Brandon Stanton: Humans of New York

Photo © Brandon Stanton-All Rights Reserved
Here's a really great project!

As many of us who follow photography and photojournalism remember, and still frequently refer to, The New York Times' series of One In 8 Million were superb multimedia visual narratives about interesting New Yorkers...and photographer Brandon Stanton has followed with his compelling Humans of New York; portraits of New Yorkers of all stripes, shapes and background.

Brandon's goal is to gather 10,000 street portraits and plot them on an interactive map. More than 2000 portraits have been gathered so far, and even include stories about some of the fascinating people photographed.

One of the stories I especially liked was the one about The Poet. I have seen this guy a few times...and saw his sign.

Ah, if only these stories were also captured by using a handheld sound recorder!!! The audio could then be added to the portraits, and we'd be in incredible multimedia paradise!

According to Brandon Stanton's biography, he has had a colorful background. He currently lives in New York, where he’s on a mission to find every interesting person in the city, and take their photograph.

A Chinese Sojourn – Part 1

This trip had been in planning for many years now. The wonders of the world had to be checked off one by one and the Great wall had been pending. And so finally the itching feet took over and we were on the move again, this time taking a 20 hour flight through Japan’s Narita headed for Beijing over the wide expanse of the Pacific Ocean, covering the swath of the American northern states on the way. While I will in the course of the many more blogs hit upon specific memories of Beijing, this one will be lesser in word content and show you some of the life we saw in that lovely city. We enjoyed the hustle and the bustle of the massive city housing some 20 million people (that is the official count. The unofficial count is much higher for out of state people are not counted as Beijinger’s) and surprisingly found ourselves quickly at home. In many ways we were reminded of Istanbul, and the characteristics were similar, an immensely proud people, focused in their struggle with their daily lives, and blissfully unaware of other languages, especially English. So we spent a week perfecting our inborn talents of sign language, bringing many a smile to the person on the receiving side and managing wonderfully, ably supported by my journalist brother who lives in Beijing.


At the Subway - They are well marked, and tell you in English audio the name of the station it stops at plus the next one coming up
 We saw the sights and heard the sounds of Beijing, which for me was very special for I had been studying some aspects of the Ming dynasty for awhile and reading up heavily on Cheng Hu’s exploits. So to place the person and get a perspective was very important. The Forbidden City, the Yongle emperor Zhu Di’s massive constructions etc were so important and an understanding on why China sometimes closes its borders to ‘barbarians’ was paramount. We hit the standard tourist trail and climbed the great wall, saw the palaces and temples, summer palace, went to Tianjin and finally covered Xian where the 8th wonder of the terracotta warriors was taken in with awe, but I will definitely not make this a tourist narrative for then it would take the tone of a guide book.

The Box Auto - They have stainless steel bodies, or so I believe, and are supposedly more expensive than the multitude of taxis
 But we were luck for we lived the week with my brother and saw Beijing in a different light, with the insiders track woven through. We ate in Beijing’s local restaurants, smelled the streets walking many a mile, enjoyed Uyghur food, had some great Pakistani food at Mughal’s, wandered around the tourist traps of Yashow, the electronic markets and the Pearl market, saw the many jade and pearl factories and crisscrossed the city through the subway with ease. Curiously most of the tourist places were crowded with Chinese tourists not westerners. There were a few Indian tour groups here and there, some Malay Tamil groups as well. And finally we caught up with a college classmate of mine after 31 years…

We saw this at Tianjin - another three wheeled auto
 But there is so much to say and it would be boring if I went through it in a explanatory monotone. So let me try to say it with a few pictures. Take a look at the vehicles and transportation in China in this blog, they range from the basic bicycle (there are so many types of them) to the bullet train.


The taxi is very cheap the minimum charge is 10RMB plus 2RMB


The bus which many use


The Police car - electric drive, mostly seen at large tourist locations


Cycles, mopeds, scooters - you do not see many mobikes though


See the man at peace in the middle of a very crowded road, watching the traffic serenly!!


She has a lot to carry to work
  
Another tri-wheeler...

You can see the stainless steel boxed auto rickshaws, the same tri-wheel cycle rickshaws, the three wheel taxis and police vehicles and of course the many types of cars, the most popular being the VW sedans. But on the top of them is the Bullet train which we took from Beijing to Tainjin that hit an incredible speed of 327kmph (205mph) for most of the journey.

The Bullet train from Beijing South to Tianjin


They hit incredible speeds - now restricted to 327kmph
It is also a land of contradictions, you see so much of originality, you see a massive amount of meticulously preserved history, but you also see the other side, the knock off industry, the perfection in copying and you will even see the pyramid and the sphinx and you see a people obsessed with their mobile phones (900 million users) and mp4 players…more on all that later..



See how the women keep the sun and dust at bay - the veil wrapped around their faces

The pedestrian crossing has many uses
The Dragon boat at the summer palace
To be continued.................

Click on pictures to see bigger images

Gone Fishin'

Have a good Memorial Day!

Alexander Martirosov: Venice & Its Carnavale

Photo © Alexander Martirosov-All Rights Reserved
Alexander Martirosov is a photographer from St. Petersburg, Russia, and specializes in portraiture, fashion and fine art photography. He recently staged two exhibitions, opened his own studio, formed a team of associates, and became a finalist in several competitions held under the auspices of the International Federation of Photographic Art, FIAP.

Alexander's background is in fashion retail, and he is the founder and owner of one of the largest retail chains of Italian fashion shoes in St. Petersburg. Previously, he graduated from the Leningrad Institute of Technology, majoring in Radiation Processes in Nuclear Energy. You'll agree that his luminous photographs of masked characters at the Venice's Carnavale betray his fashion background and affinity...they could be featured in all the major international fashion glossies.

The Venice Carnavale is the most internationally known festival celebrated in Venice, Italy, as well as being one of the oldest. This congregation of masked people began in the 15th century, but the tradition can be traced back to the beginning of the 14th Century.

Angkor Photo Workshops 2011




Now in its 7th year, the free 2011 Angkor Photo Workshops is now officially accepting applications from all young Asian photographers.

