The Kony 2012 project is a film that ‘seeks to make Joseph Kony famous’ and in doing so, expose his deeds to a wider world. All very laudable but the entire thing makes me feel deeply uncomfortable. Certainly, exposure for such dreadful stories are generally to be welcomed however this enterprise bears all the hallmarks of an emotionally manipulative Hollywood fantasy that a crazed warlord just appeared from nowhere. I’m all for people changing the world but perhaps we might have prequel (I’m not sure that’s a word either) explaining exactly how something as awful as Kony came about. Perhaps we might talk about how Kony fits into the post-Amin world of Acholi politics (Kony’s early pronouncements on Museveni and his ‘Tutsi empire’); we might talk about disengagement in American Foreign policy in the nineties in Africa shaped in part by the New Barbarism thesis. We might talk about the allegation that the Ugandan security forces had an incentive to keep the war going to keep themselves in power. We might also talk about how the discovery of potentially billions of dollars worth of oil has made (especially) the US sit up and look at how the situation might be pacified.

Crucially we might try and work out why the film makers are doing this now when in fact the LRA aren’t currently operating in Northern Uganda. A cursory glance at the African and NGO press show that people who have worked in Northern Uganda on development and reconstruction are generally surprised; this story has moved on (and that’s not to deny the suffering involved). Not only that, they are arguing that efforts should be made to rebuild and that rather than these children being ‘invisible’, they are, certainly to people like Glenna Gordon (the author of the notorious and extraordinary photograph of Russel, Poole and Bailey holding weapons) and others who knows the situation, ‘pretty visible’. It is certainly true that this story was difficult to place in the mainstream media – although that didn’t stop a stream of Western photographers in the early 2000′s going and photographing the ‘night commuters’ as the children were called. In that respect the film certainly manages to circumvent traditional media outlets that wouldn’t want poor African kids getting in the way of their advertising. My point though is that if you want to defeat something, you have to understand it. And that is where this film, devoid of a good deal of context and seen through the distorting sentimental prism of a well meaning white film maker and his child (At 07:35 the white narrator says that ‘we are going to stop them’) falls down very badly indeed.

Something strikes me as deeply patronising in portraying this as a fight between good and evil. I spent a few years in Africa in the late 1990′s trying to make the point that the perpetrators of disgusting violence in the guise of child soldiers – were as much sinned against as sinning. An attempt – however flawed – to expose the mental landscape/legacy of exactly these situations of Post Colonial devastation that led to the rise of people like Kony and Taylor and Sankoh rushing in to fill a space that the State could not (or didn’t want to) hold.

I’m sad to relay to those people urging others to be ‘awesome’ and blindly support this campaign that if we blunder in, as well meaning as we might be, we might just make this situation worse. If a generation of American youth think that by capturing Kony and giving him up to the Hague, we can sort this out they are very much mistaken. Doesn’t that sound like the warnings that we were fed about the ‘madmen’ Saddam Hussein and Osama Bin Laden? And didn’t that turn out well? Kony is clearly a product of the political situation in Post Independence Africa. You deal with that by dealing with the ramifications of poverty, politics and corruption. If you take away the justifications for Kony, you take away his legitimacy and his means of survival. And no, that isn’t as sexy and as easily reduceable to sound-bite length for the YouTube generation – but maybe that means the YouTube generation is the one that needs to remove itself from the tit of ‘info-tainment’ and decontextualised explanations. Ugandans aren’t stupid – they aren’t waiting for the White man to come and save them – they are, against very great odds trying to save themselves. They just need the tools to do that without people either exploiting their country or their situation.

Uganda - Gulu - 'Edward', 16 is so deeply traumatised by what he has done and witnessed as a.soldier for the Lords Resistance Army that he is unable to mix with other children. At night like many of his contemporaries, he wets the bed and recounts his experiences as he sleeps. Gulu, Uganda, August 1997

Uganda - Gulu - A former child combatant for the Lords Resistance Army gives confession to an Italian priest, Father Guido. Gulu, Uganda, August 1997

Uganda - Gulu - 'Andrew', 17. Whilst having to fight with the Lords Resistance Army, he remembers killing at least twelve people... but only two with a machete... Gulu, Uganda, August 1997...'We are the miracles that God made to taste the bitter fruits of Time' Ben Okri from An African Elegy.

Uganda - Gulu - A young man with obvious trauma is reunited with his mother and sisters after almost two years in the bush with the Lords Resistance Army. Gulu, Uganda

I had barely a couple of hours over a day or so to make some images and none of them reflect the immediate situation, but they were a therapy – going out and photographing people and their lives in the markets and on the streets.

My special thanks to journalist and fixer extraordinaire, Helen Skopis for patiently putting up with me and making all the ‘phone calls – and to two young and very talented photographers, Angelos Tzortinis and Alkis Konstantinidis who were generous enough to share their time and considerable experience to give me some background as only photographers can.

Thanks to all.

Greece - Athens - A child in costume plays in front of a sentry during the Changing of the Guard in front of the Tomb of the Unknown Soldier, Syntagma Square

Greece - Athens - A fishmonger looks indulgently on a Greek Orthodox priest as he buys seafood from a stall in the Athens Central Market on Athinas Street

Michael seems to have included a great number of my images and teased out quite a bit from my past lives as a photographer…

My initial problem was finding an iPad portfolio program that worked smoothly, was easily customisable and didn’t require the intellect of a particle physicist. After a bit of searching I found Foliobook. What I really liked was that it has a pretty easy interface and a whole load of instructional videos. It took several hours of working out what I wanted and uploading images with iTunes to get something I was happy with. I created a simple jpg image for the front page that imitated my website design and overlaid that above a template structure in the program. The results are below as screen grabs. Once your images are in folders its very easy to change orders and set slideshows. I particularly like the ability to email an image directly from the slideshow.

Over the last few years, I’ve had Plastic Sandwich make me several print folios so I was very pleased to see that they’ve made a rather lovely one for the iPad as well. Just like my print books, they’ve embossed my name on the front and the whole thing slips into a very sturdy slip case.

So far, it looks like a very valuable addition to a range of ways to show work.

The title page uploaded as a jpg and laid over a Foliobook template

A page showing an image and a contact sheet view

Drop down menu with slideshow settings

A library of images for one of the galleries

Details of the slideshow controls

A very useful ability to email any of the images in the presentation

The iPad in a custom case from Plastic Sandwich

The Plastic Sandwich case and slip cover

Those nice people at Wonderful Machine have refreshed my images on their site. Looks great.