really beautifully; they are such wonderful objects. I was blown away by the quality of his printing.” – Harriet Logan

Purity of the work

What appears to attract Logan to the work of the photojournalists she likes is a purity of intent in their work. She cites Magnum’s Josef Koudelka ‘s “honourable” approach as an example. “I think Koudelka is quite an interesting example of a photographer who sees the utmost importance in the physical object, who has been very controlling of what’s out there in the world,” she says. “I don’t think he’s interested in the money that his prints are worth at all. He’s interested in the home that it goes to and where it ends up, and that’s very honourable.”

Logan also sees a similar quality in Matt Black. Black, she says, “feels like a really pure storyteller, in his vision and the way that he sees. It seems like he’s been able to do that because he’s sticking to his belief in how he sees.”

Elevating the photojournalist

Through elevating single images and taking them out of the context in which they are usually experienced – on a page, next to the text of the story which they illustrate – Logan and Lund want to give photojournalists the recognition they feel is deserved. Lund explains: “We are really trying to show that photojournalism is not purely an illustration for text. Removing the text, putting the printed photograph in a frame and behind glass and treating it as a work of art definitely makes people slow down but also makes them consider that somebody went and made that work; it wasn’t just chance that the camera happened to be there at the right place at the right time.”

History through a Lens: Iconic Photographs from the Incite Project has been on at the Victoria Art Gallery in Bath.





Trading to Extinction: Patrick Brown PICTURE PERFECT SERIES from VICE May 26, 2017

Posted by bohdan.warchomij in : Metaphor Images, Picture Perfect VICE , comments closed
Good to rediscover a series like PICTURE PERFECT from VICE that was first published on 11 Apr 2012.

In this episode of Picture Perfect, VICE visits Patrick Brown in Bangkok, Thailand to discuss photography and his book Trading to Extinction, which documents the illegal trade of endangered animals in Asia. VICE travels with Brown to Guangzhou, China, where he photographs restaurants that buy and serve exotic animals.

This series has You Tube documentaries that include the work of Donald Weber from Canada, James Mollison, Rob Hornstra, Chris Anderson, Vincent Fournier, Chloe Dewe Mathews and is important to check out for to help any photographer to understand what photographers experience on the road. Googling PICTURE PERFECT will help find what are essentially life journeys that many of these photographers have actually lived. Several of these photographers I have personally met at Visa Pour Le Image in Perpignan France and they all have amazing stories to tell.


West Australian Election turns dirty: Photos Bohdan Warchomij March 10, 2017

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POLICE were called to the Paddington Ale House where protesters were disrupting an event being hosted by One Nation leader Pauline Hanson who started her evening with a Sky News interview.

Accusations of racism and fascism were liberally and passionately dispersed through doggerel political chants by the protesters who were well organised.

One Nation supporters egged the young protesters on through out the protest.

Senator Hanson, who is in WA as part of a week long campaign ahead of the State Election on Saturday, held a Pizza and Pots event inside the Mount Hawthorn pub for her supporters.

There were reports of punches being thrown outside the hotel after about 50 protesters gathered outside the pub at about 7pm and that at least one person was taken away by police. There were confrontations between the protestors and One Nation supporters who were separated by police.

Police said that two people were issued with move on notices but no arrests were made.