To get started, photographers can download and read through the application guidelines and the application form below:
The guidelines and form contains all the information needed on how to apply for this year’s workshops. However for clarifications and or questions, the Angkor Photo Workshops can be contacted email at angkorworkshop [at] gmail.com .

The workshop will be held from November 17 – 23, 2011 in Siem Reap, Cambodia. As per the previous years’ workshops, 30 participants will be selected from amongst the applications received. The deadline to submit the application is July 15, 2011.

Since its inception in 2005, more than 180 young photographers from all over Asia have been selected to participate in the annual free Angkor Photo Workshops. Conducted by renowned international photographers who volunteer their time, the Angkor Photo Workshops provide participants with firsthand training, invaluable exposure and a chance to perfect their art.

Over the years, the workshop has highlighted emerging talent from the region, and many previous participants go on to embark on successful photography careers both regionally and internationally.

I'll be there!!

Lola Akinmade Åkerström : A GeoTraveler

Photo © Lola Akinmade Åkerström _All Rights Reserved
Since today is the (un)official start of the summer season in the United States with an exodus of people towards vacation destinations for the long Memorial Weekend, I thought I'd feature a renowned travel expert on The Travel Photographer blog.

Lola Akinmade Åkerström does everything; she's a photographer, a writer, an editor, a photojournalist and worked for NGOs. She has won countless awards for her photography and travel writing from the National Geographic magazine to major newspapers. In her photography, she specializes in travel photography and is known to be a food photographer as well, especially if in exotic locales.

I chose to feature Lola's exquisite image of a pensive Egyptian overlooking the Nile for this post. She has many more, and although her imagery is not grouped by country...she classified her work in groups instead.

For those who are on their way for the long week end, let's go let's go let's go!

Paul Levrier: Mekong Delta

Photo © Paul Levrier-All Rights Reserved
I've posted the work of Paul Levrier before on The Travel Photographer's blog, but he just alerted me that his website Visions of Indochina had been updated, and now included large sized images...and he was right. His portfolio is certainly large sized, making it easier and more enjoyable to appreciate.

Having said that, I especially liked his must-see new section On Assignments which features his work from Can Tho, the largest town in Vietnam's Delta, where his intent was to record life on the Mekong river and its famed floating markets. He used a wide angle on a number of his shots, and with the extra large size he chose for his images, they appear almost life-like.

Reading Paul's notes on his accompanying blog, he tells us that while tourists usually visit the Cai Rang market, the largest on the Mekong, he headed instead to Nga Bay, but found that the local authorities had closed and pushed the vendors further up river to a rural location called Cho Noi...which was difficult to get to, and was consequently free of foreign sightseers.

I traveled to Can Tho in 2003 (eons ago, it now seems) photographing for a NGO, and unfortunately had no time to photograph the floating markets. After seeing Paul's images, this is high on my to-do list.

Carolyn Beller: Oaxaca

Photo © Carolyn Beller-All Rights Reserved
I wager that readers of The Travel Photographer blog will agree with me that this third in a row pure travel photography post is a home run!

Carolyn Beller started her photography work in earnest as recently as 2006 with an established background in art, interior design and pottery, as well as in teaching art.

Her biography tells us that she took up photography when realizing that it would serve to document the lives and culture of various indigenous people she came in contact with when she worked on pottery projects. She traveled to Nepal, India, Burma, and Rwanda.

Carolyn attended workshops with Alex and Rebecca Webb, David Alan Harvey, Jay Maisel, Nevada Wier, Catherine Karnow and Jim Richardson. Some of those names I obviously recognize and others I don't...but I thought her wonderful photograph of young boys and their shadows in her Oaxaca gallery has much of Alan Harvey's and Webb's influence in it.

After seeing Carolyn's photographs made on the Staten Island ferry, that's a project I ought to take on as well. Staten Island is part of New York City, isn't it? If so, I consider it my purview as much as Chinatown and Washington Square Park are.

Jochem Gugelot: Iran

Photo © Jochem Guegelot-All Rights Reserved
This is the second day in a row that I feature pure travel photography to The Travel Photographer blog...this time it's the work of Jochem Gugelot whose biography tells us that he lives in Eindhoven in the Netherlands, and who's a freelance graphic designer and photographer.

The graphic influence is very much at play in Joachem's work. First of all, his galleries (what he calls photo series) are displayed in a very large size, which is what I've advocated for a few years now. When I am sent website galleries by photographers, I can't describe how much more receptive to featuring them when they consist of large images....to my eye, 1000x667 pixels ought to be the norm...but Joachem's are much larger than that. I view the site using a Chrome browser on a monitor of 1920x1080, and it's stunning.

Jocahem features his work from Iran, the Seychelles and the Maldives as well as a delightful photo series of the Himalayan Kingdoms. You'll also notice he's partial to low angles as well as photographing from above the scene. gallery of the Himalayan Kingdoms, which include Sikkim (and Darjeeling).

Out of all his series, I particularly like his work of Iran...a country long demonized by the US for no reason, and one that hasn't been sufficiently featured on my blog. You'll see a number of landscape photographs with a few street scenes. Jochem also included frames of Istanbul and Dubai in the gallery.

Ania Blazejewska: People of Ladakh

Photo © Ania Blazejewska-All Rights Reserved
To start the week on a pure travel photography note, here's the work of Ania Blazejewska. She is a freelance travel photographer based in Poznan, Poland. Having graduated with a degree in political science, her embrace of travel and photography led her to Asia and northern Africa.

Her work was recognized in various Polish and international photo contests, and her  freelance photos and articles were featured in a number of Polish-language travel portals. She has photographed in Cuba, India, Ladakh, Laos, Oman, Morocco, Srl Lanka and Nepal...to mention just a few.

Many of her travel photography is of people, and photographed in portrait mode...in vertical format. I chose her Ladakh gallery to feature here, but don't leave her website until you've explored her many other galleries. One that I particularly liked as well is her Living As A Burmese Monk photo essay.

Incidentally, Ania is one of the many photographers who uses PhotoShelter for her website and galleries.

If you want to learn how to sell your prints, PhotoShelter has issued a free downloadable PDF guide to help you out.

