5/16/2023 0 Comments Saddam hussein capture photographs![]() ![]() By contacting them, I was able to arrange background briefings with local social workers, and visits to the homes of families who had sold their children, as well as the quarries, factories and markets where these children were working.Īnother critically important element in photographing any type of conflict is trust. From some of these organizations, I received the names of people in New Delhi who were involved in the movement to stamp out this practice. There were several detailed reports on the subject prepared by charities and NGOs which gave me a clear sense of the kinds of photographs I was looking for, and where I needed to go to find them. It’s a brutal, medieval practice which India hasn’t had much success in ending.įor several weeks before leaving on this magazine assignment, I read as much as I could find around the bonded labor issue. Others wait patiently for the right moment and then try to escape. Some children grow into adulthood trapped in this system. The children work for years at menial jobs in dangerous conditions to pay back their employer the money their parents received. The practice is both illegal and widespread. It’s about impoverished families in India who sell their children into bonded labor as a way of raising money. The photograph of the seven-year-old Indian boy breaking stones in a quarry outside of New Delhi is from a story about a particularly vicious social conflict. This means doing research before I start photographing, and then constantly talking to people on the ground once I start working, so that I can make decisions based on up-to-date information. This understanding will allow me to interpret the conflict with intelligence and sensitivity by seeing beyond the surface of the moment and recognizing the full, nuanced range of emotions fueling the story. What do I want to achieve with my photographs? By Judah Passowįor my photographs to have meaning, to have a voice that speaks with power and authenticity, I must first understand the issues driving the conflict I’m covering. DW Akademie asked Judah Passow what he aims for with his pictures and what he does not depict and why. Photojournalists and cameramen therefore bear as much responsibility as writers. They can intensify conflicts, but they can also stimulate reflection and compassion. Especially in conflicts, therefore, pictures have a special significance. And there are pictures that demoralize, brutalize and traumatize the viewer. ![]() ![]() There are those that are intended to mislead, like the countless manipulated images taken out of context, which are often used, especially in armed conflicts, to demonstrate supposed victories or defeats. There are those images that evoke pity in the viewer - like that of the naked child fleeing towards the photographer after a napalm attack in Vietnam in 1972. Pictures - whether moving or still - can do a lot of good, but also a lot of harm. Is it true that a picture is worth a thousand words, as the saying goes? Not always, but very often. ![]()
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