The Leica File: The Chinese Flutist

Photo © Tewfic El-Sawy-All Rights Reserved
Despite the imminent threat of the Rapture yesterday, I trotted along to one of my favorite New York City haunts, and happily found it teeming with Chinatown residents who were enjoying the sunshine and warm weather. This time I took my Elmarit 28mm and the Voigtlander Nokton 40mm for the M9, as well as my digital recorder....and I was rewarded.

There were three competing Chinese traditional sing-along bands, and I spent time with two of them. Despite their rather severe expressions, the elderly Chinese who populate Columbus park to listen to the music during the week-ends are extremely cordial, and laugh easily when a "gweilo" such as I takes interest in their culture. I had a number of conversations with Chinese men who, despite a halting English, were happy to see me taking photographs. As always, the card-playing, mah jongg and chess brigades were in force...some tables reserved for women players, who seemed to take the games more seriously than the men.

You may notice that the above photograph (click to enlarge) of the Chinese flutist is at an angle...this is because it's originally a vertical. I seldom shoot verticals, but I wanted to get that particular angle. And, yes, I toned a little bit.

Another thing...well, actually two things. The first is that I tried out the E-Clypse MAG 1.25x 34 from match Technical Services. It magnifies the Leica viewfinder image by 25%, and has a silicon rubber eyecup. The manufacturer claims that it increases the focusing accuracy by 25%, by magnifying the focusing patch. Let me say first that it's extremely well made, and fits the M9's viewfinder thread perfectly. It does magnify the focusing patch (I can't tell if it's 25% or not) but it's not the holy grail either...so while it makes focusing a tad easier, it'll still have to be gotten used to.

As for the second thing: Asim Rafiqui, a friend and damn good photojournalist (and Leica user) reminded me of the principle of zone focusing to resolve my difficulties. It had been stored in a dusty cobwebbed part of my brain, as I had never used it (the principle, not my brain). So I tested it once or twice while walking on Broadway...it works, but still needs refining.

I am on the right path. And since the Rapture has not happened, I have the time to practice. Phew.

Alex Webb/Rebecca Webb: Violet Isle


Few people interested in photography don't know who Alex Webb is, so I'll keep this introduction brief.

He began working as a professional photojournalist in 1974, and joined Magnum Photos as an associate member in 1976, and a full member in 1979. He photographed extensively in the United States, the Caribbean, Latin America, Africa, and in Turkey. His photographs have appeared in such publications as The New York Times Magazine, Life, Geo, Stern, and National Geographic, and has published many books.

Rebecca Norris-Webb is an international photographer and poet.

Violet Isle is featured by Magnum In Motion, and showcases Alex’s exploration of the streets of Cuba and Rebecca’s discovery of unique and sometimes mysterious animals. While the photography styles of this husband-wife team is distinctly different, they decided decided to weave their images together to create a multi-layered portrait Cuba.

While you watch the audio slideshow, you'll see this combination of the two styles...the typical street scenes, color saturated with lots of shadows, reflections, sun-drenched walls...and more ethereally, many caged birds, a metaphor for Cubans. The soulful soundtrack is Silencio by the Buena Vista Social Club.

Would I have preferred to hear a soundtrack of ambient audio and music recorded in the streets of Havana instead? Yes, of course...no question about it. That being said, anything by the Buena Vista Social Club is great.

Nick Riley: The Witch Doctor Of Tanzania

Photo © Nick Riley-All Rights Reserved
"For issues of love and business, property and health, people in Tanzania will visit a witch doctor. The job description appears to vary significantly between individuals. Some can help to find lost property, others specialise in healing the unwell, others still in raising curses on those that have wronged you."
My readers will immediately know that this photography essay is one that The Travel Photographer's blog relishes in featuring.

But first things first. Nick Riley is a UK photographer, currently working in Tanzania. His work has featured extensively in the press, including BBC Wildlife magazine, where he won photograph of the month. In June 2010 he was shortlisted for Photographer Of The Year. He worked on projects for clients across the public and corporate sectors, including the NHS and Diageo, but his passion is for documentary and wildlife photography.

The Witch Doctor is a multi-gallery photo essay, arranged in a blog format. Nick was allowed to photograph during the healing sessions conducted by a witch doctor in a poor suburb of Dar Es Salaam. In a tiny room filled with incense, and lined with various shells, leaves, carvings, coins, jars and packets of various powders. It was there that the witch doctor started her magic.

These are extremely atmospheric photographs, and are very well composed despite the difficult circumstances. Short of being there, I would have loved to hear the ambient sound from these sessions! Beautiful and rich colors...And do take the time to explore the other entries in Nick's blog. Well worth it.

It should be mentioned that although Islam orthodoxy frowns on witch doctors and other sorcery for exorcism, other sects less strict tolerate (and even encourage) such traditional ways to rid those afflicted with jinns and evil spirits.

The Leica File: The TV Watcher

Photo © Tewfic El-Sawy-All Rights Reserved
Walking on 14th Street in Manhattan, I noticed this man watching the news on a television in a store window. He was transfixed by whatever he was watching, oblivious of the morning's light drizzle. He had placed his shopping bag (with the umbrella) on the ground and was motionless for a little while. Click on it for a larger image.

This particular street is interesting for street photographers because one witnesses different cross sections of the city's inhabitants as one walks from one avenue to the next. The most interesting are the spots next to the subway entrances, and around the Salvation Army's headquarters.

I'm still struggling with the manual focusing on the M9. I'ts getting much better, or I should say, I'm getting better at it...and that's the only thing that needs to be worked on and improve.

To that end, I decided to try the E-Clypse MAG 1.25x from matchTechnical Services, which claims that it magnifies the viewfinder image by 25%, and increases the focusing accuracy of your Leica 25%, by magnifying the focusing patch. This is the same outfit that manufactures the Thumbs Up EP-1 that I bought recently, and which I really like a lot.

I shall report as soon as I receive it and test it. I hope it does help my focusing.

Status: Travel Photographer's The Oracles Of Kerala™


Since announcing it via my newsletter a few days ago, I've received an unusually large number of applications to join The Oracles of Kerala Photo Expedition/Workshop™, scheduled for March 2012, and which will revolve around producing photo essays and multimedia stories of two of Kerala's most unusual religious and ancient festivals, as well as its ancient dance-drama and Vedic chanting tradition.

The workshop is limited to 7 participants, and having received a larger number of applicants than expected meant I had to base my choice on a combination of factors; preference was given to photographers who have joined my earlier photo~workshops aka the "repeaters", then to those applicants who had been wait-listed on one or more of my earlier photo workshops, and lastly on the style of their photography and interest in learning multimedia.

I regret turning away anyone.

It would be certainly be easier for me to enlarge the number of participants on my trips, and accept as many applicants as possible, but I'm not that kind of travel photography expedition leader.

Pete Muller: The Cattle Keepers of Southern Sudan

Photo © Pete Muller-Courtesy Time Lightbox

I wasn't planning to feature the work of Pete Muller today (the sequence of my posts are often pre-decided a week in advance), but seeing his terrific work The Violent Cattle Keepers of Southern Sudan on the wonderful Time Lightbox blog convinced me otherwise, and I rejigged the sequence.

Pete writes that these cattle keepers are members of the Dinka Rek sub-tribe, who describe themselves as a “brigade.” In this remote area of southern Sudan, there are no signs of the army or the police, and no government as such. Consequently, these men form a militia to protect themselves from marauders of other equally well-armed pastoralist groups in the area.

The moment I saw the first photograph in Pete Muller's slideshow, I thought "oh, Jehad Nga's chiaroscuro style!", and true enough, Pete graciously ends his write up by giving credit to Nga for inspiring the aesthetic of these photos.  A statement that reflects well as to Pete's character.

Pete Muller is a photographer and multimedia reporter based in Juba, Sudan. He uses images, words, audio & video to tell under reported stories. He maintains an excellent blog which also features many of these portraits.

A really excellent photographer.

POV: Leroy's Visa Pour L'Image Says....

Image © Alexandra Avakian. Courtesy British Journal of Photography

From The British Journal of Photography:

Jean-François Leroy, Visa Pour l'Image's director, believes it's essential to remind "people of the important role photojournalists play in keeping us informed," which, he says, will be reflected in this year's edition of the world's largest photojournalism festival.
"But don't expect to see projects on Tahrir Square. I've never received that many CDs about one particular event. I know that square by heart now. I could draw you a plan from memory. I've seen it all: Tahrir during the day, Tahrir at night, Tahrir and the dogs, Tahrir in the morning, Tahrir in the evening. So what? What's the point? What's the story?"
- Jean-François Leroy, Visa Pour l'Image's director

What's the story, he asks. What's the story in Tahrir??????

After guffawing at that er...statement, what can I say other than some people are visionaries, and others are myopic, provincial and silly...and past their useful shelf life?

In contrast, take a look at NOOR Images current involvement in Cairo, where Stanley Green and others are leading a photojournalism workshop.

Olivier Laurent of The British Journal of Photography conducted the interview, and has written this response (which I quote in its entirety for fairness) on my Facebook page:
" I conducted the interview with Jean-François Leroy, and in case things are not clear enough, Leroy did say that he would not show Tahrir Square-related stories (i.e. reportages that only focus on the events at Tahrir Square) because they lack incredible context over the entire Middle-East revolution movement. Instead, he chose to show Yuri Kozyrev's work, which includes images shot in Tahrir Square but put into a wider context thanks to the images he shot in Bahrain, Tunisia, Libya, Yemen, etc. To react to some of the comments here, I don't think he uttered "une connerie"** (I wish there were a perfect english equivalent to this word). In my opinion, he's quite right. I'm not saying that there hasn't been meaningful work coming out of Tahrir Square, but have these photographers submitted their work to Visa? A lot of the images I've seen coming out of that square were repetitive (in some cases, shot by three or four photographers at the exact same time) and lacked that overarching meaning - the true impact of this revolution on the Egyptian people. There's nothing wrong with a photographer parachuting in Cairo for such a story (and it's much needed to bring attention to the story) but at the end of the day, I find it more enriching when I look at these events through the lens of a photographer that truly understood these events. Laura El-Tantawy springs to mind, for example...
 One clarification though, we're talking, in this case, of the exhibitions presented at Visa. There's no doubt that countless of images from Tahrir Square will be shown during the evening projections there."
 ** To keep things succinct and brief, I still think it was "une connerie", and an unfortunate one at that.  It will be up to the attendees of the Visa Pour l'Image event as to whether ignoring a seminal and historical uprising in the Middle East (notwithstanding Yuri Kozyrev's wider work) was another "connerie", or not.

Alinka Echeverria: The Pilgrims Of Tepeyac

Photo © Alinka Echeverria-All Rights Reserved

Alinka Echeverria is a Mexican visual artist who was recently named 2011 winner of the HSBC Prize for Photography given by the HSBC Cultural Foundation of France. Her work for this prize showed 300 of the 6 million pilgrims that make their way to the Guadalupe Basilica, near Mexico City, bearing statues of the Virgin.

Her website has two interconnected galleries: the first is the black & white The Pilgrims, of portraits made in the Temple of Tepeyac, La Basilica de la Virgen de Guadalupe in Mexico City on the anniversary of the apparition of the Virgin of Guadalupe to the indigenous Mexican Juan Diego.

The second gallery is of color photographs, titled Road To Tepeyac, and is of backs of 300 Mexican Catholic pilgrims on their journey to the Basilica de Guadalupe in Mexico City. The photographs of the pilgrims are cut out from the rest of the scene, leaving us their backs and their religious images and icons.

The hill of Tepeyac is the site where the saint Juan Diego met the Virgin of Guadalupe in December of 1531, and received the iconic image of Our Lady of Guadalupe.

New! The Travel Photographer's The Oracles Of Kerala™


I'm super excited to have set up the The Oracles of Kerala Photo Expedition/Workshop™, an opportunity to document two of Kerala's most unusual religious and ancient festivals, as well as its ancient dance-drama and Vedic chanting tradition.

It promises to be a multi-layered unique experience, merging travel photography and documentary photography styles, documenting unusual festivals of religious pageantry with decorated elephants accompanied by dancers and drummers, while the other involves Velichapadus (oracles), who enter into trances and offer blood to deities, as well as street photography in the old city of Kochi, a Kathakali performance (including pre-performance sessions), and documenting a Vedic school.

This photo~expedition/workshop is limited to 7 participants, and has already been pre-announced to my newsletter subscribers (to which you can subscribe via the box at the right side of this blog).

As with many of The Travel Photographer's Photo~Expeditions™, it's specifically structured for photographers interested in documentary photography, ethno-photography and multimedia, and who seek to take their creativity to a new level by creating multimedia stories from their inventory of photographs.

I'm in the process of reviewing the applications/registrations that have come in from the subscribers.

And speaking of travel photography meets documentary photography, have a look at my To Stage Or Not To Stage post, which elicited a lot of reactions from my readers and Twitter followers.

Travel Photographer Of The Year At The RGS

Photo © Matjaz Krivic-All Rights Reserved-Courtesy TPOTY
I am envious of my readers in the United Kingdom as they get the opportunity of attending The Travel Photographer of the Year exhibition at the Royal Geographical Society which runs until 10 June 2011. Well, I hope to be in London a day or two before its end, and see it myself...fingers crossed.

The best entries from The Travel Photographer of the Year (TPOTY) 2010, along with some of the best of the society's own archive images, are at the exhibition but those who can't attend it in person can view a fantastic BBC audio slideshow.

TPOTY has signed a five-year agreement with the RGS to hold exhibitions at its 1 Kensington Gore (London) location.

Tipu, Unniyarcha and Wodeyar – truth or fiction?

The short lived people of Puthooram Veedu

When my good friend Premnath sent me details of a recent article in Manorama about Unniyarcha and her life with Tipu, I quickly read it through and was somewhat flabbergasted. It was definitely a possibility, but connecting the most hated villain to a much loved heroine in their real life was not that easy though reel life could and would easily portray such events. All kinds of thoughts passed my mind. Was it a case of Stockholm syndrome in Unni’s mind perhaps? I thought as I dived into the article. The article itself was devoid of details and skimmed over some events and situations to finally come up with an even more startling conclusion. But well, I got my thinking cap on and started checking out the facts. It did not really result in any kind of corroboration or conclusion, but the hypothesis from Mananthery Bhaskaran may or may not be far from truth. Whatever said and done, it made sense to revisit the story of the protagonists and see what may have happened.

Most Malayalees have seen Nasser and other screen actors prancing round and enacting the roles of Tatcholi Othenan, Aromalunni, Kunhiraman and many actresses playing the role of the legendary swords-lady named Unniyarcha. Their stories have been passed down ages through the pleasant Vadakkan Pattukal (Northern ballads) and were duly popularized by the movies. Well all these named people were highly skilled in the art of Kalaripayattu and martial arts. Unniarcha was apparently an expert in the use of the flexible sword Urumi. They were (not the Othenan family though) Chekons or Chekavars who became famous around the late 16th century as a kind of mercenaries, fighting ankhams, and furthering martial arts. Ayyappa Chekavar fathered Aromal and Unniarcha, and they lived in the Puthuram house (Bhaskaran informs that the father was Chirukandan Nambiar or Chindan and the mother was Unnichira). The Puthoram house controlled some 4 kalaris while the Aringodan house controlled 18. In total there were about 42 of these schools of martial arts. The Ankham tradition had been established (see my previous article about Ankhams) and was being popularized by travelling bards, singing them in simple Malayalam using a pleasant meter and in tune with a Pana veena. Their exploits are many and very interesting to read, but we will not talk about all of that here, and concentrate on Unniyarcha.

A pretty damsel, well endowed, well versed in swordplay and other fighting techniques, that was she. Unniyarcha was married to Kunhiraman during her teens (Aaatumanammel Unniarcha as it appears was born around 1769 and must have been married at 1784 or so). Kunhiraman was a smart lad alright, but somewhat lacking in courage and adventure, which Unniyarcha of course compensated for, from her side. One of her first acts of valor was a duel with some Moplah riff raff hailing from Nadapuram who tried to molest her as she passed through the forest with her husband in tow headed towards the Allimalar Kavu to see the famed festival there. He mother in law and husband had cautioned her but she ventured into the forest path undaunted, reluctant husband in tow (Note that as a Chekavor, she would not have had Nair soldiers protecting her entourage). And of course, we did not have paved roads then (The first of these roads were ironically laid in Malabar by her later tormenter Tipu, in order to move his forces and artillery). Anyway as the story goes, the Nadapuram Moplah’s harassed her and the irate lady whipped out her sword and chopped a number of them to shreds. Later when the mob figured out who it was, the Moplah chief came to her (one Nagappan Chettiar had to mediate) and gave her a lot of gifts to pacify her…And so went many stories about her courage and valor.

Thus lived the sister of Aromal and Unnikannan, twirling her Urumi, and doing good deeds like rescuing other women of her village from being kidnapped and so on, in the midst of the other sad events that befell her family, like the untimely death of her young brother in deceit after the duel with Aringodan. To establish perspective, let us take a quick look at that famous story.

Her brother Aromal was also equally famous and it appears that he entered into an ankham or duel to fight the famous fighter Aringodan after getting a fabulous purse of 10,001 panams. The ankham was fought on behalf of two brothers who were vying for control over family property. The argument had reached such a stage that only an ankham was possible to make a final decision. The duel was well publicized and large rewards were offered to the two fighters, Aromal and Aringodan, both equally good with the sword. Aromal wins the duel, however his cousin Chandu who had a grudge against him due to the refusal of the Puthuram family earlier to get him married to Unniarcha, took revenge by injuring Aromal Chekavar mortally with a lamp (there are other versions as depicted in the movie Oru vadakkan veeragadha). The dying Aromal tells of the deceit to Unniarcha who swears ‘koodi paka’ or revenge. Chandu gets married to Aringodans sister after the fight and Unniarcha by then curiously begets a child Aromal unni. This is the first of the anomalies in the story, for it is said that she never had any children by Kunhiraman. So whose son was Aromal Unni? This question will come up again in our study, a little later. Aromal her brother died unmarried but had a tryst with Tumbolarcha and had got her pregnant, but I am not sure what happened there and of course a liaison later with Kunjunuli at Alatur..

Let us now take up the story line of Unniarcha’s life from the research carried out by Bhaskaran, who hails from the same family as Unniarcha.

Times were tough, and the Mysore sultans were on the rampage in Malabar. Hyder had died and Tipu had taken over around 1784. As it appears, Tipu ended up in front of Unniarcha, now aged 19 or so, during a fight in N Malabar. Unniarcha’s family and followers were fighting with Tipu’s army for their life in the Tellichery region, and they were making inroads. Tipu had to intervene finally and he does so with typical treachery (unlike practices in Malabar), he gets hold of her sister in law and chops her to pieces, ordering Unniarcha to surrender or else he would treat all the others remaining in her family, the same way. Seeing the futility of her fight, and in order to save the rest of the family, she lays down her arms and becomes part of the winner’s booty, in a military camp, until later when Tipu adds her to his famed Zenana in Srirangapatanam as a favored wife. She later fathers a son and a daughter through Tipu and remains his wife till Tipu’s death in 1799, though plotting revenge all the time. After Tipu’s death in 1799 she visits her mother Unnichira in Tellicherry, and goes back to Mysore, this time to the court of Krishna Raja Wodeyar. Finally she dies some time in 1822 or so, aged 62 in Mysore. This is the story provided in the Manorama article.

I was confused, now what became of Aromal Unni, her son, the avenger of his uncle and killer of Chandu as the ballads state? Was that boy a creation by some movie script writer? For according to Bhaskaran, Unniarcha had no children by Kunhiraman. Another question plagued me, was Unniarcha really part of Tipu’s harem? Yes, of course it is true that Tipu had a large Zenana or harem, which was much talked about and it is clear that he had a number of Hindu women in the collection of over 600 women, 260 from Hyder’s Zenana and 300 from his own (don’t ask me what he did with them…Gidwani, his chronicler and others who have written great eulogies might even say that he ran a benevolent institution for the 500 war widows or some fancy stuff like that). But all this was getting me nowhere, so I have to visit Tipu’s harem and check around in the annals of history. And that is how I reached the famed Zenana in Srirangapatanam pictured in my collection of books on Tipu and those obtained from the well stocked local library, and dived deep to look for traces of our beloved Unniarcha.

Ah! Srirangapatanam, I remember seeing the remnants of that once glorious palace decades ago, but when I saw it then, I had no interest in history. Today I read about the very same place in its splendor and regret the lost opportunity, but well, the Daria Daulat was indeed beautiful palace even in pictures. As the tourist site Asia rooms puts it…..

As the palace was special to the mighty son of Mysore, Tipu Sultan, he called it 'Rash-e-Jannat' which literally means the abode of happiness and the envy of heaven'. The name inscribed by him on the wooden banisters of the palace can be seen by the visitors even today. Though a large part of the palace is preserved well, the eastern wing of Tipu Sultan's Summer Palace that housed the 'Zenana' or 'Harem' has been destroyed over the time. What exists today are the wonderfully cusped rosewood arches that rise above the fluted stone pillars and the beautiful frescos, painted elaborately on the ceilings and walls of the palace. Zenana was the part of the palace appropriated to the ladies, who were carefully concealed from all eyes, save those of their royal master. Many of these were the daughters of Brahmins and native princes, who had been made captives in infancy, and brought up in the Mohammedan religion, ignorant of their parentage, and of the world beyond the walls which surrounded them.

It was into this palace that Unniarcha would probably have been taken to. But then was she a principal wife? We will find out in due course.

Tipu had many hundred women in the Zenana, majority being high caste Hindus but also women from Georgia, Persia, Europe, and Turkey and women from many families in Arcot, Tanjore, Hyderabad and even Delhi. It is also stated that there were some from Malabar. Was Unniarcha among them? Each of the senior ones had their apartments furnished according to the customs of their place of origin. All of them had been converted and were guarded by eunuchs. Like Tipu’s other desires, objects that were curious rare and outstanding found their way into his palace, similarly was composed his Zenana, and into it possibly came the fighting beauty from Malabar. Did she thrive there or die a morose lady? At the Zenana, the sultan’s favorite wife presided the Zenana hierarchy and established control. The Zenana was also controlled by a Raja khan, his confidential servant who had access to any of them according to Thomas Marriot who was in charge of the Zenana after the Sultan was killed.

Life proceeded in the Zenana without much to offer as change, and secluded behind the walls, Unniarcha may have missed her land and customs, but Tipu was close to his death. Bhaskrans states that by now Unniarcha was a favorite wife and that she established considerable clout over him.

History books make no mention of this, however but there is only one tantalizing clue that Tipu had a son from a Hindu wife, and his name was Abdul Khaliq (KKN Kurup). Abdul khaliq also turns out to be the hostage provided by Tipu to the British in 1872 (pictured in a few paintings of the time) and was later married to the daughter of the Arakkal Bibi in 1789. So Abdul Khaliq cannot be Unniarcha’s son for she herself must have been captured by Tipu around 1789.

Now this was a time when gifts were important and girls and women were given away as gifts by Sultans. Even cast off wives or concubines were gifted to lesser officers or subordinates as human khila’ts or nazar’s. But let us take a look at Tipu’s family with a lens. We are able to do it as some events unfolded when Tipu fell to the British in 1799. One of the first things that took place was some looting and pillaging of the palace. There were, however, reports that British armies might have broken another implicit injunction by plundering Tipu's harem, and these reports inspired an immediate flurry of investigations and denials by the political and military authorities. The liberation of Tipu's harem was the subject of a Thomas Rowlandson cartoon published in 1799 which shows otherwise. Anyway the men put in charge of bringing order at the Zenana were Arthur Wellesley and Col Thomas Marriot - Paymaster of Stipends. A few people including one Reverend from Malabar came to claim some of the women on behalf of their husbands. Wellesley made a list of the women in the Zenana ( I tried hard to get this but have so far been unable to track it down) and assured that they would be properly taken care of or disposed, though he found it amusing that the British had to attach urgency to this task. Anyway they decided to take care of the wives and offspring of the Sultan with great seriousness and the princes of course decided to take all advantage of the situation, goaded by their mothers and the many accompanying aunts and step aunts (interestingly Tipu had determined even earlier that his sons were wastrels and had curtailed their benefits and put them to arduous tasks, but the situation changed with their capture by the British).

The two sons who rose to the apex were Fatteh Haider and Abdul Khaliq. Khaliq as I mentioned earlier was the person who had married the daughter of the Cannanore Bibi. Khaliq and his brother Muiz ud din were the two hostages Tipu had to give to the British as part of the treaty in 1792 (Here again I detected an issue. It is said that Khaliq was betrothed off to the Arakkal bibi’s daughter in 1789. But history books say that Khaliq was only 8 years old when delivered as a ransom to the British in 1792). For three years he was trained in British ways at Ft St george Madras and returned to Tipu. Tipu saw that the two sons who came back were even more insolent brats and sent them now to Paris for improvement of their behavior (how, it beats me) and further education. Anyway Khaliq is now in custody after the death of Tipu at Seringapatanam, ensconced at Vellore and devising ways of making money. As these two are of no further interest to us in this story let us discard them from this story. The only reason I brought them up was the aspect that Khaliq was born to a Hindu wife of Tipu and the prospect that the wife was Unniarcha. Let us therefore look at the wives of Tipu one final time.

The wives listed in history books were Ruqayya banu, Raushana Begum, Khadija Zamana, and they were all deceased before Tipu himself died in 1799. At the time of his death the fourth wife was Padshah begum. All of them had Islamic lineage. Another wife has been identified as Buranti begum, the Delhi lady. Fatteh Haider was borne to a Roshani begum (pum kum from Adoni) though Fateh insisted that she had been promoted to Khas Mahal before Tipu died. Khaliq was the son of Raushana Begum. There is no mention or possibility of a Malabar lady in this group or she would have otherwise have ended up in Vellore under British custody. But according to Bhaskaran, Unniarcha spent her last years in Mysore with the Wodeyars. As Bhaskaran puts it, she became a principal wife of Tipu and his confidante and Unniarcha learned Kannada and English at the Zenana, which seems a little strange for the Sultan actually spoke Persian, Urdu and Arabic. She had a temple constructed for her (unlikely as it is firmly established that all Zenana women were converted)….and after the fall of the Tipu, she moved in with Krishna Raja Wodeyar.

The situation gets a bit murky here for Mummadi Wodeyar was born only in 1794 . Between 1796 and 1799 there were no Wodeyars, so who could Unniyarcha have connections with? Was it with the Khasa Chamaraja Wodeyar IX who died in 1796? I do not know, though the book ‘Annals of The Mysore Royal Family’ may provide some clues. Anyway Unniarcha would not have had a Krishna raja connection while living in the Zenana which was strictly controlled as we saw. So only one person comes up in my mind, the wily Purnayah.

The key to her move to Mysore if such a thing happened may have been Purnaiah, who had been involved with Malabar from the Hyder days and continued as a minister with Tipu. After Tipu’s death he switched sides and joined the Wodeyars, and coached and trained the infant Mummadi Wodeyar and later teamed up with the British as a Dewan of Mysore. But I am sure Bhaskaran has a complete story and we will see it someday as a book. In the meantime I will continue the search for the list that Arthur Wellesley prepared of the women remaining in the Zenana.

The story thus continues to remain a myth. If Unniarcha was born in 1766 and was taken away by Tipu in 1789, then it is impossible for her to have mothered Aromal, unless he were Tipu’s son. But that is also not possible for according to legends, Unniarcha was very much around Malabar and goading Aromal to take revenge on Chandu. Even then the timelines would not be right for such events would not have occurred in difficult times when the Sultans and their army were encamped in Malabar (those events would have found their way into the ballads). Then again, let us for a moment assume that Unniarcha was a favored queen in the Zenana. This is also not possible for the name was never seen in Wellesley’s or Marriott’s papers. The queens listed and the sons that come up do not indicate any person of Malabar origin. But then she could have been a lesser consort. If that were the case, she would have remained in Srirangapatanam after all the others were taken to Vellore by the English. It is then possible that she joined up with the wily Purnaiah and moved to the Wodeyar household. So for me the story is still a myth, but then again I may have missed the links that Bhaskaran has seen or possesses. I look forward to hearing more about this story.

Thus the story of the Aromal and Unniarcha as we know may belong to a time before the Mysore sultans decided to come south.

Whatever happened to Aromal Unni, Kunhiraman and all the others? I do not know….

What happened to Tipu’s wives and sons? The motley group was moved to the Vellore fort where they lived a life of luxury and waste. The two sons who rose to the fore were very poor specimens of humanity according to Hoover and were more interested in playing politics and finding ways of hurting each other as well as collecting wives and concubines, with the very large pension provided by the British. They made a mess of their life and were somehow wrongly pictured as possible culprits behind the not so famous Vellore mutiny of 1806 about which I will write about another day.

Ultimately, Unniarcha alone proved to be long lived among the short lived and much talked about Puthooram Veettil chekavars in real life and in legends. As for the sultans, like it was once said, “Haidar was born to create an empire; Tipu to lose one.”

Note: This article is a simple study of the events around the Zenana of Tipu in 1799 and is not meant in any way to discredit the article mentioned or the researcher Bhaskaran. The attempt was only to try and reach a rational conclusion from the limited information in the article. Perhaps I do not have the full foundation or all the facts, so I beg to be forgiven in such a case and eagerly look forward to studying them some day. Nevertheless, my feelings for Tipu will continue to remain negative.

References
Men without hats – James Hoover
Tipu Sultans search for legitimacy – Kate Brittlebank
Nawab Tipu Sulatn – KKN Kurup
Sword of Tipu Sultan – Gidwani
History of India – Julia Corner
Malayala Manorama 17th April 2011 – Article by Bijish Balakrishnan

Pics - Wikipedia, Columbia.edu, Google images

The Leica File: The Jinghu Players Of Chinatown

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

I"m happy to report that the kerfuffle pitting the NYPD against the senior citizens of Columbus Park in Chinatown seems to have been resolved. As you may have read in an earlier post, the NYPD disbanded the amateur Chinese opera bands that played at the park for years, and were filmed apparently using unnecessary force to do so.

But never underestimate the resilience of the Chinese...the cacophonous opera singers and their loyal musicians were back in force and in full form yesterday ...however minus their portable amplifiers. Amps and microphones violated the New York City Noise Control Code, and the NYPD swung into action. However, not only were the musicians back, but I've never seen so many chess, mah jong and card players despite the faint drizzle.

The musicians use a panoply of Chinese traditional musical instruments, such as the yangqin, a sort of dulcimer with a near-squared soundboard, and played with two bamboo sticks, as well as the jinghu, a small two string fiddle, a circular bodied plucked lute called the yueqin and the recognizable gu and ban, a drum and clapper.

As you can tell, I used a 1.4 aperture in those two photographs. I'm currently enamored with extreme shallow depth of field!

POV: To Stage Or Not To Stage?

Photo © Tewfic El-Sawy - All Rights Reserved
I was invited a year or so ago as contributor, with other photographers (such as renowned travel photographer Bob Krist), on Pixiq, an online community where a group of professional photographers engage other enthusiasts about photography and related interests, and while it was very tempting, I excused myself because I just didn't have the time.

I occasionally drop by Pixiq to read some well-informed posts from other travel photographers, and recently I was interested in an article by Jim Zuckerman entitled Travel Photography Portraits in which he candidly tells his readers that he carefully pre-plans his photo shoots, and sets up his travel photographs, whether these are in Himbaland or elsewhere in the world.

I was equally interested to read a couple of comments, made by Marc-André Pauzé and others, essentially querying Zuckerman's work ethic for staging photo shoots, and then paying his "models". Both sides eventually get a little defensive, since they have opposing points of view.

This is not an unusual debate, and one that has been often discussed in travel photography. I didn't know Jim Zuckerman, but from his biography he's a well known photographer whose work has appeared in scores of magazines, and leads photo tours in many parts of the world. It goes almost without saying that he would make sure that he (and his clients if on a photo trip) will be able to "bag" the photographs he's after...since nothing is guaranteed in life, he just makes it possible by paying money and setting the shots.

Marc-André Pauzé, in contrast, is a photojournalist whose work ethic is against paying to set up photo shoots and opportunities. He and his peers are documentary photographers, and setting up photographs is anathema to them.

Zuckerman and Pauzé come from different corners...their market is different, and their clients seek different products. Photographers who are more commercial will set up photo shoots, use reflective umbrellas, master strobes and flashes...etc., while the latter in the photojournalism corner will use a camera, a couple of lenses and develop a relationship with his subjects, but not pay.

As Marc-André writes in his final comment: "Travel photography, as photojournalism and street photography is not staged. It is about Life."

I agree. Staging photo shoots robs reality, but I'm reasonably flexible on my own photo~expeditions to accept that staging is occasionally either better (depending on the subject matter) or the only alternative. In contrast with Jim Zuckerman, I don't really have a list of preconceived images because it would stifle my creativity and may make me not see other opportunities. My photo~expeditions single most important description is "where travel photography meets photojournalism"...and I believe it's the right one.

However, when I walk in a village in Gujarat, I'm prepared for the eventuality that staging a few photo shoots will be needed if these don't happen serendipitously. Do I like staging photographs? No, I don't....but on occasions I have no other good options. And I'd rather return with some lovely staged photographs than none.

Another important point: would I ever claim that a staged photograph isn't? No, I wouldn't...and that's an important work ethic. We have seen photojournalists breaking this work ethic rule win awards and grants, and frequently getting caught and exposed for what they are....frauds. As far as well known travel photographers as concerned, Jim Zuckerman is far from being the only one who stages photo shoots...most of them do, and their clients seem to expect it.

If you've read that far down, here's the reason I used a Gujarati doll photograph to illustrate this post: subjects in staged photos sometimes look like the doll...inanimate and lifeless!

National Geographic: Sony World Photo Awards 2011

Photo © Amit Madheshiya-Courtesy Sony World Photo Awards
The National Geographic's website is featuring the 2011 winners of the Sony World Photography Awards which is administered by the World Photography Organization. The awards were chosen by a panel of 12 judges, led by British photography critic Francis Hodges.

The choice of the first photograph of the Indian villager at an open-air movie as the Best Pro "Arts and Cultures" Picture is a great one. His facial expression is priceless...and is the "perfect moment".

The photographer is Amit Madheshiya, who tells us that travelling cinemas in India visit remote villages once a year, screening an eclectic mix of films for the equivalent of about 40 U.S. cents a ticket.

I suggest you also visit Amit Madheshiya's website which features The Nomadic Cinemas, with 24 images of this photo essay.

By the way, Amit's website is hosted by PhotoShelter...the professional website to show off your best photos.

WTF! The NYPD Hates Chinese Opera?

Photo Courtesy The Gothamist
One of my favorite photographic destinations in NYC's Chinatown is Columbus Park, where large number of Chinese residents and non-residents congregate during the weekends to play xiangqi, a board game similar to Western chess, mah-jong, and cards while listening to cacophonous Chinese opera performed by two groups of amateurs (most of whom are senior citizens).

But now I'm seriously pissed off. Here's why:

The Gothamist recently had an article with a video featuring the NYPD arresting an elderly man at the park on May 8 when they tried to stop a group of senior citizens from playing Chinese music...presumably he was a member of the bands that accompany the singers.

It may have been caused by a noise complaint by a resident, but it's more likely that it was that these bands of amateurs did not have the requisite permits that all street NYC performers need to have before playing in the streets.

Having said that, there's no doubt the NYPD crossed the line in how its officers dealt with this. On The Gothamist site, there's a short video that shows how the Chinese and others were brutally dispersed...the use of mace and batons was threatened, and the man arrested was thrown to the ground, then handcuffed.

These amateur Chinese opera singers (more like classical Chinese karaoke in my view) were certainly cacophonous, and perhaps even discordant to Western ears, but they brought in a lot of tourists and residents alike, and didn't harm anyone...quite the opposite.

So it's either that the NYPD has no ear for Chinese opera, or they really have nothing else to do. Since Osama Ben Laden was killed last week or so, I suppose they can now focus their efforts on arresting harmless senior citizens who speak no or little English.

The NYPD ought to nab the marijuana peddlars in Washington Square Park instead...or the vendors of counterfeit Louis Vuitton bags on Canal Street...and leave me the Chinese opera singers to photograph.

I wrote a number of posts on the Columbus Park Chinese opera, but this one describes the setting, while this following audio slideshow I produced is of one of the bands.

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